“Exercise on certainty” … The art of combining thinking with imagination

“Exercise on certainty” … The art of combining thinking with imagination

Abdul Rahman Tahmazi’s poem as an example


Sunday – 27 Dhul Qi’dah 1443 AH – 26 June 2022 AD Issue No. [
15916]


Abdul Rahman Tahmazi

Suhail Kubba

The critic dr. Nadia Hanawi said that Tahmazi’s poetic experience is not urgent nor immediate, but rather “a rising juice from his early days in the early sixties of the last century to the last poem he published”, which is (Exercise on Certainty), which is the topic of her new study.
The critic links her research in this long poem with her concepts of transnational naturalization, which she formulated in a theory she called (sexual transit), through the coherent poetic text of the poet Abdel Rahman Tahmazi, whose poetic sentences and artistic visions have sunk away, penetrating. the penetrating bath of intellectual suffering.
The book began with an introduction entitled (a poem from the iceberg of our past .. a poem from the flash that came to us), in which the author makes it clear that the poem (Exercising on Certainty) is a “poetic piece is embodied by the prose poem that conveys the other types of poetry, “emphasizing that” there is no composition in Tahmazi’s poetry. And a duality that makes him need a lot of awareness and contemplation to realize the relationships of symbols and the patterns of imaging, which makes his experience characterized by depth and power. ”
The author suggested that this depth is the reason behind (the reluctance of critics to address his poetic experience, also moving away from evaluating his critical performance, which fed his career over six decades and more, in addition to a long and long career with the Iraqi and Arab cultural press, and he continued as an active intellectual in the ensuing decades).
Tahmazi is one of the few intellectuals who has collected poetry with criticism since the beginning of his cultural work, and the authors still remember the cultural attaché of the Republic – who was one of his most prominent editors – who is rich in the cultural material has been published. in it and distinguished by its modernity and the competitions held in it which revealed the most important energies and talents that today flags in the world is literature heaven.
One of the researcher’s findings in her book is that the activating poems in Tahmazi’s Diwani (Remembrance of the Present) and (Teaching Nature) were a catalyst for the writing of the passing prose poem in the long poems (The Presto) and (Wandering Doors) and (Exercise on Security).
Why did the structural and stylistic transformations in Tahmazazi’s poems differ and differ intellectually from others? The critic attributes the reason to a gender crossing that allowed these poems to expand the space of thought and divert the imagination to an antagonistic direction whereby negative and positive influences differ according to the instruments that acquire this influence in the reader. If these instruments are intentionally intended and not left to chance in the making of poetry, the poet has a major role in creating or using them.
And as Abdul Rahman Tahmazi’s poetic beginning with the writing of Al-Tafilih poem, he tried its short and rounded forms, as Dr. Hanawi said, “His poetic completeness led to a transgender prose poem based on the activation poem and the vertical poem, qualitatively on the dramatic poem, and the very short and dialogue story, and formally on the poem of the text, flash, vehicle, painting or painting. ”
According to her, (Exercise on Certainty) represented a crossroads on the poetic and intellectual levels, which makes the prose poem “like a post-creative laboratory to reinforce the hidden gender stereotypes and the role that the organization plays. discover the dimensions of this template and give it more opportunities and possibilities for crossing. ”
From here, thinking becomes an important feature of Tahmazi’s poetry: “This poetry is weighed down by intellectual bearings and deepened by objective meanings with special artistic paths that serve the data and symbols of those bearers. His artistic paths may expand in our neighborhood to be mystical in its dimensions or surreal in his fantasies, and another neighborhood may be realistic paths with metaphorical visions that converge the abstract with the sensory and the sensory with the abstract.
The author believes that the reason for the thorny issue of Tahmazi’s poem does not lie in the legend, symbol and culture, but rather in the vitality of this poem in terms of the cross-race art form and the objective content in this section that the reader to have a high intellectual ability in aesthetic contemplation due to the abundance of connotations in which he has embarked on various paths, which makes The degree of contemplation in the critique of this poetry is close to that of inventing his innovations, the goal of which is much higher than mere aesthetic taste. Hence the importance of Abdul Rahman Tahmazi’s poetic experience, and the uniqueness and uniqueness in it. ”
Why did the poet work on nature and make it an intellectual subject?
The critic replies that it is not strange for someone who is a critical poet to be a thinker in his poetry, because to think for him is imagination, and imagination for him is thought, and therefore there is no conflict between they do not. Tahmazi’s practice of critique has helped to confirm this mental comparison, and whoever goes back to his critical writings and approaches it with his poetic visions will find that he has a clear tendency and a deep self-propensity to the phenomenological or phenomenological philosophy that is well-founded. by the German Edmund Husserl and influenced by Heidegger and whose influence extended to French philosophers, of whom the most important were Paul Ricoeur and Maurice Merleau-Ponty.
The book concludes with an appendix that included the text of the poem (Exercise on Certainty). the Iraqi artist Yahya Al-Sheikh expressing his vision of the poem “Exercise on Security” and its sections. It has 230 pages, and is the twenty-third book by the author.


Iraq

Art

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