It appeared in Iraq and benefited from technology.. the interactive poem between poets and readers

The global technical revolution cast a shadow over various types of knowledge, including literature, which invested it and employed it in its formative and stylistic structure, given that it was the openness of knowledge that contributed to the change of expressive tools.

Less than two decades ago, the cultural circles in Iraq came out with a poem called the interactive poem, which found interaction between supporters and opponents, as it is the poem that uses everything that is available in various computer programs, expressing the methods of cohesion in the age of technologies and constitutes a new type of visual poetic transformation, She has written books, letters and university theses around her.

This generated the following questions: What is the extent of the interaction between them and the audience? Does it have pioneers in production and reception? Is it a literary genre?

Definition and appearance

Interactive literature is defined as the process of blending text, whether it is a poem, a story, or any other text, with a moving picture, a movie, or fragmentary clips from well-known works, with music that matches the content of the text, ending the distances between the poet and the recipient. The forms of technical interaction that appeared in America under the term “hypertext”, in Europe under the term “numerique”, and in France under the term “informatique”.

The first conference was held in Paris in 1994 under the title “Literature and Information”, but it appeared in the Arab world in Iraq to be pioneered by the poet Dr. Mushtaq Abbas Maan, who, at the beginning of the second millennium, tried to invent this literary genre that was born from the womb of technical development, and despite that, critics consider it ambiguous literature because it is Depends on the nature of the digital environment and the vision of the recipient, and here Example for an interactive poem.

mediator and contrast

Dr. Maan is a professor of linguistics at the University of Baghdad. He holds a diploma in computers from the American Spectrum Institute in Sana’a, a doctorate in 2003 from the Faculty of Languages ​​at Sana’a University, and a master’s degree in 2008 in literature in Baghdad. He has published eight poetry collections, won 4 local, Arab and international awards, and wrote about his output. Literary Dozens of research papers, articles, letters and theses in Iraqi, Arab and foreign universities.

He says that the reasons for the first idea that led him to interactive literature are “the new developments that impose themselves, especially those that belong to necessities, not luxuries, and the state of digital interaction has imposed its presence in my mind and thinking in the beginning of the two thousandth.”

This leveling led him to release the first poetry collection, “Digital Tabarih, some of them are blue” in 2007, followed by a collection titled “The Infinites of Firewall” in 2017, and it is believed that “digital interactiveness formed a new literary genre with its various poetic, narrative, theatrical and narrative variations, and changed paper literary productions.” The debate is not in terms of the medium, but in terms of the structural components, the units of creative communication, and the philosophy of literature to which it belongs.

This affects the recipient, who sees him as “participating through interaction, not just receiving, and the letter is not the master of the text, but rather shared with him in the structural mastery of sound, image, movement and technology.” Therefore, it is natural that “interaction with this literary novelty is different due to the different awareness of it and academic readiness to deal with it.

Interaction and universities

Many believe that the global technical revolution cast a shadow over various types of knowledge, including literature, which invested and employed it in its formative and stylistic structure, given that it was the openness of knowledge that contributed to the change of expressive tools. Professor of Modern Criticism at the University of Baghdad, Dr. Fatima Al-Bahrani, says, “It is not strange for the new to gradually grow over time until the recipients understand and digest it, and there are many examples indicating it and supporting its presence.”

Fatima Al-Bahrani considers interactiveness to be a literary genre that has its own literary features that are paradoxical to other literary productions (communication sites)

And she adds that everyone may find “digital interaction gradually expanding in the Arab cultural community as well as Arab universities, until it became a literary material suitable for university teaching and critical analysis, as well as a creative material that has an interactive audience with it.”

The digital interactive poetry productions of the pioneer of Arab interactive poetry, Mushtaq Abbas Maan, consider that “the best proof of this is that it has become a reference for critics and a material for researchers and scholars, and a sample for writers to follow suit”, and that “this poem has become a literary genre with literary features that are paradoxical to other literary productions.”

environment and conviction

The interactive poem was not a passing achievement in front of the screen of literary creativity, nor by chance, whose impact and impact on the recipient can be bypassed. The poet Salam Al-Bannai says that the poem that Maan came up with “opened the appetite of the followers of this type of creativity, as he left the doors open for everyone for communication, criticism and creativity.”

Al-Bannai believes that the interactive poem uses “everything that is available in computer programs, such as still and moving images, graphic forms, live and inanimate sounds, and everything that would broadcast a new form of vitality and interaction in the text”; That is why he believes that “this literary genre tried to find a place for it in the electronic environment, and it is an experience that departs from everything that is familiar with writing and receiving,” noting that “whoever understands it will change his convictions in reading and feeling the text.”

out of time

But the matter was not accepted by everyone, and everything new finds opposition or non-acceptance. Iraqi critic Amjad Najm al-Zaidi believes that “the emergence of what is known as interactive literature or interactive poem is a transition outside the actual time of our traditional societies, which are still governed by oral culture.”

He adds that this transition “must be accompanied by the transition of that culture to a new culture, compatible or identical with the general structure of this new style of writing,” and he believes that the availability of modern tools such as computers, the Internet and others is not sufficient, “but this transition must be accompanied by A parallel cultural and social movement that achieves this healing.

Zaidi - interactive literature or interactive poem, is a transition _outside the actual time of our traditional societiesIraqi critic Amjad Najm al-Zaidi believes that interactive literature is a transition outside the actual time of our traditional societies (communication sites)

Al-Zaidi believes that “the matter is limited to specialists only”, and moreover, since the experience of Dr. Mushtaq Abbas Maan in “Digital Tabarih”, we have not found other experiments that left a clear impact, or gained a wide audience of reception, except for critical and academic studies. Which you look at more often than not as cognitive experiences and not as a popular taste. He believes that “it is not easy to take an important space in the reception, or find a wide audience to interact with it.”

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