The Popular culture and its formations in the Iraqi theatrical text

Abstract

Popular culture represents an important tributary of human knowledge. It is undoubtedly an element present in all the discourses produced by society in its various forms and diversities, but it is more and more present within the corridors of critical spaces and circles as an area of critical and intellectual tensions, overlaps, and conflicts, especially when it comes to talking about it. By observing its relationships with various fields such as: culture, politics, hegemony, ideology, the elite, the public, and high official literature (elite literature). This research came to study the systematic formations of this broad, extended, and ancient type of culture in the Iraqi theatrical text, by describing popular culture as a rich and rich material that had its pivotal and remarkable presence in the texts of our Iraqi playwrights. The research included four chapters, the first chapter included the methodological framework, beginning with a problem The research revolved around the question of the nature of the systematic formations of (popular culture in the Iraqi theatrical text. Pointing to the importance of the research that shed light on the concept of popular culture) and the controversy over its concept. It also becomes clear - in this chapter - the goal of the research, which is summarized in an attempt to reveal the systematic formations of popular culture in the Iraqi theatrical text. The temporal limit, the spatial limit, and the thematic limit were all identified during this chapter a well. The researcher was introduced to the chapter The first also gave the term “popular culture” and the term “formation” an operational definitioafter reviewing a set of definitions for each of them. The second chapter, which is the theoretical framework, included two sections in addition to mentioning the indicators that resulted from the theoretical framework. The first section was devoted to talking about popular culture (in terms of the concept) and the existing and ongoing debate around it. As for the second section, the researcher dealt with the culture of the popular theatrical text in general, and the third section was devoted to the research procedures, as the research sample that It was represented by the text of the play (The Bird’s Message) by Qasim (Muhammad). It was chosen intentionally, and the researcher took it as a model in the analysis. The researcher adopted the (descriptive) approach in analyzing the sample according to what was dictated by the nature of the research. Present . The research concluded during the fourth chapter with a list of the results of the sample analysis, including that there was a diversity that had been observed in the patterns of (popular culture, its formations, and its meanings in the Iraqi theatrical text, ranging between the apparent pattern and the implicit pattern. It also appeared through the analysis that the characters of the play had been colored There are two types of culture that seem to be in conflict, namely: the culture of belonging and the culture of feeling alienated. This chapter also contained conclusions, the most important of which were: that despite the pure contradiction that accompanied the introduction of stylistic dualities in the Iraqi theatrical text, popular culture was able to destroy The gap and differentiation between these opposing dualities, in the context of its attempt to achieve rapprochement, equality and decentralization .At the end of his current research, the researcher did not neglect the issue of providing a list of research sources and references.