مجلة دراسات موصلیة

Bashir Al – Saqal was born in Mosul . He entered Al- Kutab and learnt writing and reading . He obtained the certificate from Sheikh Abdulla - Al Nia’ma . Al- Saqal was apoet and a preacher . He was ateacher at Al- Ahmadia Religious School in 1934 . He instructed at many mosques especially Al-Nabi Yonus . He was well – known for his role in confronting the British occupation . He supported Al-Kaylany’s movement in 1941 . He detained for three years . Also in 1948 , he was arrested for three months because he agitated the people against Portsmouth agreement . He was apreacher at the Nabi jirjis mosque on Monday and Thursday . He published the Al-Burhan newspaper . He adopted Mohemmad Abda’s style . He worked as a merchant after he dismissed from the job in 1948 . He established societies such as Al-Bir Islamic society , Al- Shuban Al- Muslimin society and abranch of Al- Hidaya Islamic society . He taught many students and he gave them the certificate . He wrote a religious and a patriot poetry . He was a famous preacher as well .

The Muslawi writer, Dr. Imad Al Deen Khaleel’s poetry, professor of Islamic History at the College of Arts, Mosul University, is being examined in this study as his plays, in particular The Captives, have coherent artistic techniques expressing Islamic vision. They also present various and contrasted human models in their experiences through psychological conflict holding intellectual, spiritual and emotional dimensions. Dialogue among these various psychological models that disbelieve and faith could attract is an image for the twentieth century. The study is concerned with the play characters through analyzing texts and explaining their objective and artistic dimensions in addition to revealing significance. The study consists of an introduction and two sections where concept of drama character is reviewed in the introduction. Section one deals with patterns of drama character through protagonist, growing character, fixed character and symbolic character. Section two deals with dimensions of drama character through external, intellectual, psychological and social dimensions.

The research is a psychological study of the elements of sound sense and prayer movements. It tackles the poem within the analytic level from Hikmet Salih s collection : come to your Goodness .The poem is called "Takbeerat al Ihram".
The research is entitled contemporary literary Islamism : Hikmet Salih s "Takbeerat al Ihram" as an Example. It is divided into two axes. The first axis is theoretical. It determines the concept of literary Islamism and the most important epistemological problem it encounters.Besides, it includes the poet s biography and his literary and critical achievements. The second axis is acritical analysis of the poetic text in which it excretes the poet s ability of depiction and skill of the poetic vision at picking what affects the level of meaning and signification

Hassen Ben Hussein Ben Ali who is know as Mala Hassen Al-Bazaz (126H-130SH), aMoslawish Poet ,his poetry has emerged in the second half of the Nineteenth century .The poet is knomn with his a asceticism and God –fearing ,for he has been born in a family has been known as religious and scientific .Al-Bazaz has Iearnt reading, writing ,memorizing the Holy Koran and commmunicathong a primary communication with the religious sciences in the small religious schools.
The prospective , religious and scientific atmosphere of Mousl city has participated in shaping the features of the poet and the completion of his poetic and Sufis attempt , for he affiliates to both approaches (Al-Rifaia) and (Al-Qadiria), the matter which interprets the domination of his religious tendency over most of his poetry.

Through reading the gaze of the poem as a shorthand for the meanings of poetry, shows the functioning purpose (Almedhai) which comprises underneath religious purpose, within the text as a whole, Fqasidh (Fatah Amuriyah) is trying to work on the basic elements stand behind the effective receptive, a strategic elements can be detected through the relationships shape in the context textual mobility, which is taking place into reading, Valmenasph that were raised were the poem, which under a poetic purpose, does not exceed the trend in the speech. Daniel and this requires a change in the topic "(understanding) of (language) to (beyond the language); because space communication at the deep significance of the bilateral leaves dialing and significance to the research on the meanings of the poem that operate in the area of vision and give full transition, the form Anziahha aesthetic aesthetic response; they mobilize space founding of perspectives receptive the Nskih systems in the structure of disavowal of some items contained in the poem. and here representing the literacy profile of poetry in the rhythm of a picture made up of city pairs antibody that invested text Jmalith This obligation has yet to be fulfilled first cited in the research

This research tackles the kuranic intertextuality in: Dhannoon Al-Atrakji poetic collection: Al-tarajjul un sahwat Al-Buraq as the research shows the intertextual in fluences with the Glorious Kuran right from the semiotics of the title then it deals with the machinery of intertextuality and its laws found in the text of the collection and extend of its artistic success through the use of the machinery of intertextuality of the western criticism which made the researcher to conctains more intertextuality wirh the glorious kuran and is more in flwenced by it than any other poetic collection in the modern Moosuli poetry.

This study is considered an applied study from one side and it attempts to prove a major theoretical notion from the other. It has chosen three Islamic poems belong to three Mosuli poets; as it found that those poems published in this book have followed three styles. The first is represented by the artistic clarity style, which belongs to Salah Al-Deen Aziz entitled (fifty years). The second represented the artistic vagueness style, which is the poetic utterance or what is called the Prose Poem belong to Khalid Othman, entitled (Khalid Othman’s Confessions). The third embodied a middle style between vagueness and clarity belongs to Thanoon Younis Mustafa entitled (A Modern Burda).
Poetry as a whole has oriented towards two styles: artistic clarity style and artistic vagueness style. Each style has its own criteria. Such criteria have been reflected on the whole Arab poetry in general and the Islamic poetry in particular. As we can see, modern Islamic poetry in Mosul – which is the subject of our study – has adopted all the criteria in its poetic experience. This is the main theoretical notion we are going to prove; as these poems - we have already analyzed - indicate that modern Islamic poetry is not necessarily characterized –as a whole - by straightforwardness and reportage feature and it does not restrict artistic styles and forms as well. Using such styles without opposing writing by means of poetic utterance manner – or what is called prose poem – to convey the Islamic point of view in an Islamic fashion, which indicates its wide horizon, humanity, openness and multiplicity