دعاء كميل هادي ضيف الله

abstract

In four decades starting from 1960s till the beginning of the 21 century. The research in divided into four chapters preceded by an introduction and a conclusion at the end of the research, which contains the most important findings .The introduction contains an explanation for the terms used in the research. The most significant term is (the image) .The research depends on this term to investigate and analyze that is listed as one of the feminists’ criticism tools. The examined scripts are products of men studies because of the absence of woman experience in the field of poetic theater writing. For this reason the term (image) has been dealt with based on that the writer describes woman as the later in man-woman relationship and the last is woman. There is another term that contributes to explain that which is (the identity). Through this term woman understands her position as a stand-alone existence. The first chapter has been dedicated to define the manners that shaped woman’s existence in the unconscious framework of the poets examined scripts. This chapter is divided into three sections that are cultural, social and literature references. In chapter two, the researcher intends to investigate the most significant resources which have been used by the poets to depict feminine characters in theater scripts, sample of the research, which in turn the researcher divides it into historical, narration and temporary sections. The third chapter concentrates on the determining the patterns that were followed to classified woman image in scripts. These patterns contain classical or traditional patterns, which have indicated negative or passive rules of woman whether in the society or the artistic structure of scripts. She neither develops the scene nor affects the plot. The moderated patterns are characterized by the positive role of woman that has witnessed in the 1960s and the following period that this research focuses on. Finally, chapter four has allocated to woman production in terms of poetic theatre. The first section of this chapter explores the resources of the absence of woman participation in writing in this field of art. In the second section the researcher studies in details theater scripts written by the poet Wafaa’ Wajdy. The reason behind choosing this script is because of the fact that it is one of the three of women experience in this field that are unique and marginalized in field of criticism.

The research reaches several finding and the most important ones are listed below.

Firstly, the vividness of imaging in literature scripts linked to the increasing level of cultural conscious in Arab academia, interests in Arab reality and seeking methods to guarantee peaceful living which represents the only way to rescue human existence from the ideological orientation which work to motivate disunity and discrimination policy. The first form of ideology is marginalizing the other who is different in ethnic background, color, hierarchical order as well as gender.

The woman absence from theater writing is a consequence of events old history in which woman deprives to participates in the cultural movements. This is not only because of that woman was regarded as other to man but also they were afraid of that if this pattern is broken then this would encourage to break other patterns. Finally, this would result in instability in social structure.

The theater represents as a crucial instrument that needs to be taken in the account to protect the local culture in the globalized world and developing of social media.

 

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