Religious Intertextuality in Muhammad Ali Al-Khafaji’s Poetic Theatre

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Rafal Hasan Taha


Intertextuality is one of the methods or technologies that are included in the basic structure of texts, and it overlaps between two texts: the absent text and the present text, and the writer may enter between more than two absent texts, but he may sometimes resort to summoning various genders such as poetry, novel, theater, etc., so he acquires Of great importance due to the role it plays in guiding texts to polarize the past and mixing it with the present in an attempt to draw the attention of the recipient, and directing it to touch the aesthetic of that artistic employment renews ideas and broadcasts the spirit of innovation and distinct artistic creativity, and intertextuality occupies a prominent place, and great importance in poetic theater that is often He resorts to employing the vocabulary of the heritage and its stories, in all its patterns, to support his ideas and texts, and their influence increases on the recipient who wishes to be in possession of the aspects of creativity in that employment, which requires the creator to be more aware and careful in choosing the absent texts. Al-Khafaji has resorted to the religious heritage in an interesting way Deriving from it his main material, his plays were based on religious heritage themes, images and vocabulary to express modern and fateful issues. He benefited from it in three plays, in addition to summoning some historical figures with a religious dimension, such as the figure of Abu Dhar al-Ghafari and the Prophet Noah in two independent plays that depended on realistic details, the writer excelled in diverting their paths to serve his ideas and visions. Its intertwining with the noble Prophet’s hadith and other sayings of some personalities with a religious and historical dimension.


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R. H. . Taha, “Religious Intertextuality in Muhammad Ali Al-Khafaji’s Poetic Theatre”, JUBH, vol. 29, no. 3, pp. 141-161, Apr. 2021.