The manifestations of religious intertextuality in the poetry of Mohammed Reda Al-Shabibi; An analytical study

Intertextuality as a critical term appeared in the sixties of the twentieth century، but in terms of the concept it has deep roots in Arab criticism. The critics who defined intertextuality as a term and a critical concept are Bakhtin، Julia Christeva، and Roland Barthes. Their views on it varied and varied. The researchers studied this in detail. We hardly find a study on the subject of intertextuality except that it deals with the definitions of these critics of intertextuality in a detailed or brief manner.

What concerns us in the matter is that the poetic text can be treated according to the mechanisms of intertextuality، so the importance of research in knowledge of the literary competence of contemporary Iraqi poetry، especially Muhammad Reda Al-Shabibi، with his religious tendency، given that he lived in religious social conditions

The language of poetry of Muhammad Reda Al-Shabibi represented a wonderful and distinguished model for the poets of the classical school، as he was able، with his poetic talent and a solid heritage culture، to raise the traditional language of poetry to its highest levels by blending the language of heritage in which he was educated in the city of Najaf and the language of modernity and contemporary that he acquired Including the impact of its openness to other cultures، so that a new poetic language was born on his hands that was inspired by the past with all its heritage and originality، and foresaw the present with all that it contains anew.

The poetry of Muhammad Reda al-Shabibi was also rich in religious intertextuality، as well as the poet’s commitment to his country’s political and social issues. Therefore، it formed a valid field to be a model for research in the normative of intertextuality. Religious intertextuality

constituted a main reference for the formation of the poet’s images through his external and internal intertextualities that formed sham dominances that the poet created for many figurative formations that did not survive. From the trap of repetition and repetition and the domination of a specific pictorial character on it