But we have a collection of data that was built to show this poetic experiment, which has grown considerably since the ancient Gulf's vocabulary.

First submarine.

From my point of view, as a witness to this experiment, the preview of the poem began with the experience of the poet Dr. Ahmed Amin, who studied in Iraq and returned from it in the early 1960s, influenced by the wave of renewal and the sense of operation that appeared in Iraq by the civil servant, and then evolved deep into the experience of the temple. The harvest of years 1968، Legs and waves. 1973، In love with wind breaths. Some studies may indicate that there are some names that may have preceded civility in the experimentation of operational hair, but they have not been completed and have not been founded on the maturity of the first-handed literature study and its technical, objective and intellectual transformations, but can be consulted in research and studies presented by Professor Balaal and the Hair collection.

Rapid social transformations

The Arab poetry was based on classical poems, and the traditional community did not take advantage of this shift in the breaking of the home of Hebron, but with the Amerind State of December 1971, the shift towards modernity became very fast and included all sectors, specifically education, where the Emirates entered into the minds of the arts.

Prosperity of cultural life

With the early '80s, our book fairs were organized in Sharjah and Abu Dhabi, and the books of the new poet, as well as the world poet, were made up of the triumphs, where we were still students at the University of the United Arab Emirates or two scholars of study abroad. Papers. Also, we had poets and Arab intellectuals, including Muhammad al-Maght, who supervised the pages of the Gulf Cultural Gazette and took our texts and feet, the Sudanese writer Mahmoud Madani, Dr. Youssef Idabi and some other Arab names.

Suspensive stops.:

First.: I'd like to stop with the name of the woman in the U.S.A. experience from the beginning of her launch as a result of the power of education, and I still remember the dozens of names of the woman who were set up for the sound of the incident, not only at the clot, but in the short story and the art of formation, where the classical spirit of poetry spreads.

Again.: I stand here also at a note worthy of consideration, that the events in the United Arab Emirates have already faced significant challenges during their appearance in a traditional society, and despite some rejection from the cultural institution or members of society of these new voices and unfamiliar ideas, the cultural climate open in the United Arab Emirates has made them develop naturally.

Third.: In 1984, he founded a union of writers and writers of the Emirates, and in 1987 he issued the first poetic physiology of the children of the United Arab Emirates entitled Pictures from the EmiratesThe voice of modernity was the poems of activism and scatter, present strongly in this book, it represents about 50% of its content, which is an important indicator of the power of the presence of the fresh hair at the time, and I am honoured to participate in this book with a scattered poem with a bunch of early-start poetry poems.

Fourth.: The Union of U.S. Books and Ethics contributed to the publication of the new poetry groups of activist and petty poets, but also to the publication of the books of the Gulf poets and Arabs living in and out of the Emirates. Literary affairs The Union is playing a vital role in entrenching the presence of the voice of the United Arab Emirates at the Arab level before it later retreats from this role. The new poem is also beginning to arrive abroad, where the Khalid Al-Bador group (Lil) won the Yusuf-Khal Award in 1992, and the well-known Arab publishing houses in Lebanon and Egypt are spreading our new poetry groups into a series of the most prominent young Arab poetry experiments.

Five.: It is noted that at the mid-1980s, we are absorbing the voices of the new poetic event with a higher age than the operational and vertical experiments, where many names have emerged that write the poem and publish its production in newspapers and magazines, including Ibrahim al-Mala, Abdallah al-Ahmad al-Ahmbah, Hamadullah and Musad al-Sah.Rabbit fragments. In which he participated, the Ally and Ali Al-Windale courier, and the Bulletin.Ashes. With the Lord's Order, which later turned into a Bulletin.Visions.A number of them were captured by the great Bahraini poet Qasim Haddah, and these were printed and distributed manually among friends without a formal licence.

Six.: Since the 1980s, the United Arab Emirates has witnessed the phenomenon of writing in an alias, especially women ' s names from conservative families or those that fear society, and despite the fact that this phenomenon exists in popular poets like Buddhist girl, Qatov, Rim Al-Budadi I wish there was a thorough study on these names that were publishing short stories and poems with aliases on the cultural pages of newspapers. Union – Gulf – Statement and some magazinesAnd maybe some guys' names were also borrowed.

