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1
Peled-Shapira, Hilla. "Was Halabja a turning point for the poet Buland al-Haydari?" Kurdish Studies 2, no. 1 (2014): 14–33. http://dx.doi.org/10.33182/ks.v2i1.377.
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This article examines the writings of the emigré Iraqi-Kurdish poet Buland al-Haydari (1926-1996) and thus explores components of his identity as reflected in themes and motifs of his poetry, in light of the fact that Iraqis belong to a variety of ethnicities, religions and sects. This article will also address the question of whether the poet's self-perception was transformed from a complex hybrid identity with Muslim, Christian, and other influences but excluding Kurdish elements, to a "new" Kurdish identity, as an outcome of the Iraqi chemical attack on the Kurdish town of Halabja in 1988. The assumption is that although the Halabja incident was the point at which the poet began to relate to his Kurdish origins, he was still loyal to Baghdad, to Iraq and to Arab culture, rather than solely emphasising his Kurdish identity. The article will examine the thematic and aesthetic effects of the tragedy in Halabja on al-Haydari's poetry in Arabic, focusing on different forms of identity as reflected in the poetry of this political activist. Gelo Helebçe xala werçerxê bû bo helbestvan Bulend el-Heyderî?Ev gotar vekolînek e li ser nivîsên helbestvan Buland el-Heyderî (1926-1996) ku koçberekî ji Kurdên Iraqê bû. Ji ber hindê, ev gotar hêmanên nasnameya wî, yên ku di babet û motîvên helbestên wî da rengvedane, derdihîne li gel hayjêhebûna ku Iraqî xwedî nasnameyên têvel yên etnîkî, dînî û mezhebî ne. Herwisan, ev gotar dê hewl bide ku pirsekê jî bibersivîne: Gelo wekî encama êrîşa Iraqê ya kîmyayî li ser bajarê Helebçeyê di 1988ê da, xwebîniya vî helbestvanî ji nasnameya wî ya durehî ya têkel -wekî Misilmanî, Mesîhîtî û bandorên din, ji bilî hêmanên Kurdîtiyê- ber bi nasnameyeka Kurdî ya nû ve daguheriye? Pêşbînî ev e ku herçend helbestvan vegeriyaye ser rehên xwe yên Kurdîtiyê, ew pirtir maye dilsozê Bexda, Iraq û çanda Ereban, ji dêlva ku tenê pûte bi nasnameya xwe ya Kurdîtiyê bide. Ev gotar dê bandora tematîk û estetîk ya trajediya Helebçeyê li ser helbestên Haydarî yên bi Erebî vekole bi baldariyeka li ser şêweyên têvel ên nasnameyê ku rengvedane di helbestên vî aktîvîstê siyasî da. ئایا هەڵەبجە خاڵی وەرچەرخان بوو بۆ بوڵەند ئەلحەیدەریی شاعیر؟ئەم گوتارە لە نووسینەکانی شاعیری عیراقی- کوردیی کۆچبەر بوڵەند ئەلحەیدەری (١٩٢٦-١٩٩٦) ورد دەبێتەوە و بەو شێوەیەیش بەشە پێکهێنەکانی ناسنامەی وی، وەک لە بابەت و موتیفەکانی شیعرەکانیدا ڕەنگیان داوەتەوە، دەردەخات، لەبەر ڕووناکیی ئەو ڕاستییەدا کە عیراقییەکان سەر بە ئێتنیک و ئایین و کۆمەڵی جۆراوجۆرن. ئەم وتارە ڕووبەڕووی ئەو پرسیارەیش دەبێتەوە کە ئایا خۆناسینی شاعیر ئەو شێوەگۆڕییەی بەسەردا هاتووە لە ناسنامەیەکی تێکەڵاوی ئاڵۆزکاوەوە کە کارکردی موسڵمان، مەسیحی و شتی دیکەی لەسەر بووە ، بەڵام کوردی تێدا نەبووە، ببێتە ناسنامەیەکی ''نوێ''ی کوردی، وەک ئەنجامێکی ئەوەی کە عیراق شاری کوردیی هەڵەبجەی لە ١٩٨٨دا گازباران کرد؟ وا دادەنرێت کە ئەگەرچی ڕووداوەکەی هەڵەبجە ئەو نوختەیە بوو کە شاعیر لێیەوە دەستی پێ کرد بگەڕێتەوە بۆ ڕەگوڕیشەی کوردانەی خۆی، بەڵام هێشتایش هەر دڵسۆز بوو بۆ بەغدا، بۆ عیراق و بۆ فەرهەنگی عەرەب، نەک ئەوەی تەنیا ناسنامەی کوردانەی خۆی جەخت بکات. وتارەکە لە کارکردی بابەت و ئێستێتیکیی کارەساتەکەی هەڵەبجە لەسەر شیعری عەرەبیی ئەلحەیدەری ورد دەبێتەوە و پێ لەسەر شێوەی جیاوازی ناسنامە دادەگرێت وەک لە شیعری ئەم چالاکە سیاسییەدا ڕەنگی داوەتەوە.
2
Walie Fattah, Assist Prof D. Yahia, and Dr Alaa Muhammad Lazem. "Iraqi Contemporary Language of Poetry: Nineties as a Model." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 213, no. 1 (2018): 1–18. http://dx.doi.org/10.36473/ujhss.v213i1.648.
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Poetic language is the only a movement based mostly on the stereotypes and pugnacity what is prevalent in the language communicative by eluding and escape from him towards the level of performance of works on raising the effectiveness of the speech and poetic Anashha a lot of surprises and variations in say poetic ; So whatever ventured poet order behind the new technology , no matter what type of Ajthadath performance , the poem remains a creative effort embodied in the language first , and which seeks to demonstrate the usefulness and vitality of a second. The turnaround grand poem nineties embodied in it restored the poem to the Kingdom of hair after that has been lost in the paths of formality purely by Althmanyen dropping more open to the lattice actually fashionable and idler margin after it abandoned tower (Teleological language) and (the absence of meaning), which characterized them poem eighties .This study aims to identify the most prominent benchmarks key that is characterized by the language of poetry Altsaina level compositional and visibility and detection charms aesthetic embodied in Artaadha new areas mission did not pay attention to it before and did not mean the Iraqi poet previously as not involving any poetry by perspective poetic traditional.
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Ghani, ’Hana Khalief. "Mapping the Digital performance of Violence as a tool of Resistance in Iraqi Poetry ‘Militia of Culture’." لارك 1, no. 32 (2018): 1–10. http://dx.doi.org/10.31185/lark.vol1.iss32.1253.
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I.Poetry, Politics, and Technology: The poetic scene in Iraq underwent significant changes following the collapse of the ruling regime and the invasion of the country by the International Coalition headed by the United States of America in 2003. These changes mainly took place on two levels: political and technological.
 In post-2003, normal existence became impossible for the Iraqi people as their country plunged into an unprecedented and wholesale waves of destruction and violence. In “As Iraqis See It,” Messing concisely described the situation of Iraqis ‘expressing anger and gloom, exasperation and despair.’ He says:
 The overwhelming sense is that of a society undergoing a catastrophic breakdown from the never-ending waves of violence, criminality, and brutality inflicted on it by insurgents, militias, jihadis, terrorists, soldiers, policemen, bodyguards, mercenaries, armed gangs, warlords, kidnappers and everyday thugs. ‘Inside Iraq’ … suggests how the relentless and cumulative effects of these various vicious crimes have degraded virtually every aspect of the nation’s social, economic, professional, and personal life. (qtd in Adelman, 2008, p.184)
 What happened in 2003 onward, however, is not strange or unexpected. It is a culmination of a long history of blood shedding, politically-motivated murders, several coups d’états, a wearing war with Iran(1980-1988), thirteen years of tiring and exhausting economic sanctions imposed by the United Nation after the Iraqi invasion of Kuwait(1991-2003), and a ruthless totalitarian system that makes Iraq “suitable for nothing,” in the words of the Iraqi poet Adnan Al-Sayegh(2004, p.209). (For more information about the modern history of Iraq, see Al-Athari,2008 and Anderson and Stanfield, 2004)
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Assadi, Jamal, and Mahmoud Naamneh. "Intertextuality in Arabic Criticism: Saadi Yousef’s Mobile Model as an Example." Advances in Language and Literary Studies 9, no. 6 (2018): 49. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.49.
