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The First State of Arab Poetry Report, released by the Taif University Arab Poetry Academy in Saudi Arabia 2019, did not ignore the mention of digital or electronic poetry experiences at the hands of some poets. in a number of Arab countries.
Critics and researchers involved in drafting the report paused at this new influx of our poetic creativity that keeps pace with the digital revolution sweeping the world today, which has attracted – at the same time – those responsible for the seventh Cairo International Forum for Poetic Creativity, which took place from January 13 to 16, 2020, they therefore dedicated an axis On electronic poetry, which means that the question has become urgent and occupies the poetic and monetary arena, and it’s no longer just a luxury or unnecessary experiences, as the recently released 900-page report dealt with the impact of social media on the poetic movement, positive and negative.
Technical world
In the report, Saudi critic Abdullah Al-Muaqil notes that poets publish many of their texts on the Internet, and that the texts reach an area of readers that no other means are available, and this type of publication required that the poet takes into account this large audience of readers with different cultural levels, from Where the choice of verses close to understanding and short in the form of sections, due to the limited space for publication.
As for the Algerian critic, Abdelkader Rabhi, he believes that the digital revolution has caused an earthquake in the most closed structures, and has had a major impact on the distant parties which accumulate on the margins with their intellectuals and recipients distant from the creative risk. This situation was to reformulate new centers of creative and aesthetic visualization based on the ease of their integration into contemporary virtual reality. Rabhi notes that the virtual world has paved the way for the return of traditional creative systems to the reception facade, and the return of the dissemination of its aesthetic values from the perspective of a large audience that reflects the conservative environment of Maghreb societies. .
On the presence of modern Sudanese poetry in the cyberspace between the positive and the negative, critic Ezzedine Mirghani takes the floor, highlighting the contributions and enormous membership of these websites on the Internet, where the member is free to write the texts he wants, and he warns that the danger of these writings may come Compliment, from member to member, and thank you and thank you, and praise and praise, and praise may come from a non-specialist , or a compliment without even reading the entire text.
As for the critic Bushra Musa Salih, she evokes the widespread entry of poets into the technical world with the poem of the 90s and after, due to the influence of social media, which contributed to the creation of new stylistic poetic forms. which the 90th poet Mushtaq Abbas Maan called the “interactive poem”, and the term was popularized and dedicated in his project His vision and actions are based on the concern for the recipient’s presence (technical) and his contributions in reading and reproducing the text. He specifies that the “interactive poem” is one of the most poetic texts closely linked to the electronic medium and to its technical communication space, and what derives from it from the “coherent text” and “electronic presentations”, which allows a variety of open outlets: audio, visual and artistic rich.
Lebanese critic Charbel Dagher believes that what is published on the Internet of Arabic poetry is expanding to include poetry on “Instagram”, “Twitter” and “YouTube” in addition to Facebook, and others. And it stops at the critical experience of the Jordanian Academy d. Imtenan Al-Smadi in 2018, in which she addressed the audience’s response to Mahmoud Darwish’s poetry in the “Twitter” electronic app on a particular day in April 2018 and made it material for consideration and study.
On the other hand, the Egyptian researcher d. Ahmed Mujahid said that there is not a single website in Egypt that specializes in poetry publishing, while the websites of cultural magazines only publish a BDF version of the print publication, and these are not interactive sites with readers, and this is why poets only have their own pages on Facebook, and confirms that poetry has found a real outlet on the blue page after its suffocation in the crises of print publishing .
The danger of digital writing can come from the courtesy and compulsion of the poet to choose short and understandable verses in fragments.
Saudi writer Khaled Ahmed Al-Youssef explains that the revolution in technology and communication and the introduction of the Internet to all places and places have allowed Arab poetry to benefit from this rapid channel. Private and public sites have been created since the mid-1990s.
Then the interest in each poet’s personal websites started on their own, after dealing with the Internet became easier, and the costs and expenses of monitoring and supporting the sites decreased, and everyone was able to create a site that was personally his own, and from there came electronic publishing, and his horizons, departments and sites expanded, so the production of data and poetry went hand in hand with In addition, on paper and electronically.
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