Seven.: The parallel literary criticism of the experience of poetic events remained behind, where there were no readings in the new experiment until mid-1980s until rarely, and then the magazine started. Literary affairs Then at the beginning of the '90s, some Arab critics were giving press readings for the experiment, until it later evolved into books reading poetic experiments as a whole or some, but they tend to the academic side for the purpose of university study. What has emerged from these studies is small, and not more than 15 books, as I think, all in one volume have tried to read the poetic experiment in the Emirates in general and have not been devoted or focused on considering the depth of the marks of renewal at the language, language, architecture and architecture of the new poetic text.

Note: The article may not be enlarged to accommodate all the names contained in those initial stages, but the purpose here is not to codify and document all the experiments, to the extent that it seeks to provide a close picture of an important experience in the history of the cultural renaissance at the hair level of the United Arab Emirates.

It seems that the concept of time by the fraternal Arabs was superior to the understanding of others. The time of the Arabs has already been bound by an imperative and one cannot be achieved without the other.

Talking about modernity as a mere time does not reflect reality by the exact accuracy required.

It cannot be denied that the term " modernity " is a flexible term that cannot be defined by an exhaustive definition, but the general principle indicates that modernity in hair is the creation of new angles that have not been framed for the poet ' s consideration, expression and sometimes overthrow by a higher or independent notion, whose message is a discovery or innovation of new beauty.

Because what we have presented is driven by changing cultural and artistic conditions over time that are developed or deteriorating, the image of talking has evolved specifically, representing mixed poetry images with artistic visions, such as painting and sculpture, as well as the narrative, and then the intensification modernization and the heart of the meaning that poets and readers want again.

The influence of the two-tier mosquito hair is not concealed by the rules of the poetry introduced, such as the activation poem and the straw, which were taken from them and given a different form for its purposes, expression and formulation from the form inherited.

Here, the liquid asks: if we acknowledge that juveniles present a poetry form that belongs to his age and is influenced by the technical and cultural conditions surrounding him, then what is the son of the Andalusian plain who lived in the thirteenth century and our time?

The answer is by referring to the fact that time is indeed connected, and if the act provides features of an untimely image, it has breached its time and crossed into other times, and it is easier to say that the jewels are prescriptive poems and, for example, we want to say that at least one child has easy poems or paternity in modern times.

It's like people's eyes have hearts.

Look with me the effect of the incident in the first line is to move the ashes, making the eye truly ineffective, devoting to an actor or buying it as in the literary heritage, as it is said that I saw any vision.

Then look at the skeptic in the second line, it's an innovative parade that looks like the eye with the heart that grinds and pours, and it's back to make the heart truly effective, not a vice of the owner, and what's a modernity other than innovation?

The breeze's water was run by a flood of the waterway in the skulls.

He wrote the hair letters in his wings what his eyes went crazy in the clowns.

Seeing his eyelids in his cheek, it looks like a good ring.

One of the features of modernity based on description and mixing of the mole, which we call the installation, and we see innovative skates. The description in his flares portrays the reader ' s influence on the description, labels the energy sweat of breeze water and points to its intensity.

Let him go myself, leave, and strive to see how beautiful and habit

If we see a shred of luck, if it's symptomatic, it's better.

He tortured me, God blessed him, and he assured me I couldn't taste.

The readers in these buildings find a narrative weight that brings them closer to the story, sees an easy son who moves us with him in a time cycling based on an introduction, then a stroke of events, which, in the first place, gives him a glow and a purpose of his offer, and he doesn't forget to induce beauty in the heart of his story, a house of hair, which is also based on the image of his own.

I can only offer these paternities that have different features that appear to us in a non-sequential, unscrupulous poet at an age-old poet who has looked at his grandchildren's eyes and has already written pictures that the poet may not have ever written before.

The Arab poem has been accompanied by the leading cultural activism in the United Arab Emirates since its inception and has been characterized by diversity within the same sex, including poetry. Along with the vertical poem, the back of the free hair and the poem, written by a group of Arab educators, they have formed the first preambular part of the English poetry, and then the most difficult direction, namely, change and renewal, and despite the challenges that the Spanish poetry has faced.

The U.S. poet Mason Saqr wrote the narrative as he wrote, with advanced experience, in a relatively modern civil society, not more than half a century ago, whose features had changed rapidly, with the Federation and the State ' s renaissance at various levels, making the poetry and her generation, despite their leadership, but their creativity had not been adequately studied and explored.

The poet, in all of her doughnuts, presented her literary career over the four decades, a purely literary sex model, with her masculine language in smoothness and demise at once, and for her unique experience, as an American poet who had chosen to settle in Cairo and had accompanied her family to live in.