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This article traces the development of the notion of intertextuality among modern Arab critics back to its roots in the Western critical theory. It also studies the hypothesis, which supports the presence of a special mythological intertextuality in the poetry of Saadi Yousef, the modern Iraqi poet. His mythological intertextuality is manifested in the composition, and content of his poetry. In the process of employing the device of intertextuality, Saadi invests ancient Iraqi myths. This article, in which we will discuss the famous Babylonian myth known as Gilgamesh Epic, will refer to Saadi’s use of this device as “the intertextuality of the mobile model.” Compared with conventional types of intertextuality, this type combines between the past text, that is the myth, and the present text, i. e. the poem through three axes. First, the investment of a past myth to serve present purposes; second, the employment of a past myth to read the present and the third axis entails the use of the present for the sake of influencing the present text. The purpose is to illustrate the benefits of the past myths and the mechanisms employed by Saadi Yousef and to examine the goals that have motivated the poet to choose one of the most ancient texts written at all.
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Hasan, Muna Salah. "Review on the Child in Modern Iraqi Poetry." Indian Journal of Language and Linguistics 2, no. 2 (2021): 18–26. http://dx.doi.org/10.34256/ijll2123.
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The image of the child in its various shades is one of the common images in Arabic poems from the pre-Islamic era to the modern era, but it did not receive the attention of scholars, and it was not studied in depth showing its connotations and symbols. Hence came my study entitled "The Child in Contemporary Iraqi Poetry", which is an attempt to clarify the symbols of the word (the child) and what it indicates according to the context in which they are mentioned, as well as the statement of the aesthetic aspects of how to employ these symbols through the selection of poetic texts of modern poets in which the image of the child was mentioned Where this image was linked to the intellectual and political framework of the trends of Iraqi poets to create with it multiple connotations that were in harmony with the successive conflicts and revolutions that the poet employed to express intellectual, political and artistic positions. Modern Iraqi poetry by this expression means what many poets wrote in a non-traditional or traditional (classical) poetry curriculum in the literature of their languages. It appeared in Arabic literature at the end of the first half of the twentieth century, especially at the hands of Al-Rihani, Al-Sayyab, the angels and the Arab diaspora in a number of European countries that they went to settle in, especially Italy, France, Britain and then the American states. One of the most prominent differences raised by this trend was what was raised about (authenticity and contemporary) in his book and its production, over decades of years, which lasted about a century.
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Peled-Shapira, Hilla. "Days like Nights Indeed?" Welt des Islams 53, no. 1 (2013): 76–107. http://dx.doi.org/10.1163/15700607-0004a0004.
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This paper deals with the methods which the Kurdish-Iraqi expatriate poet Buland Akram al-Ḥaydarī (1926 Baghdad–1996 London) used to express his experiences and feelings of exile as the representative of an entire generation of writers, and describes the relationship between intellectuals and the regime in Iraq in the mid-20th century. It analyzes the manner in which these methods contribute to the dissemination of his message in the process of literary communication. The main artistic method which will be examined is that of patterns and themes of time in his poems and their meanings, based on the collection Khuṭuwāt fī l-ghurba (Steps in Exile), in addition to other artistic devices found in his other works, in order to show how they contribute to understanding the evolution of ways of expression in Modern Iraqi literature versus Classical Arabic compositions. The paper consists of three sections: an introduction to cultural life in Iraq in the mid-20th century and the exile experienced by leftist writers; the unique artistic devices used by al-Ḥaydarī in his poems; and a comparison between expressions of time in Classical Arabic poetry and in the works of al-Ḥaydarī and his contemporaries, as a result of their relations with the regime.
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Mossaki, Nodar. "In memoriam: Izzaddin Mustafa Rasul (1934-2019), Iraqi Kurdish man of letters and Soviet-trained scholar." Kurdish Studies 9, no. 1 (2021): 113–28. http://dx.doi.org/10.33182/ks.v9i1.639.
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The literary scholar Izzaddin Mustafa Rasul (1934-2019) was one of the greatest Iraqi Kurdish scholars trained in the Soviet Union. He was one of a cohort of Iraqi students who received scholarships for study in the USSR in the wake of the 1958 coup that overthrew the Iraqi monarchy, and his time in the USSR coincided with the period of flourishing of Kurdish studies there. Rasul’s PhD dissertation analyzed the development of Kurdish literature within a schematic Marxist-Leninist developmental framework. In his major work, however, which focused on Ahmed Khani and his Mem û Zîn, he went well beyond the standard Soviet treatment of literary works and focused especially on the dimensions of Sufi theosophy and other Islamic content in the work. In this respect, Rasul’s work stands out as a rare exception in Soviet Oriental studies. It remains one of the most ambitious studies of the early modern Kurdish poet Khani.
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Alddin, Assist Prof Dr Israa Amer Shams. "Refusal Phylosoph , Semantics Dimensions in Fawzi Karim Poetry." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (2018): 1–12. http://dx.doi.org/10.36473/ujhss.v221i1.422.
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The research Title is (Refusal Phylosoph , Semantics Dimensions in Fawzi Karim Poetry ). He is an Iraqi Poet, Writer & Painter at Sixteenth decade. He left to London at seventeenth Last Century & Stayed there.He Published his Poetry in two Parts from Dar Al-Mada . I Prefered to Study his poetry semantically to refuse the philosophy of motherland & alienation effects. Because of combination of negative pattern with speech vocabulary.
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Mehta, Brinda. "Staging Tahrir: Laila Soliman’s Revolutionary Theatre." Review of Middle East Studies 47, no. 1 (2013): 49–55. http://dx.doi.org/10.1017/s2151348100056329.
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If one day, a people desire to live, Then fate will answer their call And their night will then begin to fade, And their chains break and fall.“Will to Live” Abī al-Qāsim al-ShābīOne of the most inspiring aspects of the Egyptian revolution was the outpouring of creative expression that accompanied the uprising’s social and political movements in the form of protest songs, poetry, slogans, chants, graffiti and installation art, street theatre, cartoons, among other forms of artistic inventiveness. Creative dissidence has always been an integral part of protest movements, as argued by Iraqi poet Sinan Antoon (2011): Poetry, novels and popular culture have chronicled and encapsulated the struggle of peoples against colonial rule and later, against postcolonial monarchies and dictatorships, so the poems, vignettes, and quotes from novels were all there in the collective unconscious.... The revolution introduced new songs, chants and tropes, but it refocused attention on an already existing, rich and living archive.... Contrary to all the brouhaha about Twitter and Facebook, what energized people in Tunisia and Egypt and elsewhere, aside from sociopolitical grievances and an accumulation of pain and anger, was a famous line of poetry by a Tunisian poet, al-Shabbi.Antoon evokes Abū al-Qāsim al-Shābī, whose poem “The Will to Live,” referenced in the epigraph, symbolized the battle cry of Tunisians in the anti-colonial struggles of the early 1900s. Refrains from the poem echoed in both Tunisia and Egypt during the Arab spring uprisings over one century later, thereby highlighting the intimate synergies between the creative imaginary and revolutionary action.
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Rahmani, Assist Prof Abdolrazagh, Associate Prof Eshagh Rahmani, and ,. MA student ,. Zahra Sakhaei manesh. "The impact of the quartets Omar Khayyam in the poetic experience of the Iraqi poet Zahawi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 3 (2018): 475–90. http://dx.doi.org/10.36473/ujhss.v226i3.106.
