Dramatic transformations of the concept of abundance in the texts of Khazal Al-Majidi (the play The Diamond Party as an example)

Abstract

he concept of overflow is one of the pivotal terms that moved from its original philosophical field to the literary and artistic field to include the field of theatrical arts, and became a bridge for cognitive, human and religious communication between various cultures across the ages, and turned into an effective analytical tool to explain cultural and artistic dynamics after it was merely a rhetorical metaphor, and became one of the basic terms that are presented in various literary activities, especially theatrical texts, in a manner consistent with the visions of writers and the specificities of their eras. The research included four chapters, the first of which was (the methodological framework) which included defining the research problem, which revolves around the following question (the dramatic transformations of the concept of overflow in the texts of Khazal Al-Majidi). The importance of the research included studying the dramatic transformations of the concept of overflow in the texts of Khazal Al-Majidi and the connotations it carries in critical studies, human, philosophical and religious, arriving at the goal of the current research, which is to identify the dramatic transformations of the concept of overflow in the texts of Khazal Al-Majidi. The limits of the research: spatially (The second chapter, the theoretical framework, consists of two sections: the first (Flow in Arab Philosophy), which includes a review of the nature of flow according to the opinion of Arab philosophers. The second section is titled “Flow in Arab Theatre,” and includes the experiences of many Arab playwrights. The chapter concludes with indicators. The third chapter is the research procedures, which consists of the research community and the research sample consisting of one theatrical text (the Diamond Party play). As for the research method, the researcher adopted the (analytical method) in the theoretical framework of the research. As for the research tool, the researcher relied on the indicators of the theoretical framework in analyzing the sample. The fourth chapter consists of results, the most important of which are: the flow in the above model includes religious, moral, and social dimensions, and the flow includes many characters within the theatrical text. The research conclusions, the most important of which are: that flow has a role in highlighting the aesthetics of the theatrical text, and it approached Overflowing means giving, inspiration, density, abundance, and exceeding something's limit. Recommendations and suggestions are provided, and it is concluded with a list of sources and references.