الخيال و أزمة الوجود : دراسة في أنثربولوجيا المتخيل الشعري العربي المعاصر

الملخص EN

The study is based on a number of questions that the poetic visualizer seeks to answer: Is undermining the usual image of the elements of the living world, or of any of its frameworks: spatial and temporal, and building a new image with a specific imaginative nature, an act that leads to an unjustified desire to tamper with reality and play with its engineering, Or is it an act of an actor who plans his goals, realizes his goals, and what is the purpose of imagination ? What happens to a human being when he uses this mechanism to construct an image that is not recognized by reality around him ? Gusdorf says : Any image that a person builds for himself about the world is a confirmation of himself in the world (1).

Imagination, then, is a cognitive ambition that transcends the boundaries of things, for a person does not mean things only to know them, or to provide imaginative perspectives of their.

Rather, he knows himself and realizes some of his possibilities of that prevent the imperatives of reality from achieving them.

If the reality suppresses the aspiration of the self to protection and reassurance, especially to survival and eternity, then human consciousness fictitiously recharges the elements of the world with all the values that support the existence of man and guarantee the salvation of the human person.

This is the initial idea that we should pay attention to and take into account when we talk about a .fictional foundation for the world, especially through poetry It should be recognized that every poet has a part of consciousness that is not attributable to the same empirical isolation alone, because the continuation of the reproduction of similar and symmetrical images, and their coalition in a common field of the imagination world, despite belonging to different poetic narratives, becomes evidence of the breakdown of creative awareness _ even partially _ from Essar The pure self-experience and the isolated and individual project, and at the same time being subject to a general creative project that we see strewn in the poetic discourse, in its broad sense, calling us to ask about the possibility of the presence of a "thinker" among myself "who does not live in the depths of each poet next to his own" self." Perhaps one of the gains of this study is that it sought to break into the common field of imagination, revealing the human project that directs poetic creative awareness and determines its intention, despite the difficulties and difficulties that this analytical adventure requires in a foundational effort based on typesetting and classification.

Through the scout follow-up to contemporary Arabic poetry, it appeared the existence of a basic ontological system that charts the features of the general project directed at the poetic imagination, a system that surrounds the creative cogito, which takes the form of feeling, wakes up on : the temporal experience and its related ones.

If existential philosophy reveals this experience in a way of mental reasoning, then poetry re-places it in the field of our vision and subjecting it to our observations, while identifying the creative choice facing it, then this rigid philosophical saying seems more flexible when we return to the poetic texts.

The question is: How did the intrinsic structure of human reality direct poets' reflections on the world ?