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The universality of literature has had great effects on literary unity. In this area, the effects of Arabic and Persian reflect the development of in-kind modeling of literary and literary overlap and become a wide field of comparative studies. Khayyam is considered to be one of the greatest men of the fifth century AH and has left a great literary imprint in the world of art and literature. One of the most famous of its variants is the reference to its quartets, which seem to have conflicting views of the universe and the Creator at first sight. This duplication, which we find in the quartets of the tents has produced many studies over the ages, including those Zahawi contemporary Iraqi poet, who was affected by the tents clearly. We find this effect when the quartets of the tents express the prose and the system, and also when it regulates its quadrilateral. We find that his idea inspired much of the quartets of tents. Here is the importance of studying the comparison between them through the quartets. And their cultural influences between them and this research includes common aspects between the quartets of these poets. The most important results we have reached in this study can be summarized as follows: Al-Zahawi was influenced by his quartets of the ideas and quartets of tents. The tents look at life and the universe with a pessimistic look and call for forgetting the melancholy of the world and its depression, while also drinking alcohol and Zahawi. The Arabization of the quartets of the tents by the Zahawi and the similarity of the contents of their quartets due to the cultural context common to them as a result of the knowledge of the Arab world on the ideas of tents. Such study confirms the connection and friction of both Arabic and Persian cultures.
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Sellman, Johanna. "The Ghosts of Exilic Belongings: Maḥmūd al-Bayyātī’s Raqṣ ʿalā al-māʾ: aḥlām waʿrah and Post-Soviet Themes in Arabic Exile Literature". Journal of Arabic Literature 47, № 1-2 (2016): 111–37. http://dx.doi.org/10.1163/1570064x-12341310.
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Raqṣ ʿalā al-māʾ: aḥlām waʿrah (Dancing on Water: Difficult Dreams, 2006) by Maḥmūd al-Bayyātī is among a number of Arabic post-Cold War exile novels that invite critical reflection on the loss of exilic belongings tied to the Soviet world. In the novel, an Iraqi poet, who has recently arrived in Sweden from Prague, Czechoslovakia following the collapse of the Soviet Union, finds a wallet containing a large sum of money. The poet (and narrator) re-imagines his new exile in Sweden through his search for the owner of the wallet and through the related question of how to distribute the money. As the narrative unfolds, the search begins to resemble the act of circling and pacing (ṭāf, yaṭūf ), a concept that frequently recurs in the novel. Ṭāf invokes both the haunting of the narrator’s past exile and political affiliations, and ṭawāf, the ritual circling around an empty center. Read alongside Derrida’s Specters of Marx the novel offers a compelling reflection on a critical juncture of Arabic literature. By comparing Raqṣ ʿalā al-māʾ to two other post-Soviet Arabic literary narratives of exile, Iqbāl Qazwīnī’s Mamarrāt al-sukūn (Zubaida’s Window: A Novel of Iraqi Exile, 2005) and Muḥammad Makhzangī’s Laḥaẓāt gharaq jazīrat al-ḥūt (Memories of a Meltdown: An Egyptian between Moscow and Chernobyl, 2006), this article considers the multiple ways that literary narratives have made exile and Marxist political affiliations objects of mourning. The spectral qualities of Raqṣ ʿalā al-māʾ subvert many of the post-Cold War narratives on national identity and the death of Marxism that the narrator confronts and, in the end, produce an ambiguous yet engaging reflection on migration and exile in contemporary Europe.
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Thompson, Levi. "An Iraqi Poet and the Peace Partisans: Transnational Pacifism and the Poetry of Badr Shākir Al-Sayyāb." College Literature 47, no. 1 (2020): 65–88. http://dx.doi.org/10.1353/lit.2020.0008.
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Ismail, Dr Nawzad Shukur, and Assist Lect Abdullah Ibrahim Faqi Salih. "Sensory and Mental images in the poetry of Hakim Nadim AL-Daoudi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (2018): 275–300. http://dx.doi.org/10.36473/ujhss.v227i1.695.
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The theme of the sensory and mental image in their general sense is a starting point for poets to enrich their poetic experiences and draw their artistic paintings that reflect their intellectual visions, feelings and emotions, taking into account the reality of living and imagination. This research deals with the patterns of sensory and mental images of the Iraqi expatriate poet Hakim Nadim Al- Daoudi, and reflects his poetic experiences, which were filled with visions, ideas and feelings in a beautiful artistic style with profound connotation based on his cultural references and linguistic vocabulary, which we rarely find in other poets who write in a non- native language. This is what enriched his poetic texts in terms of his realistic vision of the problems of his society with his intellectual and political dimensions, which cast a shadow on the identification of the features of his sensory and mental image, and the fact that he employs them through what he sees, hears, smells, touches, and tastes, his poetic vision formed a spirtual, spiritual paintings that takes the recipient away to the poetic self- worlds to share his artistic experience.
 The research plan is based on the descriptive analytical approch divided in to two chapters, one of which deals with sensory images of the visual , physical, auditory, tactile and tactile types. In the second chapters we discussed the mental images that included the avator and the abstract images, concluded with the main findings of the research.
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Amin, Prof Dr Waria Omar. "Al-Jawahiri In A Statistic Research." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 212, no. 1 (2018): 185–210. http://dx.doi.org/10.36473/ujhss.v212i1.659.
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Muhammad Mahdi Al-Jawahiri (1898 – 1997) was born in Najaf city of Iraq, to a family of poets and traditional learning. His father, his two brothers, and many other members of his family were poets. He is considered the greatest poet in the history of Arab literature, and said to be the last Neoclassic Arab.This paper is a statistical study of Al- Jawahiri’s poetry. It shows the number of lines of each poem, the meters on which he composed them, and their percentage. It is the first statistic research ever conducted about an Arab poet. The conclusions are shown in a table in the end.
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Papoutsakis, Nefeli. "Altarabische Dichtung über Dattelpalmen aus dem Kitāb al-Fuṣūṣ („Buch der Ringsteine“) des Ṣāʿid al-Baġdādī (ca. 335–417/945–1026)". Asiatische Studien - Études Asiatiques 72, № 3 (2018): 863–80. http://dx.doi.org/10.1515/asia-2017-0083.
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Abstract The present paper presents a hitherto unstudied collection of twenty-six early Arabic poems (sixth to eighth centuries) on date palms. The poems are preserved in the Kitāb al-Fuṣūṣ (“Book of Gemstones”) of Ṣāʿid al-Baġdādī (ca. 335–417/945–1026), an Iraqi philologist and littérateur who made a career as a court poet in Muslim Spain. Despite its importance as a crop, the date palm was a topic very rarely raised in Abbasid poetry. As this unique collection shows, however, poems praising the date palm were more common in earlier times. The poems examined here express the benefits of date palm farming by contrasting the supposed ease and safety of agriculturists to the difficulties and risks faced by camel breeders. The repeated comparison of palm trees with camels conveys the tension between the sedentary and the nomadic lifestyles, as they co-existed in pre-Islamic and early Islamic Arabia.
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Balāwi, Rasūl, та Taufīq Radhavur Muhaisinī. "النص الموازي في مجموعة «بروفايل للريح... رسم جانبي للمطر» للشاعر العراقي جواد الحطّاب /The parallel text in the Anthology “The profile of the wind...A lateral portrait of the rain” by Jawad Al-khattab". مجلة الدراسات اللغوية والأدبية (Journal of Linguistic and Literary Studies) 10, № 1 (2019): 31–46. http://dx.doi.org/10.31436/jlls.v10i1.703.
