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Volume :23 Issue : 91 1998      Add To Cart                                                                    Download

QASIM HADDAD’S CRITICAL DISCOURSE IN RELATION TO HIS POETIC EXPERIENCE: A CRITICAL VIEW

Auther : Dr. Abdullah Al-Muhanna

 

 

         This critical study aims at investigating the relatedness between The Death of the Chorus manifesto by Qasim Haddad and Amin Salih, published in 1984 and Qasim Haddad’s poetic experience.  The manifesto of Death of the Chorus is considered as the first critical discourse in the states of the Arab Cooperation Council to direct the creative experiences towards capturing the spirit of the age.

          As a whole, the discourse – though characterized by a high note in its linguistic form which sometimes borders on provocation, arrogance and contempt for those who oppose the new trends – is not isolated from similar discourses in the Arab arena but compliments them.  On another level, the study attempts analytically and critically to fathom the depths of Qasim’s poetic experience and to identify the link between theory and practice in the poet’s experience of modernity.

         The study shows that the poetic experience, though starting a short time earlier than his critical discourse was the melting point in which were molded most of the ideas the critical discourse offered.  It transformed these ideas from a solid whole to a controversial creative act inspired by a rebellious spirit against our incapacity to cope with the spirit of the age.  He thinks of the past as a model for the present.  Hence he devoted himself to condemning the present and exposing it, bringing it severely to account, calling for demolishing it then rebuilding it in a way that fits in with the logic of life and the age.  Though the worries of the present occupy a major part his poetic experience, it did not draw his attention away from the worries of creativeness and requirements of the new discourse.  Thus in both the creative and the critical experience, there was strong emphasis on the crucial issues in the question of modern creativity such as the philosophy of writing, the specifications of the required language, the problem of artistic form of discourse, the role played by dream and imagination in adapting the present to new standards, in addition to other controversial issues which are frequently spoken of as vital issues to see if there is any correspondence between his critical and creative experience in a way which makes of Haddad the poet a model for the new consciousness, which started to take shape in the Gulf area in the last quarter of the century and which calls on us to hold a new view to deal with life in a modernized fashion to be liberated from the domination of the heritage and the authority of the predecessors.   On the whole, Haddad’s critical views and creative experiences - which are in large measure experimental and which advocate the freedom of the creator and creativity – are not isolated from the Arab modernist movement.  On the contrary, they are part and parcel of it, affected by it and interacting with it as a prospective Arabic cultural project.  This is clearly evidenced by Bayanat (Manifestos) published in 1993 by Kalimat, a Bahraini magazine that incorporates all Arab manifestos on culture and creativity, including the manifesto of “the Death of the Chorus” which in both approach and objectives does complement these manifestos.

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