قصيدة النثر و جماليات القطيعة الشعرية : دراسة في الرأس المقطوع لأنسي الحاج

الملخص EN

The Broken Head - A collection of prose poems by the Lebanese poet Ansi al-Hajj, published in 1963 after his first collection (not) in three years.

The return to a literary product half a century ago may require a cash pause characterized by novelty and reading after all that has been said.

In addition, returning to this group, not (not), also needs to justify the fact that (not) is the first production of Ansi Haj, Which is the forerunner of leading theorization of this type of different writing; but critical reading often starts from the moment of a major attraction made by the title of catalyst to start the first step, and the title of the pilgrim (head cut) was the kind of catalyst for reading and interpretation In literary works, the animations are referred to a sphere of space that is stored - according to the skill of selection - the interpretive visions and intertwined with the textual structure of the material.

And the descriptive structure: the cut head raises the attention of the reader direct evidence loaded with the violence of cutting, especially since the Arab memory is full of heads cut, and the most martyrs of the revolutionaries and rebels, and resisters of the Sultan of injustice and tyranny; and well do the pilgrim when he chooses an address that draws attention because his presence activates the sensitivity of the recipient in the capture Threads of experiment and re-woven and woven in a new dress of visions and structures.

As well as it will be like evidence in the mazes of the dark text, in this collection a poem bearing the same title may come to mind that the poet chose to choose the title of the group of internal addresses, in order to take responsibility for the search for the title of collector and stocktaker of the views of the text, but forget the pilgrim smarter than to do so; The critical reading reveals a connected dialogue between the broken head - the title, and between his body - the collection of poems, at different levels.

The cut comes out here from its direct sensory significance to deeper symbolic connotations, in which the pieces turn into rupture, rejection and rebellion.

In other words, the estrangement in which the essential components of the poetic experience of the visions and language are formed.

These levels can be summed up in three.: 1.

Taxonomic separation 2.

Rupture vision 3.

Discipline of language The research attempts to identify these three levels, to explore the poetic experience in this group.