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ملخص البحث: 
 شَكَلتْ البنيويات نظريات متحولة تثير التساؤل المُشْغِلِ للعديد من الباحثين والمفكرين بسبب تداخلها مع الحقول الفلسفية والأدبية واللغوية والنقدية والإبداعية والعلمية، فهي تجمع بين حقول الدراسات السابقة كلها، وتستفيد منها بقدر ما يحتاج إلى ذلك منظروها. يتناول هذا البحث النص الموازي وعلاقته بعالم النص في مجموعة "بروفايل للريح...رسم جانبي للمطر" للشاعر العراقي المعاصر جواد الحطّاب؛ ولأجل تحقيق ذلك اتكأنا على المنهج الوصفي التحليلي، ثم السيميائي الذي يتطلع إلى الكشف عن دلالات السمات من خلال دراسة الإشارات أو الشفرات. ومن النتائج التي توصَّل إليها هذا البحث أن النصوص الموازية تعطي للقارئ إشارةً معرفيةً من أجل الغوص في النص الرئيس بكل معانيه واستطلاع خفاياه الدلالية، وفي هذه المجموعة المرشّحة للدراسة جاءت مرآةً عاكسة لمقصد قصائد المجموعة ودلالتها ومعناها الخفي بدءاً من الغلاف وعنوانه إلى المقدمة إلى الهوامش.
 الكلمات المفتاحية: الشعر العراقي المعاصر-النصوص الموازية-جواد الحطّاب-الديوان.
 
 
 
 
 Abstract
 Structuralism had formed transforming theories that raise the question in the minds of many researchers due to its overlapping with the fields of philosophy, literature, linguistic, literary critique, creativity and knowledge as if it combines all the previous fields of studies and benefit from them to the extent that was needed by the theorists. This study attends to the parallel text and its relation with the textual ‘world’ in the anthology of ‘the profile of the wind…a lateral description of the rain..’ by the contemporary Iraqi poet Jawād al-khattāb. The descriptive analytical methods are used in this study. The semiotic method will subsequently be used to uncover the meanings of patterns of symbols and codes. Among the results of the study are; the parallel texts give the reader a knowledge indication to immerse in the main text in all its meaning and enable him to discover its semantic secrets. In this proposed anthology to study comes a reflecting mirror to the objective of the anthology and the meaning behind it beginning from the title on the cover to the footnotes.
 Keywords: Contemporary Iraqi Poem – Parallel texts – Jawād Al-khaṭṭāb – Anthology.
 
 Abstrak
 Strukturalsima telah membentuk teori-teori yang membawa perubahan yang menimbulkan persoalan dalam minda para pengkaji disebabkan oleh pertindihannya dengan bidang-bidang seperti falsafah, sastera, linguistik, kritik kesusasteraan, daya cipta dan pengetahuan seolah-olah ia menggabungkan kesemua bidang-bidang kajian sebelum ini dan megambil faedah daripadanya setakat mana yang diperlukan oleh ahli teori. Kajian ini menumpukan kepada teks sejajar dan hubungannya dengan dunia teks dalam antologi sajak “Profil angin ..gambaran sisi hujan”, oleh Jawad al-Khattab, seorang penyair semasa Iraq. Pendekatan deskriptif analitikal digunakan di dalam kajian ini. Metod semiotik akan digunakan untuk menyingkap maksud-maksud dan pola simbol dan kod. Antara dapatan kajian ialah: teks sejajar itu memberikan pembaca pengetahuan yang mebolehkannya menghayati teks utama dalam kesemua maknanya serta memberikannya untuk menyingkap rahsia-rahsia semantiknya. Antologi ini adalah cermin kepada objektifnya dan maksud dibelakangnya bermula daripada tajuknya di depan sehinggalah kepada nota kakinya.
 
 Kata kunci: Penyair semasa Iraq – Teks sejajar - Jawād Al-Khaṭṭāb – Antologi
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Semaan, Gaby. "The Hunt In Arabic Poetry: From Heroic to Lyric to Metapoetic." American Journal of Islamic Social Sciences 35, no. 3 (2018): 76–79. http://dx.doi.org/10.35632/ajiss.v35i3.483.
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In his book, The Hunt in Arabic Poetry: from Heroic to Lyric to Metapoet- ic, Jaroslav Stetkevych traces the evolution of Arabic hunt poetry from its origins as an integral part of the heroic ode (qaṣῑda) to becoming a genre by itself (ṭardiyya) during the Islamic era, and then evolving into a meta- poetic self-conscious expression of poets in our modern time. The book is a collection of a revised book chapter and a number of revised articles that Stetkevych published between 1996 and 2013 discussing Arabic hunt poet- ry at different periods spanning from the pre-Islamic age, known in Arabic as “al-‘Aṣr al-jāhiliyya” (Age of Ignorance), to the contemporary era. This does not diminish the coherence of the book nor detract from Stetkevych’s welcomed thematic approach and his contribution to literary criticism on Arabic poetry and the socio-political and linguistic factors that influenced its development and evolution. Stetkevych divides his 256-page book into three parts. The first part, entitled “The Heroic and the Anti-Heroic in the Early Arabic Ode: The Qaṣῑdah,” consists of three chapters and discusses the evolution of the qa- ṣῑda (ode) during the Age of Ignorance. Stetkevych dissects the structure of the ode and shows how hunt poetry was an integral part of it (not an independent genre). In doing so, Stetkevych draws a vivid picture of the life and geosocial terrain of the period spanning from pre-Islamic to the mid-Umayyad eras. In the first chapter, “The Hunt in the Pre-Islamic Ode”, Stetkevych uses examples mainly from the Mu‘allaqāt of Rabī‘ah ibn Maqrum, Labād Ibn Rabī‘ah, and the famous Imru’ al-Qays to illustrate the different roles hunt poetry played based on where it fell in the structure of the ode. He further establishes that the hunt section of the ode served as the origin for what later became a genre in its own right, known as ṭardiyya. In the second and third chapters, “The Hunt in the Ode at the Close of the Archaic Peri- od” and “Sacrifice and Redemption: The Transformation of Archaic Theme in al-Ḥuṭay’ah”, Stetkevych distinguishes between the different terms for “hunt” and the ṭard that would be the “chivalrous hunt” that takes place from the back of a horse. Parsing these distinctions with poems from ‘Ab- dah Ibn al-Ṭabῑb, al-Shamardal, and ‘Amr Ibn Qamῑ’ah, among others, the author sketches how hunt poetry began taking its own shape as a freestand- ing genre during the Umayyad period: when hunt poetry “is no longer ex- plicitly ‘chivalrous’… we are now in the realm of falconry” (55). The second part of the book, “The Hunt Poem as Lyric Genre in Classi- cal Arabic Poetry: The Ṭardiyyah”, is made up of four chapters that discuss the maturation of the hunt poem under ‘Abbasid rule. During that period, the cultural, economic, scientific, and social renaissance left its impact on poets and poetry. Hunt poetry became a genre of its own, taking an inde- pendent form made of hunt-specialized shorter lyrics. Stetkevych begins this section in chapter 4, “The Discreet Pleasures of the Courtly Hunt: Abū Nuwās and the ‘Abbasid Ṭardiyyah”. He shows how the move of hunt po- etry from subjective to objective description was utterly distinctive under “Abu Nuwas, the master of archaic formulas, who is capable of employing those formulas in conceits that are no longer archaic” (102). Chapter 5, “From Description to Imagism: ‘Alῑ Ibn al-Jahm’s ‘We Walked over Saffron Meadows’,” shows how Ibn al-Jahm and other Abbasid poets such as Ibn al-Mu‘tazz and Abū Firās al-Ḥamdānī “exercise considerable stylistic freedom in developing their own markedly varied but distinctive ṭardiyyah-po- ems from the broadly imagist to the highly lyrical to the fully narrative” (131). Stetkevych shows how the rhythm of hunt poetry was liberated as the Abbasid poets moved from the rajaz meter used in pre-Islamic hunt poetry to modifying and modulating “the ṭawῑl meter to create the unique rhythmic qualities” (131). In chapter 6, “Breakthrough into Lyricism: The Ṭardiyyahs of Ibn al-Mu‘tazz,” the author uses multiple examples to show how “the ṭardiyyah not only found that new lyrical voice but also allowed it … to become a closely integrated and even more broadly formative part of that poet’s multi-genre ‘project’ of a ‘new lyricism’ of Arabic poetry” (183). Chapter 7, “From Lyric to Narrative: The Ṭardiyyah of Abu Firas al-Ḥam- danῑ,” demonstrates how the prince poet “abandons the short lyric