بنية الكتابة الشعرية عند محمد بنيس

Abstract

Mohammed Bennis is considered one of the poets who carried the torch of modernity with an Eastern spirit, steering clear of Western appropriation and the immersion in Arab heritage by merely replicating traditional patterns. Instead, he worked to infuse a spirit of renewal in creative writing, searching for an authentic Arab poetics. His collections, such as "Seasons of the East" and "Wine and the Gift of Emptiness," carry a mystical vision. Bennis's writing does not engage in a mystical experience but draws from it a vision to elevate poetry from an aesthetic structure to a cognitive and spiritual one. This allows the poetic experience to question Arab poetics, the writing self, and the pursuit of the essence of language, making writing an intuitive, revelatory inclination towards the essence of things. This ensures its immortality, allowing it to renew with each reading. Furthermore, this experience opened up to visual representation that bets on the rhetoric of erasure, which is a response to the awareness of place and the space of writing. Here, the linguistic intertwines with the non-linguistic, focusing on the geometric formation of signifiers and the aesthetics of whiteness. This approach liberates poetry from the constraints of the model to a space of creativity, not to create laws that restrain poetry again but to establish a different interaction in terms of creativity and reception within a visual structure. Hence, this research aims to uncover the structure of poetic writing in the selected collections as an attempt to explore the characteristics of Bennis's poetic writing. This is done by representing the writing self's awareness of the necessity to replace the concept of structure at its various levels, where poetry is given its own consciousness based on ecstasy in building a spiritual poetic creative experience grounded in substitution. This makes the poetic text open to reception.