What we're talking about here, poetry at Mason's Hawk, has shown her poem, a good model of refrigeration and abandonment of the traditional hair loading system, close to abstract in its formative meaning, and no indication of this meaning from the requirements of Susan Bernard for the poem, namely density, renunciation, prolongation, individualization, extinguishing the meaning of replacement and release.

Poetic abnormalization is a representative of the poem, requiring different mechanisms in the use of cash with the text, outside the framework of briefs and performances. The poem is no longer a set of graphic images, in a well-known form, that it is as close as possible to an outward vision based on cutting and deleting, then reinstallation and posting, or what is known as the product in the light of the greatest spectacles, so it requires a limited search and a constant reflection.

In addition to the French paints, Egypt has formed an important building block in the life of Al-Shara, and it is no doubt that it has enriched its conscience. Its recent work, Rash Ayn Al-Saqra, was a symbol of that effect.

The place, that material with its known physical dimensions, carries a variety of interpretations in mind, makes space a better moral space, doesn't restrict that space, no matter how much it works, not saying "you have a place in the heart"?

 

We've got a poem from her wardrobe.

These villains in the wall, they matter to me/or crawl out of the squeeze of rooms, bodies and dreams.

In spite of the fact that the vocabulary, the wall, the rooms, spaces, holes, scratches, sleep, there is an old and strong relationship between the poetry and the place, this house, which has certainly been in vain for some time, so that the shoreline has appeared in its walls, and even the strait - if it is simple - but it has been marked by the cyclones.

The poet is not allowed alone in the house, but she remembers many of its components, and then the image is clearly shown in the imagination of the recipient, which is the place that consists of walls and rooms, which is fit for sleep, where his lady wears her night shirt, takes care of the lodge in his walls.

The poet is an art, science, industry, information and a declaration, and it is the receptacle of knowledge, wisdom and philosophy, despite their controversy and differences, a singular art with which the Arabs conquer and say, in the words of their descendants, their descendants. So Abubakar said, "Teach your boys the hair, teach them the morals." So Omar recommended it: "Take the notices, keep the news. The hair calls for morals, teaches the masters, creates the power of the humbles, and ends morals."

And even with passion, it was also linked to the universe, its philosophy and its issues, it was a receptacle of wisdom, philosophy and reason, despite their controversy and disagreements, with the first one of them -- poetry -- passion, creativity -- on the mind, but each absorbed the other, the creation of philosophical, philosophical poetry and philosophy.

The importance and value of poetry remained immortal in itself and immortal to the source and the effect:

So once I get on a case.

I'm doing the ginger before the holidays to end her mountains.

A rhythm like a tooth limit stays and goes by saying it.

I've been able to sit in one of her villages and look like her.

But those who said it did not go, but because of his hair, his enthusiasm, his singing, his glory, and her tongue, our identity, language, culture and history, we find this tongue at the al-Qaysah, the al-Qays, the al-Qays, Al-Ashti, the Tibani, the al-Qaqabeth and Garabeth.

So the hair became a receptacle of knowledge, a foundation on which knowledge was built, a means to create knowledge, to raise awareness and to define its value. Thus, in search of knowledge and knowledge, poetry is linked to human beings and its presence and preserves its values, heritage and identity.

 

Statement and explanation, Jabbat Osman bin Amr, investigation and explanation of Abdussalam Harun, Department of Thought for Printing, Publishing and Distribution, Beirut, fourth edition, p. 76

Al-Sha ' ah, for the son of Al-Salam al-Jahmi, read and explained by Mahmoud Muhammad Shaker, Jeddah Civil House, 1/24.

Approval, Shabbi: Abu Isaac Ibrahim Bin Musa, Abu Abida Sharif Bin Hassan, Dar Bin Afan, first edition, T1417, J2, p. 88

In the conduct of the book of the upper envelope, the absorption in the Al-Qarid, the investigation of Dr. Fahmy Arif, the Arabic language complex in Damascus 1976, p. 375.

Former

Explanation by the Office of the Honourable Father Tam, Brizzi speech: Abu Zakaria Yahya Ben Ali, leaflets Mohamed Ali Bidun, Scientific Books House, Beirut, J1, p. 39

This article aspires to stand on the sound of a deaf poet, where the Syrian poet lost. «Riyad Al-Salih Al-Husse» (1954-1982) My hearing and speech guardian, who is 13 years old, following a sudden illness likely to be a kidney failure.^[1]The poet continued to see his illness from the crowd, resting in his cold shadow, blunt in front of the world, saying about him. «Egyptian vow.»It was a sport that wanted to be true, it didn't lack anything like everyone, full or semi-financial as everyone, and capable of everything, and more than everything.^[2]The poet kept the memory of the sound or its ghosts, and he kept the songs back as the impossible tone.

