The other is in the poetry of Al-Nimr bin Tulp A study in light of cultural criticism

Abstract

Modern critics have focused their attention on revealing the existential conflict between the self and the other, as it is the first starting point that reveals the elevation of the self and the marginalization of the other, The self does not exist without the presence of its counterpart. Therefore, examining the poets’ productions and knowing the cultural dimensions of themselves and their outlook on the other are merely intellectual and cultural starting points that reveal the removal of the cover from the subjective and otherworldly cultural values ​​that were prevalent in that era of time, Through it, the poet’s vision of these dimensions and starting points is determined, as they are part of his life, culture, and ideas.

   Studying the poetry of Al-Nimr Bin Tulp and revealing the self and the other from a cultural vision requires understanding the expressive and aesthetic contexts that carry the subjective dimensions as cultural values ​​in which the elevation and turmoil of the self are evident. Therefore, we examine his products according to specific axes through which we can interrogate the existential self in all its cultural and intellectual manifestations.

A divergent perception of the "other" stems from a psychological impulse, reinforced by ideological, political, intellectual, and historical influences. In other words, the image of the other is inextricably linked to our own conception of culture and our understanding of ourselves. This process is shaped by internal factors—rooted in the self and one’s culture—as well as external factors, which compel us to articulate and project negative ideas about others, regardless of whether the "other" in question—in their own time or a subsequent era—seeks to understand this oppositional perspective. In the works of Al-Namir, the portrayal of the person being satirized (*al-mahju*) differs from that of his predecessors; his satire is not driven by personal desire or fear, but rather functions as a critique of character. The poet channels his emotions to transform these traits into deeply internalized, individualistic values. Consequently, the cultural discourse here relies on abstraction and the systematic deconstruction of the subject’s character—all in service of upholding an idealized standard. Thus, this mode of satire serves to expose the "true" nature of the subject by attributing base and reprehensible qualities to them.