Automatice Writing representations between the original and translation: the specificity of the formation and the deviation of reception The Drunken Boat » of Rambo as a model

This study offers an exploratory reading of the concept of Automatic Writing as an experimental genre of the modernist poem, explores its formal characteristics and epistemological origins in Western literary trends, and its representations between the original French text “Le Bateau ivr” (The Drunken Boat) and the translated Arabic texts. The study tests the act of Arab reception of such modernist characteristics, revealing the methods used in the translational interpretation of the specificity of the syntactic formations and symbolic images of automatic writing by opposing the Arab cultural horizon and forming a new horizon that allows for aesthetic interaction between the translator and the “first recipient”, or by reversing these experimental representations of poetic writing in its Western origins and creating a second text parallel to the original text by utilizing the form of poetic writing in the Arab cultural horizon; what the study calls “the deviation of the reception.” The research problem is seen its attempt to the main question of this study: Did the Arabic translations contribute to introducing the genre of poetic automatic writing to the Arab cultural arena, or did the translation reverse the automated methods of rebellious language, the chaos of images, and the strangeness of the scene? The study shows that the observation of the field of translation confirms that the translation of poetry is a second creation, not just an imitation of the original text. The multiplicity of translations of the poem «Le Bateau ivr» «The Drunken Boat» is a multiple hermeneutic reading of the process of receiving the original text