In front of this vocal and linguistic treasury, any reader in the poet ' s experience is shown: the simplicity of words, images, telescopes and the limits of vocabulary. His poems are based on his ceremonial vocabulary, as he speaks in his revolutions and liberties, as he cries for the abandonment of love, the brutality of unity, or the glimony of the glory.^[3]This is evidenced by the experience of the good, but its compound is an advanced and afflicted by the Arab poetry experiment, a mine with its linguistic limits reflecting its fenced poetic world, while there are no effects on the formation of its poem by the forced silence of the world itself. «David Lobron.» The sealed gap is: "The Meaning Clan is in its larger apartment, a voice clan, and an openness to the euphoria of everyday life, deafness is a possible dimension of reality."^[4]

The voice crosses the bridges of communication with self, the world and memory, and the song is centred on poems as the missing substance after deaf wounds, and the envy of beautiful voices and their parties, so that songs come on poems, creating the bridge to the world yesterday, or the distant dream of tomorrow, showing as hope, treatment and peace for the miserable present, saying:

"I was tearing love in hearts
As they distribute lead.
I was scattering songs on mountain roads.
As they scatter the mines.^[5]

The songs are the vocabulary of love and good times in front of the misery and the warmth of wars. It is clear that the songs in the poetry are wars and their weapons, and these two are sure to say to the poet Nzieh Abu Afash: "You are so close as wars and far away as songs."^[6]To create these vocal vocabulary, such as looting, extermination, wars, tenderness, growth and dynamism ( songs), the singularity of songs has been shown in poems with the meanings of light and hope, and in all its friends it wrestles cruelty and death:
"Are you going to the grass?
Or are you going to war?
We were walking and punctured.
And we were walking around a thousand diapers.
Hands in hand and sing.
Hand to hand and death."^[7]

The end scene of going to death is singing; it reflects a picture of resistant images of the sound-gun, defying at this ideal end two forces: the power of death and the power of singing, and the continued alienation of the poet holding the song weapon, the vocal weapon whose ammunition does not possess, and it continues to contemplate such deprivation through its open-minded character:

"Don't I look like a ground rule to launch songs on humans, so why are you looking at me with a spell?"^[8]

If we assume that the poet's song is his poem, it's a poem of hope and love that lights up, to be the voice he can't say, but it reaches all mankind, and in this perfect perception of the bright effect of songs; it appears in many scenes as the sedative and therapist, like, "Who will sing me a song in the evening to grow a rock?"^[9]Children ' s Judaisms, or the sperm to that vocal phase, are the most likely of the incendiary to take down his inflammation, but they are songs that do not arrive and are impossible to achieve.

"Don't open your hand. Don't open your hand.
All the songs of the world will be released from them.
Don't hang your hand, don't hang your hand.
All the songs of the world will come to them."^[10]

As long as the hand is tied to giving and receiving, and in both cases she receives and divorces the songs, they contain them. At the same time, the songs are given by the diva, all these imposses that emanate from the river, its recipe, the river, the river, the river, the river, the river, the river and its flames, to be naturally rewarded.
"Mom's a lot to give.
And behind a lot of cemeteries.
"in front of the river, the smell of morning and songs."^[11]
But these songs that have become a symbol of beauty solve the cruelty of obscureness:
I opened the windows
No one in.
No river, no butterfly, no lost song."^[12]

Or say:
"We're beginning to know what time means.
When we get home alone,
I've got hearts and fingers.
We're beginning to know what the sleeping rocks mean at sea.
Sleeping sun in the sky.
"and sleeping songs in the cemetery."^[13]
In the face of the meaning of the absence of songs, the value of their presence is evident. The sun sleep means the absence of light, the sleeping of songs means the absence of human beings and security, and despite the simplicity of distortions; however, the texts give great meanings in describing the world ' s existential and cognitive state, with songs becoming a tangible material of existence.

       At the big silence gap, and the poet's loss of the song tone, his poems come with a twist that generates a musical rhythm, saying:
Travel, travel, travel.
It's what I want.
Freedom, freedom, freedom.
It's what I ask."^[14]

       Repeat is loaded with its delirious and sound agendas. It demands, and it blasphemes and erupts in different contexts, saying, "between your hands, world / turn around, like, luckily."^[15] And he said, "Dance and dance and dance until music gets tired."^[16] And repetition comes as a childhood urgency:^[17] Or like saying, "Come, kiss me, kiss me, kiss me, kiss me."^[18]To create the poet with all these emotional repetitions, his song that he dreams of hearing.

