이라크 신고전주의의 전통과 모더니티 연구 - 자하위, 루사피, 자와히리를 중심으로

A study on the Tradition and Modernity of Neoclassistism in Iraq - Focused on al-Zahāwī, al-Rusāfī, al-Jawāhirī -

&nbsp;&nbsp;Iraq produced its own variety of Neoclassicism and reigned supreme until the late 1940s. In the second half of the nineteenth century, Iraq was shedding its immobility and joining the Nah ah(the Renaissance). In the Sh ‘a centers, especially, a great many new poets were making their debuts. Most of the newcomers were Sh ‘a poets, but their poetry moved progressively away from the realm of religion to embrace national and social causes. And this trend culminated in the poetry of Mu ammad Mahd al-Jaw hir , through Jam l idq al-Zah w and Ma‘r f al-Rus f .<BR>&nbsp;&nbsp;Jam l idq al-Zah w was fired by the ambitions and concerns of the modern world. So his poetry was full of scientific and social ideas. Many of these poems are equal to versified didactic or polemical tracts.<BR>&nbsp;&nbsp;And Ma‘r f al-Rus f was a poet with a truly innovative inclination. He experimented with a variety of poetic techniques and near-modern language. He interested in national independence, social justice, the liberation of Muslim women, democracy and progress.<BR>&nbsp;&nbsp;Finally Mu ammad Mahd al-Jaw hir was the political poet par excellence. What was unique about his mature political poetry was that while the form was obviously classical and the diction was at times archaic, the degree and kind of political consciousness and the fervor of the revolutionary impulse were thoroughly modern. Also that was why he was fully accepted by the neoclassicists as one of them.