mono- rhyme for the sprawling narrative rhymed couplets (urjuzah muzdawijah)” (9). Stetkevych notes that although this “shift did not result (yet) in the achievement of a separate narrative genre, it can …be rightfully viewed as a step in the exploration of the possibility of a large narrative form” (187). The third and final section, “Modernism and Metapoesis: the Pursuit of the Poem,” discusses the revival of hunt poetry by modernist poets after being neglected for centuries. Chapter 8, “The Modernist Hunt Poem in ‘Abd al-Wahhab al Bayatῑ and Aḥmad ‘Abd al Mu‘ṭῑ Ḥijazῑ,” examines two poems of the two poets, both entitled Ṭardiyyah. Stetkevych argues that the Iraqi free-verse poet, al-Bayatῑ, transformed the “genre-and form-bound, rhymed and metered lyric… into a formally free exploration of the dra- matic and tragic image of the hunted hare as a metaphor for the political and cultural predicament of modern man” (9). Meanwhile, Hijazi’s Ṭardi- yyah transforms “the poignant lyricism of the traditional hunt poem into an expression of the poet’s personal experience of political exile and poetic restlessness and frustration” (10). The author concludes that the two poets’ explorations into ṭardiyyah “helped not only to preserve and activate the classical metaphor of hunt/ṭardiyyah into modernity, but in equal measure to validate and enrich the achievements of modern Arabic poetry” (242). In the last chapter, “The Metapoetic Hunt of Muḥammad ‘Afῑfῑ Maṭar,” Stetkevych—through interpretation, comparison, and criticism—shows how Maṭar’s modern poetry while “hermeneutically connected to the old genre… [is] very personal mythopoesis” (10). Stetkevych’s book does not discuss Andalusian hunt poetry, such as that of ‘Abbās Ibn Firnās, Ibn Hadhyal and Ibn al-Khaṭīb, nor the Ṭardiyyah of the contemporary Egyptian poet ‘Abdulraḥman Youssef, published in 2011 after the revolution in Tunisia and two days before the Egyptian revolution started. While including such examples would have further bol- stered this already strong and convincing argument and further illustrated the evolution of hunt poetry from the pre-Islamic era into modern times, their absence does not take away from the book writ large. Stetkevych’s excellent English translations of the poetry cited make his examples more accessible to readers who do not know Arabic. Overall, the book is a very valuable addition to literary criticism of Arabic poetry written in English and will surely be a great asset for scholars, students, and others interested in Arabic poetry as a reflection of a cultural and humanistic experience.
 Gaby SemaanAssistant Professor of ArabicUniversity of Toledo
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Latifi, Yulia Nasrul. "PUISI ANA KARYA NAZIK AL-MALA’IKAH (Analisis Semiotik Riffaterre)." Adabiyyāt: Jurnal Bahasa dan Sastra 12, no. 1 (2013): 25. http://dx.doi.org/10.14421/ajbs.2013.12102.
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The material object of this writing is Ana, written by Nazik al Mala’ikah, an Iraqi poet. The formal object is Riffaterre’s semiotics. In his theory, Michael Riffaterre introduces two level of reading, namely heuristic (a mimesis reading which is based upon dictionary meaning with ungrammatical characteristics) and retroactive or hermeneutic (the decoding-process reading, which searches for a model, matrix, and hypogram for acquiring the poetic unity). The result shows that the meaning of Ana in heuristic reading is still spreaded, separated, and unfocused. In retroactive or hermeneutic reading, potential hypogram has shown the ide that Ana is mysterious. The Model (the poetic monumental sentence) is ‘baqaytu sahimatan huna’ and ‘abqa usa’ilu’. The Matrix is ‘the essence of human being’ on philosophical perspective. The actual hypogram, that the matrix is based on, is the existentialist thought on human being. The characteristic of this ideology is its acceptance and confession of human being as an existence. Despite his confusion, Ana> says that he is a contributor, creator, and determiner of history.
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Sacks, Jeffrey. "The Philological Thesis." boundary 2 48, no. 1 (2021): 65–107. http://dx.doi.org/10.1215/01903659-8821437.
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This essay addresses the principal form and practice for linguistic domination, philology, to draw out a sense in which philology discombobulates the stabilizing terms it privileges and sends out at the world. This essay traces several moments in a history of the disorganization of linguistic and social form—in the poetic writing of Paul Celan and the Arabic-language translations of Celan offered by the Iraqi poet Khālid al-Ma‘ālī; in Walter Benjamin’s essayistic writing on language and the law; in the tenth-century Arabic-language philosopher Abū Naṣr al-Fārābī; and in Aristotle’s Metaphysics—to suggest the ways in which philology becomes a practice for linguistic indistinction and indefinition. Because language, as philology, ceases to be subordinated to its ends (history, sense, the subject), it becomes a discordant social form; because it disorders the terms privileged in the modern institutions for reading, it speaks to us of a form of life that is obscured in the privileging of the ends to which language is, repeatedly, constrained to be understood.
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Milich, Stephan. "The Positioning of Baathist Intellectuals and Writers Before and After 2003: The Case of the Iraqi Poet Abd al-Razzaq Abd al-Wahid." Middle East Journal of Culture and Communication 4, no. 3 (2011): 298–319. http://dx.doi.org/10.1163/187398611x590165.
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Cole, Juan. "Iraq in 1939: British Alliance or Nationalist Neutrality toward the Axis?" Britain and the World 5, no. 2 (2012): 204–22. http://dx.doi.org/10.3366/brw.2012.0054.
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‘Iraq in 1939’ makes an argument that this pivotal year in the history of the Greater Mediterranean was also pivotal for Iraq. The European contest among fascism, communism and liberalism, had strong echoes in Iraq. Whereas the existing historiography paints Arab Iraq as deeply influenced by fascism, the author found no evidence for this allegation. Iraqis were reported in the British archives to have been disgusted by Hitler's invasion of Poland as a form of colonialism. Italy's own colonial enterprise in Libya tarnished its image among Arabs, and the Iraqi monarch expressed unease about a Yemeni arms deal with Italy. Germany was not at that point interested in Arab nationalism, and still hoped for a British alliance of Aryans. The reach of German radio broadcasts has been exaggerated, and prominent Iraqi poets and political societies roundly condemned fascism. The Communist movement in Iraq was still in its infancy in 1939, and a left-leaning military dictatorship had recently been overthrown in favor of a return to constitutional monarchy. The victor in 1939 was the relatively pro-British liberal government of Nuri al-Sa'id. The Arab nationalists in the officer corps, however, did wish to use the rise of the Axis as a lever to escape the onerous postcolonial British dominance stipulated in the 1930 treaty. Although they did not seek an Axis alliance, merely a neutrality as between it and Britain, this attempt to move away from London's embrace set them on a collision course with Britain, which reoccupied the country only two years later. The war-time British interpretation of Iraqi elites' flirtation with a Turkish-style neutrality as an embrace of Nazism has too long influenced later historians, and needs to be abandoned in light of the evidence in the British archives themselves.
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Atho`illah, Achmad. "NĀZIK AL-MALĀ`IKAH: Sepintas Biografi dan Pemikirannya tentang Puisi Bebas (Studi Tokoh Sastra Arab)." Adabiyyāt: Jurnal Bahasa dan Sastra 8, no. 1 (2009): 95. http://dx.doi.org/10.14421/ajbs.2009.08105.
