Writer and critic Mohamed El-Shahat Mohamed submitted a memorandum to the General Syndicate of the Egyptian Writers’ Union, complaining about literary thefts of his works, demanding that it be investigated and the necessary action taken by the Egyptian Writers’ Union.
Cairo 24 obtained a photocopy of the complaint, and what it said was that at the conference of the sub-guild of the Egyptian Writers Union in Ismailia, an article appeared on pages 112 and 113, which the author of the article (F.A.) began with a text of hers, which she considered to be the text of a poet’s story, and the text is not the story of a poet by structure. On the standards and aesthetic characteristics that distinguish the poet’s story art, then her article made several observations, including:
(1) It is stated in the second and third lines (p. 113 of the book of the Ismailia Writers Syndicate branch conference issued on November 24) that it reads: (…a mental interaction between the sexes, so that the result is a new element whose properties differ from the properties of the two elements that make up it.) And this The same phrases are in the text in the first and second lines of page 9 in the book “The Hot Wave” by the writer Muhammad Al-Shahat Muhammad, published in 2007, No. 14706/2007, as well as the fourth lines. The fifth is on page 6 of the book “Literary Phenomena via the Internet,” written by Muhammad al-Shahat Muhammad, published in 2008 with deposit number 5876/2008.
Muhammad Al-Shahat Muhammad published that article on the Al-Waha Cultural Association in May 2009
The same meaning was mentioned by Muhammad Al-Shahat Muhammad in the thirteenth and fourteenth lines, page 9, of his book “The Encyclopedia of the Poetry Story,” published in 2021, with the deposit number 20021/2021 and the international numbering 5-9475-90-977-978.
(2) The phrase “the poetic story is an art that stands on its own” was mentioned in the research book of the sub-guild conference of the Ismailia Writers Union. It is a sentence that was the title of a statement in the Egyptian Al-Rai newspaper on 12/3/2017.
(3) As for the recycling that was mentioned in the Syndicate Conference’s paper, it was mentioned by the writer Muhammad al-Shahat Muhammad, since he established the art of the poetic story, in more than one publication, and for example in the twelfth line, p. 5, of the book The Hot Wave (14706/2007) and the conference book. The third poetic story issued by the Culture Palaces Authority in 2012 in the eleventh line, p. 137, as well as in the seventh and eighth lines, p. 171, of the book of the Twelfth Story Conference. The Poetry, issued in 2021, No. 13849/2021, international numbering 1- 9051- 90- 977- 978
And in the fifth and sixth lines on page 16 of the Ninth Conference Research Book issued in 2018 with filing number 17491/2018, the conference was headed by Dr. Shaker Abdel Hamid, and presented by the poet and journalist, Mr. Hassan, the current vice president of the General Syndicate of the Egyptian Writers Union, with practical examples cited on pages 21. Up to 24, in the same book.
(4) As for visual composition and other active elements and connotations in the poetic story, it was mentioned a lot in my research, for example from the third to the seventh line on page 18 of the book of the Ninth Conference 2018.
It was included in a master’s thesis on the artistic structure in the poetic story, recorded by researcher Mustafa Ammar Al-Sheshtawi at the Faculty of Languages at Al-Madinah International University in Malaysia in 2019.
It was also included in the book “The Poetic Story Between Inspiration and Experimentation,” published in 2015 by writer Sakina Johar.
(5) What was stated in the research book of the Ismailia Sub-Guild of Writers’ Conference, about circulation, inclusion, and melody, was previously published in the research books of poetic story conferences, including page 4 of the research book of the Fourteenth Poetry Story Conference at Mansoura University, issued No. 20660/2023 and international numbering. 8- 0 – 86942- 977- 978
(6) What was stated in the last line of p. 112 and the first of p. 113 in the book of the conference of the sub-guild of the Ismaili Writers’ Union (in addition to some poetic meter), while the meter is essential, and is considered a narrative necessity in the poetic story.
(7) What was stated in the book of the sub-guild conference in Ismailia, under the title “The Basic Elements of the Art of the Poet Story”, and everything that came under this title, is a small part of the characteristics of the poetic story, and the writer of the sub-guild changed the wording with compromise words to cover the actually existing original. In the definition and determinants of the poetic story, recorded scientific research and dissertations, and what was published in peer-reviewed journals and official newspapers about the art of the poetic story.
(8) With a quick search on the Internet, it turned out that the writers (A.A.) and (M.S. Al-Damiati) committed what the writer (F.A.) committed in her article published in the book of the Ismailia Syndicate Conference, where she wrote a text, and said about it that: The text of a poet’s story, and what is it, taking phrases from the text of a book, without mentioning the names of the original writers, or even putting in parentheses, and the writer (A.A.) also published an article on the “Aloka” website on 27/ 11/2021. In this article, (A.A.) quoted some phrases in text form from research on the poetic story, and modified other phrases, and pasted them on texts by the writer (M.S. Al-Damiati), and said about them that they are poetic texts, and they are not actually poetic stories, and that According to the standards and characteristics of the correct poetic story, and among these phrases that he conveyed in the text:
(..a mental interaction between the sexes, so that the result is a new element that differs in its properties from the properties of the two components that make up it.) And the phrase (the poetic story is an art in itself), and the two phrases were also mentioned in the article published in the book of the Ismailia Sub-Union Conference, and it appears that they were transferred and claimed. By the three writers, with scientific fallacies, and without mentioning references and sources, and what indicates intentional fallacy, and wasting the intellectual property rights of the innovator and founder of the art of the poetic story: the writer Muhammad Al-Shahat Muhammad, and the rights of serious critics, academics, and researchers in this art, as well as the waste of scientific value, standards, and distinctive aesthetic characteristics of the innovative literary genre: the poetic story.
(9) It is clear that the cards were deliberately mixed up, which creates confusion and tramples on history, leading to the loss of intellectual property rights, as well as wasting Egypt’s right to innovation and the scientific establishment of a new literary genre, and the right of Arab creativity to seriously participate in the global literary map.
*Whereas “the characteristics of the art of the poetic story and its distinct features have been reported from academic and critical research as well as creative texts, such that this art has transcended the possibility of ignorance of its characteristics, and confusion between it and other genres in creative formulation or critical reading; unless this is intentional with the aim of distraction and filling the arena with inappropriate research.” Academic and non-scientific, it speaks without knowledge of a literary form whose references are available and varied, and perhaps serves the same purpose of invading the arena with texts falsely affiliated with the poetic story and carrying nothing of Its features.
Muhammad Al-Shahat Muhammad concluded his complaint by saying: “I find it deplorable, with the succession of poetic story conferences and the abundance of books and research that I have studied, that no one is unable to give it its due seriousness in research and learning before embarking on the practice of creative action in its field.”]
