Cinematic mechanisms in poems of Adonis and Charles Simic

The use of cinematic mechanisms in the poems of Adonis and Charles Simic is considered one of the important studies, as cinema invaded the poetic poem to give it something of the developments of the new era. It is also worth noting that the Arabic and foreign poetic poems have another aspect that can sublimate and magnify to embody all the elements of reality by creating the real present, not the ideal present. The poetic modernity set off towards a developed situation vision, and this transition helped to discover new areas in the space of the poetic poem, since this study aims to solve the objective problem in the structure of Adonis and Charles Simic’s poems, so the structure of the text is distinguished by its structure in terms of the number of sections, and because of the length of the poem, it is often relied upon to build stories with branching plots and stories included within the framework of the main story that is to be embodied. This is due to the variety of topics covered. Therefore, this study aims to describe the use of cinematic montage mechanisms in the poems of Adonis and Simic, identify the types of cinematic scenario that Adonis and Simic invested in their poems, analyse the elements of visual narration in the poems of Adonis and Simic, and then explain the similarities and differences between Adonis and Simic in terms of cinematic mechanisms in their poems. This study relied on a combined approach between the descriptive and analytical approach to study the cinematic mechanisms, and the comparative approach to compare Arabic and foreign poems in terms of cinematic use in the selected poems from two collections, "The Songs of Mihyar al-Dimashqi" and "History Torn in the Body of a Woman" by Adonis, and Simic’s two collections, "The Book of Gods and devils" and "My noiseless Entourage: Poems". This study employed the approach of "Mohamed Ajour" in terms of employing the visual style in the poetic poem. The results demonstrated that the poetic image in Adonis’s poems gained another literary form from the mechanisms of the art of montage, in addition to its basic form, which supports poetic significance. As for Simic’s poetic image, it benefited from the field of photography as a method that supports the psychological disturbance of its factor. It became clear that the scenario technique in Adonis’s poems came as a malleable tool through methods of description supported by visual and audio effects that organise the poetic scene with the aim of achieving an integrated picture. As for Simic, it was complicated and somewhat stilted. The display of visual narration came as a supporting technique that supported the poetic structure in the poems of both of them as it was employed on a large scale through intentional cooperation with cinematic mechanisms that did not come from technical coincidences or artistic tampering, but rather came from the structure of the two poets, as it transformed their poems from a mysterious poetic text to a smooth scenic text. As for the similarities and differences in terms of employing cinematic mechanisms between Adonis and Simic, the similarity is in the growth and rejection of the old poetic structure and the attempt to break away from the intellectual stagnation that afflicts the spirit of the age (poetry). As for the difference, it came in the poetic structure and the attempt to create a new current, contemporary horizons, and visual styles that had not been seen before, despite the lack of regularity and equality in length and rhyme.

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