جهن آشبيري ىه شاعر ما بعد الحداثة كتب قريدة " صهرة شخرية في مرآة محدبة " في عام .3791 يعد الفن والتأمل الذاتي عنررين ميمين في األدب ، كما تم تقديمو في قريدة آشبيري ، وتبين أن نيجو النقدي تجاه الفن والتأمل الذاتي كان مركز جذب من عقهل ما بعد الحداثة خالل عرره ، الذي انخرط في نقد عمل آشبيري بدبب طبيعتو المربكة أو كتابتو. إحدى سمات شعراء ما بعد الحداثة ىي انخراطيم في االنعكاسية الذاتية والتناص. من خالل ىذه العناصر ، ينقل اشبيري رسالة قهية إلى الجميهر ويؤثر على المجتمع بطرق مختلفة. يلعب الذاعر ، من خالل كتابتو للقريدة ، أدوارا محيرة. حيث أنو فنان من خالل تهلي دور كتابة القريدة ، وفي دور آخر ، ىه ناقد فني من خالل مناقذاتو لهحة بارميجانينه. يحلل البحث الفن والتأمل الذاتي في قريدة آشبيري ، مع التركيز على كيفية استخدامو لعناصر فنية مختلفة لنقل رسالتو. تلقى آشبيري التقدير والنقد من الق ارء والباحثين. يذمل تحليل القريدة للفن والرهر دور لهحة" صهرة شخرية في مرآة محدبة" لبارميجيانينه كتمثيل مرئي للتأمل الذاتي وتأثيره على التعبير الذعري للذاعر. عالوة على ذلك ، كيفية تهظيف الذاعر للغة والذكل والبنية إلنذاء استكذاف متعدد األوجو للذات والعملية الفنية. من خالل الخهض في ىذه الجهانب ، يهكد البحث على القهة التحهيلية للفن واالنعكاسية الذاتية كمكهنات أساسية لرؤية آشبيري الذعرية.
الخلاصة
تتناول هذه الورقة مخططات وسياسات الاستيطان في الضفة الغربية والقدس الشرقية منذ العام 1967، عبر سياسات قادها حزب العمل وأكملها حزب الليكود وكاديما وبقية الأحزاب الإسرائيلية، تلك السياسات التي استهدفت فرض السيطرة السياسية الكاملة على الأرض، وما نتج عن ذلك من سيطرة حصرية على الأرضوتقييد استخداماتها، ومحاصرة الوجود الفلسطيني والتضييق عليه، وتحويل مراكز ال
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