The aesthetics of intertextuality in the collection “Animal River” by Raja Alem

This research approximates the aesthetics of intertextuality in the collection “The Animal River” by Rajaa Alem, a group whose texts evoke consistency by quoting, referring and suggesting, whether they are available from the religious heritage represented in the Noble Qur’an and the Noble Prophetic hadith, or philosophical texts, mystic texts, or historical and literary texts. During which the waiver was given texts, group dimensions, a poetic aesthetic to its poetry that activates the circle of reception between the creator and the recipient, and gives it richness and the circle of reception between the creator and the recipient, and gives it richness and richness that contributes to distancing it from the limits and rhetoric, and that the previous texts were integrated into the text, and enabling the subsequent text to guide The previous text had a new semantic difference from its original meaning, the texts of the group became an endless network of semantic transformations of the texts in which they gathered. It was found that the texts of the group dealt with the Sufi philosophical text in the light of the Sufi philosophical principle “Unity of Being” and in the light of Sufism for some ideas with awareness of the aesthetics of harmony that attend the texts in the texts when the absent text announces itself in the present text, and the most prominent thing that the Sufi text granted to the group’s texts was the multiplicity of worlds Narrative and its overlap. As for the historical texts with which the texts of “The Animal River” intertwine, they were coherent and indicative of the idea presented by the text or the situation presented by the text or the situation that it embodies in movement, and created, through its overlapping, an overlap in the movement between the past and the present, as some of the basement group texts passed, in invested In a thousand and one nights