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This article aims to provide a short biography of Iraqi Arab poet, Nāzik al-Malā`ikah, and her thoughts about free verse (al-syi’r al-h} urr). In this paper, the writer applies her personal life history. The results of this article show that Nāzik is a popular figure in modern Arabic literature. She occupies a prominent position not only because of her innovative experimental poetry, but also because of her critical theories. Since the publication of her first collection, ‘Āsyiqah al-Lail (1947),—which contains one of her best known works entitledKūlīra—she has contributed toward transforming Arabic poetry in terms of its orientation and structure. This is reflected equally in her works and in her critical theorization of the new poetic form known as free verse (al-syi’r al-h} urr). In 1949, she published her second volume of poems, Syazāyā wa Ramād, and prefaced it with a theory of new poetry metrics. Nāzik defines free verse (alsyi’r al-hurr) as any poetry that departs from the twohemistich line system and that employs the taf'ilah “foot”. And, the basic of the taf'ilah poetry is the unity of metrical foot. In her theory of new poetry metrics, she recommended two kinds of meters. They are pure meters (al-buhūr al-sāfiyah) and mixed meters (al-buhūr al-mamzūjah).
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Jasim, Dr Mohammed N. "A Look at Realism and its Reflection In the poetry of Contemporary Poets in Iran and Iraq." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (2019): 25–52. http://dx.doi.org/10.36473/ujhss.v58i3.910.
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Realism attempts to discovering and expressing reality and replacing reality by imagination, dreaming, and legends, the realist writer uses his genius and modernity instead of a fictitious one in observing and expressing details. The school of realism is one of the most fundamental art schools that emerged in France in the mid-nineteenth century and expanded rapidly. Avoiding the imagination and inner inspirations of the romantics and addressing the realities of the universe outsidewere the most basic principles of this school that poets, writers and artists adopted and followed. In Iran and Iraq, poets and writers focused on social issues and the decline and backwardness of their own countries.The literature of each nation reflects the political and social conditions of the nation. Given that the socioeconomic conditions of Iran and Iraq have been affected by the same events in contemporary times, the thoughts and the literary themes of these two literatures are largely similar. Among the prominent contemporary poets of Iran and Iraq are: Nima Youshij and Siavash Kasraei in Iran, Badr Shakir al-Sayyab and Abdul Wahhab al-Bayati in Iraq, pointed out that intense tendencies towards freedom and support of workers and farmers have brought the situation to the attention of the country. This studyis limited to studying four poets (Nima Youshij, Siavash Kasraei, Badr shaker al-Sayyab and Abdul Wahhab al-Bayati). By analyzing realism in the poetry of those four poets, each writer believes in particular realism, describing and expressing the social, political, and the describing the nature from the language of each poet in his own way. In his realistic description, each poet expresses a socio-political dimension more prominently
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Al-Musawi, Muhsin J. "The Iraqi spectres of Marx." Journal of Contemporary Iraq & the Arab World 14, no. 3 (2020): 169–88. http://dx.doi.org/10.1386/jciaw_00028_1.
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This reading attempts to trace the awareness and mention of Marx in Iraqi writing, focusing on some signposts that also shed light on the intellectual history of Iraq since 1914. It argues its case through an exploration of texts and recollections to present another side of this history as a controversial narrative of multiple positions and contentions. If the spectre of Marx shocked conservatives and was widely manipulated in Cold War politics, its theoretical permeation of an Iraqi discourse of social justice cannot be ignored. Almost every Iraqi narrative, poem, or essay speaks of the need for equitable balance of power, social justice, and social and political emancipation. To have these concerns materialize, there has been a need for some organized forum, a party, society, or a forum. British intelligence service began to trace the specters of Marx early on, and held all, even nationalists, suspect. The trepidations of the Empire were well conveyed in the reports of its agents in Iraq.
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Marecki, Mateusz. "A Debate on the Relationship between Poetry and Politics in W.H. Auden’s In Memory of W.B. Yeats and A. Ostriker’s Elegy before the War." Journal of Education Culture and Society 2, no. 1 (2020): 50–58. http://dx.doi.org/10.15503/jecs20111.50.58.
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W.H. Auden’s In Memoriam W.B. Yeats and A. Ostriker’s Elegy Before the War are two pre-war elegies, in which personal and political dimensions are juxtaposed. W.H. Auden’s poem portrays the death of a celebrity against the background of the perplexing 1930s when there was evident growing anxiety about Facism and its repercussions. In her long, 7-section work, A. Ostriker not only commemorates her dead mother, she also formulates a very powerfully articulated anti-war manifesto, in which she both denounces American imperialism during the 2nd Iraq war and questions the meaning of war and violence. W.H. Auden’s elegy serves as a starting point for a debate A. Ostriker sparks over the role of poetry and its relationship with politics. When analysed together with the author’s essays on poetry, their other famous poems and their post-war elegies (The Shield of Achilles and TheEight and Thirteenth), the two poems taken under examination display that the poets’ stance concerning the role of poetry is neither explicit nor consistent. It is interesting also how the debate can be perceived in the context of a dilemma signaled in A. Ostriker’s Poem Sixty Years After Auschwitz where the poet deliberates over what should be the appropriate shape and tone of poetry after the Holocaust.
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Alkhate, Assisst Prof Dr Ali Ezzldeen. "Occation in Iraq Imodernity poem From celebration text to text celebration." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 212, no. 1 (2018): 61–150. http://dx.doi.org/10.36473/ujhss.v212i1.656.
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We can say that accession in modernity poem is a present state. The study proved this throughout the group of texts, it is not only an those poets who give life to these poem , because poetry in any time and place must have an occasion and the modern poem has a national or so must have an occasion .but it has a new poem that has the following : 
 
 The absence of utterances of the occasion of the occasion.
 The absence of mojesticity images.
 It describes only the praised person 
 The poem is reality poem to a great extent.
 This poem is an objective one.
 Its structure is within the structure of short poem and very short ones.
 
 Finally, it identifies an important phenomenon in modern poetry with a suitable poem. and bring bank the occasion to the occasion when it hard to talk about . so it is recommended to be studied academically.
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Jadwe, Majeed U., and Omar Sadoon Ayed. "Poetry v/s Power: A Reading of 100 Poets Against the War." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 4, no. 10 (2017): 97. http://dx.doi.org/10.19085/journal.sijmas041001.
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This essay critically examines the invocation of poetry as a strategy of ethical resistance against the war on Iraq in the chapbook anthology 100 Poets Against the War, which was assembled in a matter of few weeks before the war. . This textual tactics figures prominently among other resistance tactics employed by the poets in the 100 poems included in this anthology. Considerable number of poems turns to the invocation of poetry, the act of poetry making, and the power of the poem as a means to initiate an inquiry into the injustice of the war and the ethical responsibility of poetry to counter this injustice. Although 100 Poets Against the War emerges with one powerful collective voice which transcends cultural and racial barriers, this thematic strand of poetry invocation to counter the war on Iraq remains quite recognizable and, in a sense, foregrounds this collective voice.
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Altoma, Salih J., Abd Al-Latif Ataymish, Amal Al-Juburi, et al. "Five Iraqi Poets in Western Exile." World Literature Today 77, no. 3/4 (2003): 37. http://dx.doi.org/10.2307/40158172.
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Yousefi, Hadi. "The Comparative Study of Borrowing in Hafez and Iraqi’s Poetry." International Letters of Social and Humanistic Sciences 29 (June 2014): 1–7. http://dx.doi.org/10.18052/www.scipress.com/ilshs.29.1.
