التداخل الدلالي في ديوان (مالم يكن ممكنا)‎ للشاعر محمد البغدادي : دراسة أسلوبية

الملخص EN

In this research, I claim that I selected a different poet, though he is one of those who write the classical form of Arabic qasida, or what is called "Poetry Poem", still he is a master of stylistic poetic devices who is firmly confident of his stylistic tools.

His extraordinary capacity and talent have a clear imprint on his poetic oeuvre.

This poet is Mohammed al-Baghdadi in his poem collection titled Ma lam Yakun Mumkinan (What was not Possible).

Since the inner and external estrangements dominated all that is related to the poetry of Mohammed al-Baghdadi, we find him overwhelmed by misty semantic signification which makes the reader a participant in the writing of the text, whether in the uttered language or in a parallel text, as stated in the present study.

According to this vision, we investigated defamiliarization in his poem 'Talal' (Ruins), and the parallel text inside it, and then all stylistic levels of his poems 'Talal' (Ruins) and 'Wujudiyat' (Existential Issues) along with an overview of his style in the entire poem collection, as a preface which makes our investigation possible.

Then, this research has to reach at some conclusions, to end its own line of argument, to leave open all future options, whether those which agree with this study and would like to re-study it, or those which are incited by the present study and encouraged to delve deeper to find other stylistic features in the poetry of Mohammed al-Baghdadi.

Hence, we believe that the sailing ships of this study should resort to the harbors of the conclusion, for it was a very delicious journey, replete with the contrasts of this roaring life.

We flew with two wings of poesy and estrangement to land in the worlds of Mohammed al-Baghdadi, to find our way through the semantic interference in his book Ma lam Yakun Mumkinan (What was not Possible), and to conclude that the poet relied on his linguistic richness and his ability of imagery and defamiliarization, let alone the interference of all stylistic level of his own.

We have found the.