       If we re-prospect the songs in the experiment, we will find them as the representative of the impossible dream, whose severity of impossibility holds the same, and their hopes for peace, love, healing and people, as songs or poems - become the wickedest of the wrists.

^[1] Inana Al-Saleh, Riyad al-Salih Al-Hussein and Shari ' ad al-Qa ' idah, Arab magazine, Kuwait, A. 699: https://alarabi.nccal.gov.kw/Home/Article/18971

^[2] Riyadh Al-Salih Al-Hussein, full works (1954-1982), Middle Publications House, Italy, 2, 2021m, p. 8 (Principal for Action by the Egyptian Monath).

^[3] Perspective: Sam ' s and hearing impairment, Jamal al-Hib, Al-Sharq, Jordan, 1, 2021m, p. 81

^[4] David Lopurtun, Anthropology: The World with Sociological Extents, Translation: Fred Al-Zahei, Book Cultural Centre, Casablanca, Morocco, T, 2020m, p. 180

^[5] Al Hussein, full work, p. 87

^[6] Full work, p. 125

^[7] Full work, p. 83

^[8] Full work, p. 106

^[9] Full work, p. 144

^[10] Full work, p. 244

^[11] Full work, p. 205

^[12] Full work, p. 224

^[13] Full work, p. 165

^[14] Full work, p. 173

^[15] Full work, p. 176

^[16] Full work, p. 173

^[17] Full work, p. 32

^[18] Full work, p. 175

For an untimely period, the Arab cultural and literary center has seen a remarkable movement of vision, even we can call it the afternoon, because it didn't hit on one, but it's traced several of them. Individuals, who considered them to be normal and necessary behaviour to build their moral status and to arrange their relationship with their own and others, thus the phenomenon of alienation and individual and collective migration towards novelism.

You disagreed about this phenomenon, but most of it moved towards devotion, where it was considered evidence and testimony that emanated themselves with lack of certainty in poetry.Their trustworthy loss of necessity and found it.

What's the reason for this migration? Is it tightening up the poetry at the first house, the house that allowed Arabs to wear the hair nation, the house where they arranged the poems, to be angry and silent?

How the answer is, we're in front of a phenomena we can't deny or against, reflecting a hierarchy that some fantasize about between poetry and novels, like between the hairy tits, loyal to their faces towards the narrative and their physical obsession.

This class of poets contemplates how he can employ his poetic gains in a novelist and wise manner, whether by devoting his own automobile, or by recovering his long-distance journalism.

On the other hand, there's a couple of hairy hairs that go out of the corner, because it stops being a desert, and it doesn't seem like it.

In that sense, it's a phenomenon.The barbecue travels.There's a great deal of popularity, and there's a great deal of popularity in our Arab region.

It seems to me that the phenomenon of Travellers must be seen in the backgrounds and intentions that move their owners towards the subvention of the adventure, and on the one hand, there's a lot of hard-to-peaking power from the poet to the flags, long-distance, short-distance, hard-won rules. All that motivated these poets to move from the dull of poetry to scripture remains a healthy and ruthless situation, because they have achieved interplay between literary races, especially the literary genders, the most intelligent writers: poets and novels, which can be monitored through poetry and poetry.

* poet and researcher.

Head of Hair in Morocco.

The majority of researchers and scholars of the history of poetry in the United Arab Emirates know that the oldest of our popular poetry is majedi-ben Zahir, for the popular poet who has received numerous studies and research on his history, his fields, his arts and his types. So far, the Arabic poetry is still unclear, and studies or research on this aspect do not heal the gloomy and show how far the Arabic and Arabic Library are concerned.

Dr. Ahmed Amin Al-Ahmah did not mention anything that could be relied upon in his book "The Popular Hair in the United Arab Emirates grew up and evolved."

A few years before the establishment of the State, and when we're looking for some articles or short studies about the product of some poetry, especially those of the al-Qa`idah group, we can't deny the role of a group of researchers who've enriched the scene with the research, articles and studies they wrote, such as Abdelgafar Hussein and the Al-Bador, who have made a remarkable effort to produce the U.

Studies that have produced a disguised effort but are not enough to give a real and real image of poetry in the Emirates, whether in terms of time, poetic schools or poetry technicians, since most of them are in a public folk that has not reached the heart, flare and poetic reality of the Arab-language studies in the Emirates.