Through my acquaintance with the literature of Iraqi women, specifically during the first half of the twentieth century, I noticed a lack of interest in this type of literature, which forms part of our literary history. Therefore, I decided to date this literature and extract its output from the stomachs of newspapers and magazines, so that readers can see it and remember the names of the Iraqi poets who defied the difficulties in order to participate in the literary movement and who made their contributions in the field of literature.
The truth is that the forgotten poets of Iraq are many, and I mention them, for example, but not limited to, Wadi’a Al-Shabibi, Wadi’a Taha Najm, Fiyah Abu Qalam, and others. Ibtihaj Atta Amin, Sabiha al-Mudarris, and Asima al-Dabbas, as well as being more forgetful than others. The research was divided into an introduction and three topics, and it was proven by sources and references. The first topic dealt with the conversation about the poet Ibtihaj Atta Amin, and devoted the second topic to shed light on the poet Sabiha Al-Mudarres, while the third topic dealt with the poetess Capital Al-Dabbas. As for the sources and references that I relied on, they are the newspapers and magazines issued in the first half of the twentieth century, as well as other literary books such as the music of poetry by Dr. Ibrahim Anis, and the literature of Iraqi women in the twentieth century by Dr. Badawi Tabana and other books. In obtaining these sources, especially newspapers and magazines, most of which were lost in the recent events that Iraq went through in 2003 and beyond. Finally, I ask God Almighty that I have succeeded in preparing this research, and to make it a new building block to be added to our literary history, benefiting students of literature in general and women in particular, and that it be an incentive for Iraqi women to follow the path of their Iraqi poets, to delve into the fields of literature and harvest from its fruits. mellow.
يشكل السياق جانبا مهماً في فهم الخطاب والمقصود هنا العرض المسرحي، من خلال ما يمده السياق للمتلقي من مؤشرات، يتم الاعتماد عليها في استكمال المعنى الظاهر بالمعنى المستتر، فالسياق يعتمد في الاصل على المحيط المادي الاجتماعي الذي يتم فيه التواصل وفيه يتعرف المرسل والمتلقي أحدهما على الآخر وتتبلور الصورة التي يحملها الطرفان أحدهما عن الآخر، الى جانب كونه يمثل الاحداث التي سبق لهما أن عاشاها والتبادل القولي
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