توظيف الخيال الاجتماعي في النص المسرحي النسوي العراقي
DOI:
https://doi.org/10.35560/jcofarts1296الكلمات المفتاحية:
الخيال الاجتماعي, المسرح النسوي, علم الاجتماع , النقد النسويالملخص
ان فعل بناء المعارف والمفاهيم الفكرية والثقافية تتطلب تشكيلا درامياً معرفياً جمالياً لتوليد ابعاداً تأويلية لتكوين مسافة موضوعية جمالية للمتلقي يأخذ حيزاً لاستقطاب مرتكزات ومديات القضايا الاجتماعية واستنباط معالجاتها الاجتماعية وفق قراءة الاختلاف والمغايرة التي ينتجها الخيال الاجتماعي للكاتبة المسرحية.
وبطبيعة الحال فإن للمسرح النسوي خصوصية في تدوين القضايا الاجتماعية ومن هنا تنبثق مشكلة البحث الحالي: كيف وظف الخيال الاجتماعي للكاتبة النسائية العراقية. وهدف البحث بالتعرف على الخيال الاجتماعي في النص المسرحي النسوي وتحدد البحث بنصوص الكاتبات العراقيات للفترة من (2018-2022) وعددها خمسة نصوص. تم اخضاع نص مسرحية أيوب ومسرحية استيطان للتحليل.
وشمل البحث مبحثين اختص الاول بدراسة الخيال الاجتماعي مفاهيمياً . اما المبحث الثاني فاختص بدراسة الخيال الاجتماعي في نصوص المسرح النسوي عالمياً وعراقياً.
ومن اهم نتائج البحث:
1. استثمرت الكاتبة النسوية الخيال الاجتماعي في نصوصها المسرحية كتقنية كتابية ابداعية ارادت من خلالها استكشاف القضايا الاجتماعية والسياسية بأسلوب مغاير ومخالف للواقع لتفتح افق التفكير الناقد والتأويل للمتلقي .
2. اتخذت من الخيال الاجتماعي اداة لخلق شخصيات رغم واقعيتها إلا إنها معقدة بأمراضها النفسية التي خلفتها المجتمعات بمؤسساتها السلطوية مما جعلها ذاتاً مأزومة مؤطرة بسياسات الخوف والاستلاب والحرمان والاضطهاد.
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