| المستخلص: |
Within the domain of human literacy, form has always undergone reform in various ways and to varying degrees of accuracy. However, in a post-humanist context marked by radical changes in world views; radical reshaping of socio-economic life in human societies, far-reaching reform of the fundamental values of anthropocentrism, and systematic dissemination of digitally-enhanced creation in preference to immaculate human creation, the re-conceptualization of literary form outside the confines of mainstream definitions of the aesthetic has become a matter of utmost priority. In the area of literary criticism, form has known an unrivaled emphasis by Russian Formalists and New Critics during the 1920s and 1940s. But the emergence of deconstruction, feminism, new historicism and culture studies, in later decades, has brought with it the occultation of form and its outstanding functionality in literary interpretation. Today, with the remarkable return to the questions of history, ethics and politics in literary criticism, the re-grounding of form in history has to take further dimensions, dimensions unmasked by inquiry into the socio-historical rather than the strictly ideological function of literary form in articulating the myriad aspects of human experience. Not only does the present article seek to rethink form in the poetry of William Carlos Williams outside the normalized paradigm of deviation from conventional aesthetics, but it also seeks to demonstrate that the poetic text becomes, aesthetically pleasurable when its form becomes endemic to historical expression, espousing the landmarks of history, speaking into the space of social concerns and replicating the rhythm of everyday-life experience. This is exactly what this discussion seeks to illustrate through examination of a number of poems selected from a number of collections by the poet.
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