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Undoubtedly, the precise survey indicates that there was an inseparable link among Persian literature, Islam and Quran verses and prophet's Hadith as well and it will be continued. The first individuals who adorned their poetries by verses and Hadith were some poets such as Rudaki, Abushakur Balkhi and Kesaie Maruzi. Borrowing is welcomed by the poets in the next eras and it has continued until now as we can observe Sohrab Sepehri's pliability from Quran in his works easily. The present study aims at investigating borrowing in the poetry of two Farsi literature poets, Hafez and Iraqi, the rate of their exploitation of verses and Hadith and also comparative methods of the issue. The results reveal that the names of Quran and prophets in Hafez's poetry have an increased frequency, also Hafez has excelled Iraqi at conceptual function and Iraqi has excelled Hafez at applying a part of verses.
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Levinson-LaBrosse, Alana Marie. "Rising Poets of Iraq." Iowa Review 46, no. 1 (2016): 65. http://dx.doi.org/10.17077/0021-065x.7689.
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Drozdov, V. A. "The authorship of the poem ‘Ushshaq-nama from the prospect of academic orientalist studies and modern computer technologies." Orientalistica 3, no. 5 (2020): 1360–78. http://dx.doi.org/10.31696/2618-7043-2020-3-5-1360-1378.
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The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.
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Ruston, Ursula. "Sadiq al-Saygh: a two-edged sword." Index on Censorship 21, no. 6 (1992): 24–25. http://dx.doi.org/10.1177/030642209202100612.
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Bet-Shlimon, Arbella. "Kirkuk as a crucible: Sargon Boulus and the question of pluralism in northern Iraq." Journal of Contemporary Iraq & the Arab World 14, no. 1 (2020): 127–33. http://dx.doi.org/10.1386/jciaw_00022_1.
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In the conclusion to this collection, I critically examine the theme of pluralism through the legacy of the poet Sargon Boulus (1944‐2007), Kirkuk’s most famous writer. Boulus once described Kirkuk’s culture as a ‘crucible’ whose vernacular multilingualism made him into a writer. If Iraqis see Kirkuk as a microcosm of Iraq’s diversity, Boulus is most often claimed as a human exemplar of the value of that pluralism. Yet, there are competing versions of his legacy that lead to incompatible readings of his work. Boulus’s own words reveal that he was less interested in diversity, heterogeneity or ethnicity than he was in developing layered understandings of literature and land. His literary project was not nostalgic and did not elide differences. Ultimately, northern Iraq’s history of conflict amid pluralism must be reclaimed and explicitly reckoned with in order to understand the extreme divisions and homogenization of communities and territories facing Iraq today.
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Guardi, Jolanda. "Ḥammūd Ramaḍān: Modernity and Poetry in Algeria". Oriente Moderno 99, № 1-2 (2019): 48–67. http://dx.doi.org/10.1163/22138617-12340207.
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Abstract Starting from Pierre Bourdieu’s claim that “the impetus for change” — what I identify with modernity — “resides in the struggles that take place in the corresponding fields of production” (Bourdieu 1995: 81), and from a reading of literary texts I discussed elsewhere (Guardi 2016), in this paper I will present the life and work of Ḥammūd Ramaḍān (1906–1945). My aim is to highlight the “impetus for change” that occurred in the Algerian literary field long before 1962. Ḥammūd Ramaḍān, an Algerian poet and intellectual, thoroughly discussed the role of poetry in society and proposed new ways of writing in a changing era. He can be considered the first Arab poet who challenged the classic mode of Arabic language poetry in Algeria, and this happened before the emergence of the free verse movement in Iraq. His work will be analysed not only within the general framework of Arab modernity with the aim to provide a new definition of the Arab modernity’s canon, but also within the framework of Algerian literary production in Arabic. My main focus will be on some of his theoretical writings, in which he urges his fellow poets and intellectuals to make fundamental changes in their use of language in poetry so as to get closer to society. Although well versed in classical Arabic and in the Arab-Muslim classical heritage, Ramaḍān sees all this not as a chain that keeps the poet tethered to the past, but as a springboard to jump into the future.
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پیرۆت, بەرزان علی, та هێمن جاسم محمد. "ڕەنگدانەوەی سەبکی عێراقی لە شیعرەكانی حەریقدا". Journal of University of Raparin 6, № 2 (2019): 352–71. http://dx.doi.org/10.26750/vol(6).no(2).paper20.
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The title of the research is (The reflection of Iraqi Style on Hariqs poems) In Persian language the word (Sabk) stands for the word (Style) in English and (Shewaz) in Kurdish. Persian Literature stylistically is divided into (Khorasani Style, Iraqi style and Hindi style). style is the lingual, ideological and literary characteristics that is common in a certain period, and poets follow it. As Persian literature has had strong influence on Old Kurdish Literature, so in this research it has been tried to explain the lingual, ideological and literary characteristics that (Sirus Shamisa) has invented it of Iraqi style on Hariq.
 The content of the research consists of two parts, the first aspect is about (concept of style, definition of style and the reasons of coming out Iraqi style, the second aspect is about (The characteristics of Iraqi style in terms of (lingual, ideological and literary).
 The second part is about practicing Hariqs poems and determining the characteristics of Iraqi style with poetical examples.
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Al-Bazei, Saad A., and Terri DeYoung. "Placing the Poet: Badr Shakir Al-Sayyab and Postcolonial Iraq." World Literature Today 72, no. 4 (1998): 893. http://dx.doi.org/10.2307/40154440.
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Ali-Asghar Seyed-Gohrab. "A Modern Persian Poet on Iran-Iraq War: Qayṣar Amīnpūr". Zeitschrift der Deutschen Morgenländischen Gesellschaft 166, № 2 (2016): 347. http://dx.doi.org/10.13173/zeitdeutmorggese.166.2.0347.
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Rafeeq, Bashdar Omar, and Mohammed Abdullah Kakasur. "History writing by the Kurdis in Iraq (1958-1968) is among the books printed in Kurdish language." Journal of University of Raparin 7, no. 2 (2020): 365–90. http://dx.doi.org/10.26750/vol(7).no(2).paper16.
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The issue of writing history by Kurdish authors in Iraq between1958-1968 is analysed and explained which is about those printed books in kurdish written and published by Kurdish authors in Iraq. We have concluded that eight history books were published in Kurdish language from 1958 to 1968. Among them, seven of them were written and published from 1958 to 1962 and only one book was published in 1968. This devision of publishing those books has been due to politicial reasons and the emergence of Ailul revolution in 1961. On the one hand, it was due to the political unrest which was a stumbling block for the writing process for authors. On the other hand, however, it was due to the Aylul revolution that led to the restriction of the writing and publication processes by the Iraqi government. The historeans were peoples of different backgrounds in Kurdistan including politicians, army, religious people, school teachers, poets, and scholars. This show the desire of writing history by peoples of different backgrounds in the Kurdish society. Regarding the academic and scientific quality and the methodology of adopted at that time in writing history books, although it cannot be compared by today’s history books, but it was rather narrative and simple. In addition, very few references were usually used in writing those books. This was due to the fact that the history books authors were not historians.
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Gasser, Hans-Peter. "The journalist's right to information in time of war and on dangerous missions." Yearbook of International Humanitarian Law 6 (December 2003): 366–88. http://dx.doi.org/10.1017/s1389135900001380.
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It is commonplace to say that we live in an age of instantaneous information and communication. During the occupation of Iraq by the United States and its allies, pictures taken in the Abu Ghraib prison near Baghdad and showing members of the US Armed Forces and Iraqi detainees in disgraceful circumstances could be seen within minutes all over the world. The message carried by those pictures changed the discourse on the Iraq war of 2003–2004.We have become used to instant information through real-time reporting on events occurring in the various corners of the world. This flow of news is taken for granted, and we expect our favourite radio or TV station to deliver the latest news at every moment of the day. Seeing pictures taken inside a well-guarded prison in a war a few thousand kilometres away is no longer a surprise.Wars have always attracted writers eager to report on what happens when men fight against men. Some of these reports have become immortal works of world literature. Some may even have influenced the course of history. Only a few memorable examples are Homer's epic poem on the fall of Troy, Julius Caesar'sDe bello gallicoor the Indian epicMahabharata. On a different level, who knows that Winston Churchill, at the age of 25, was a war correspondent reporting from the Boer War in 1899?An accidental war correspondent deserves to be mentioned here, Henry Dunant, who happened to witness the aftermath of a particularly murderous battle, the Battle of Solferino in northern Italy in 1859.
