الملتقى عند عبد الله الطيب في كتابه المرشد إلى فهم أشعار العرب و صناعتها

Abstract EN

The receiver is considered as one of the main components of the aesthetics of reception.

That is confirmed by the reception theory which was common in the western literary and critique movement in the modern era.

Later, the concern of the receiver was passed to the Arabic critique because of the cultural contact and translation.

Arab researchers were interested in the term in the modern era so as to enrich their critique works, to keep them updated, and to promote the Arabic critical movement towards internationality.

That will be by perusing the critical heritage through the empirical studies that are based on the modern theories and modern critical terms.

This study aims to investigate the presence of the receiver in Abdullah Attayb's book ( The Guide to Fathom the Arabic Poetry and How They Weave it).

It aims also to disclose the receiver's importance, role, type, and location in the literary work through the creativeness process and reception aesthetics.

After the brief definition of the receiver and its types, through the western reception theory, the researcher establishes the origin of the receiver by giving examples for it in the Arabic critical heritage.

Then he studies it in Abdullah Attayb's book ( The Guide to Fathom the Arabic Poetry and How They Weave it).

Thus, the study has brought us to the following: that Abdullah Attayb had seen the creativeness process and the reception aesthetics as an integrative view that combines it components ( the author, the text, and the receiver) in the literary work.

There is no traditional contextual tendency, no author death, neither an absolute authority for the receiver in the interpretation.

The opening words: The receiver, the reader, the listener, interpretation, integrative.