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Metres, Philip. "Remaking/Unmaking: Abu Ghraib and Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1596–610. http://dx.doi.org/10.1632/pmla.2008.123.5.1596.
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So now the pictures will continue to “assault” us—as many Americans are bound to feel. Will people get used to them? Some Americans are already saying that they have seen “enough.”—Susan Sontag, “Regarding the Torture of Others”… a state anterior to language, to the sounds and cries a human being makes before language is learned.—Elaine Scarry, The Body in PainWhen The ABU Ghraib Prison torture scandal began to circulate throughout The MASS media in Spring 2004, most pundits and commentators neglected to note how those images hauntingly paralleled the 9/11 attacks, insofar as each event's widespread publicity—replayed and reposted images of physical and psychological destruction—participated in the very unmaking that the perpetrators intended. In other words, just as the terrorist act on the Twin Towers was an act of both material and symbolic destruction that required media representation of the planes hitting the towers, mass media's recirculation of visual images of naked and dominated Iraqi men completed the act that Charles Graner and other United States military police had begun. Though the disturbing video representation of the 9/11 attacks rapidly disappeared from television, the Abu Ghraib photos persisted far longer (see York). The rapid disappearance of video of the planes striking the buildings suggests its traumatic power for Americans. But why would the Abu Ghraib photos be less disturbing than those of the attacks of September 11, 2001—given what they say about United States conduct in the war? In this essay, I consider the Abu Ghraib effect in the wider context of imperial imaging of the other. Second, I analyze artistic and literary responses (including Fernando Botero's Abu Ghraib paintings, Daniel Heyman's etchings, and an anthology of poems on torture) that attempt to re-present Abu Ghraib and make visible the invisible of that torture. Third, I sketch out how Arab American poets have played (and can continue to play) a critical role in the conversation about the effects of United States policies in the Middle East. Finally, I share my own poetic project, a long poem called “–u –r—” that attempts to make audible the muted voices of the tortured Iraqis at Abu Ghraib.
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Melo, Carla. "Live from the Front: A Poetics of Slamming the “Truth”." TDR/The Drama Review 53, no. 3 (2009): 84–97. http://dx.doi.org/10.1162/dram.2009.53.3.84.
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Documentary performances usually take the stance of objectivity and critical distance. But sometimes this is not the case. Live from the Front is a performance of Jerry Quickley's embodied experience of the US-led invasion of Iraq. Quickley's account of “Shock and Awe” as a slam poet-turned-unembedded reporter for Pacifica Radio subverts the idea of documentary objectivity, opening up new ways to get at the “truth.”
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Tracy, Dale. "Veterans’ self-expression in poetry." Journal of Military, Veteran and Family Health 7, no. 1 (2021): 108–12. http://dx.doi.org/10.3138/jmvfh-2020-0005.
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LAY SUMMARY Research shows that Veterans benefit from writing poetry for therapeutic purposes. This article suggests the need for future research that considers the effects of the artistic choices that Veterans make when using poetry to engage their experiences. The author focuses on one Veteran’s poem about what it means to write poetry as a Veteran. Brian Turner’s “Here, Bullet” comes from his poetry collection about his time as an American infantry team leader in Iraq. This poem centres on a solider whose body is in danger in a conflict setting. The poem becomes an alternative space to his body, a space in which he can work with his experiences. Treating Veterans’ poetry as art can help people working with Veterans in therapeutic settings learn more about what value Veterans find in reading and writing poetry.
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Almahfooz, Nezar A. Almahfooz. "SINGLE INCISION MULTI-PORT LAPAROSCOPIC SURGERY (SIMPLS), A NOVEL TECHNIQUE IN IRAQ." Journal of Sulaimani Medical College 7, no. 3 (2017): 231–39. http://dx.doi.org/10.17656/jsmc.10125.
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Loda, Alice. "“Dolce era la notte.” Iraqi and Iranian Poets in Italy: Metrical-Stylistic Implications of Translingual Versification." Italian Culture 33, no. 2 (2015): 105–25. http://dx.doi.org/10.1179/0161462215z.00000000036.
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Drozdov, V. "Problem of the Authorship of Fakhr al-Din ‘Iraqi with Regard to the ‘Ushshaq-nama Poem Revisited." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 25, no. 2 (2019): 32–36. http://dx.doi.org/10.31250/1238-5018-2019-25-2-32-36.
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Ahmad Yahya, Handren. "Analyzing rebuilding state of post-2003 Iraq from Frances Fukuyama’s concept of state building." Halabja University Journal 5, no. 3 (2016): 241–59. http://dx.doi.org/10.32410/huj-10328.
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Mahamid, Hatim. "Persecutions against Ismaʿili Missionaries in Central Asia: The Case of Nāser Khosrow". Journal of Persianate Studies 10, № 1 (2017): 57–72. http://dx.doi.org/10.1163/18747167-12341307.
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Local governors in Central Asia persecuted Ismaʿili missionaries (dāʿis) since the early years of Ismaʿili activity there. The rise of the Fatimid State, from the tenth century onwards, encouraged the activity of those missionaries who were receiving support from the Fatimids, leading to increased persecutions of Ismaʿilis in Iraq and the eastern provinces of the Abbasid Caliphate. This study will deal with the activity of those missionaries and the difficulties and persecutions that they faced, with a focus on the case of the dāʿi Nāser Khosrow (1004–1088/394–481) in Central Asia. At the time, Nāser was considered as a model dāʿi representing the activity of Ismaʿili missionaries. Throughout his life, he suffered bitterly in his role as the main dāʿi of the Fatimids. Despite the hostile atmosphere and insecurity, Nāser Khosrow succeeded in becoming a highly significant philosopher and poet, but died in a sorrowful situation, isolated in the valley of Yomgān.
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Khullar, Sonal. "“We Were Looking for Our Violins”." Archives of Asian Art 68, no. 2 (2018): 111–32. http://dx.doi.org/10.1215/00666637-7162219.
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Abstract This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar's first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsulated by the terms lifting and loafing. The Bombay painters and poets came to lifting—documenting and defamiliarizing—their environment by citing and subverting street signs, advertisements, state propaganda, calendar art, film posters, and newspaper photographs. They took to loafing—a mode of critical observation and analysis, and the pursuit of committed deprofessionalization and translation across spaces—and mobilized the ordinary, yet extraordinary, spaces of the paan (areca nut wrapped in betel leaf) shop and the Irani restaurant as metaphors of artistic sociability and subjectivity. Through lifting and loafing, the Bombay painters and poets offered a critique of nationalist and bourgeois values, as well as the artistic establishment represented by associations and institutions such as the Progressive Artists Group and Jamsetjee Jeejebhoy School of Art. They diverged from their predecessors and peers in an emphasis on everyday life and found objects, and in bringing together the visual and verbal worlds exemplified by the Baroda (Vadodara)-based journal Vrishchik.
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KHALAF, TALIB A. "Post- naupliar stages of"acartia (acartiella) faoensis" , khalaf (copepoda : calanoida ), from khor al-zubair south of iraq." IRAQI JOURNAL OF AQUACULTURE 3, no. 2 (2006): 75–83. http://dx.doi.org/10.21276/ijaq.2006.3.2.1.
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Smoor, Pieter. "Modern Poets of Iraq 1948-79: Cockroach or Martyr in the Inn by the Persian Gulf." Oriente Moderno 70, no. 1-6 (1990): 7–38. http://dx.doi.org/10.1163/22138617-0700106003.
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