نشریه ادب عربی
سال سیزدهم شماره 3 (پیاپی 29، پاییز 1400)

Literary text, includes various types of signs. These signs are interweaved in various implicational layers. Barthes in his post-structural reading tries to distinguish five types of codes, among which three types of codes namely connotative code, symbolic code, and cultural code enlightens the structural implication of the text along with the hypertext elements. In this respect, analyzing these codes will indicate the meaning of the text. This article uses the Barthes' method to read contemporary Lebanese novel and in addition to representing the narrative structure, pays attention to the representation of its intellectual structures. Therefore, during this study, the novel of " Al-khaṭāyā al-shā'i'ah (Common Mistakes)" by Fattan al-Mur, with an anthropological approach toward resistance, was analyzed at three levels of connotative, symbolic, and cultural codes. Connotative code studies an implicit meaning in the characteristics of the characters and their action in the story. At the level of cultural code, the cultural and ideological space of the value system of fictional discourse, and in the symbolic code, symbols emphasized in the story were analyzed. .. The analysis of these codes using Barthes' critical approach through the descriptive-analytic method indicated that the novel, in the case of connotative codes depicts the living conditions in Lebanon in the shadow of terror, insecurity, war, and conflict. In such type of condition, a paradoxical manner is also described, full of peace and security of European life and the image of the characters of these two environments with appropriate features. Therefore, the story does not represent a black and white image of European and Lebanese characters but introduces them through aspects such as courage and patriotism as a shared aspect of the fighters. In cultural or referential codes, "martyrdom" and "martyrdom-seeking" are central values in the story, not only independent of the ideology of Muslims but beyond the religion and belief of a nation are also rooted in the culture of patriotism, the spirit of honor, and resistance. At the level of symbolic codes, the story with a realistic approach provides just one example of the character of a female fighter as the symbolic code.

Post-colonialism and the theory of polyphony are closely related in terms of analyzing the monophonic discourse of power. While Mikhail Bakhtin considers the polyphonic novel as a labyrinthine, colorful world that gives vent to heterogeneous voices, postcolonial theorists attempt to investigate aspects and factors of hegemonic tyranny and discuss the voice of the marginalized and the disadvantaged people as the topic of literary criticism. Cities of Salt by Abdul Rahman Munif (the famous Arab novelist), which is a quasi-historical account of the process of the discovery of oil in Saudi Arabia and the transformation in the point of view of colonialism (from classic to modern), adopts a polyphonic and dialogic narrative in order to offer a multifarious image of the middle east during the colonial and the post-colonial periods. It sets out to show how the modern colonialist perspective of the United States substitutes the classic British one. In theoretical terms, the present study expounds upon some of the most central components of Mikhail Bakhtin’s theory of polyphony and dialogism so as to apply it to postcolonial studies. In applied terms, the writers have attempted, relying on assumptions of Bakhtin’s polyphonic theory –such as the narrative line, the multiplicity of discourse and the incorporated genres– to offer a postcolonial reading of the pentalogy Cities of Salt. Hence, the findings of the present article can be divided into two theoretical and applied parts: first, dialogism and the polyphonic theory of the novel by Bakhtin can open new horizons in the field of postcolonial studies, such as divulging the hegemonic aspects of the literary text and, more specifically, the narrative. Second, Abdul Rahman Munif, in Cities of Salt, offers various voices and discourses so as to push the dominant discourse of tyranny/ colonialism into a dialogic structure and nullify its made-up authority through juxtaposing it with other, equally valid, anti-discourses. Third, the writer offers incorporated genres adapted from the cultural Arabic-Islamic tradition in order to render null and void the oriental discourse of colonialism, which consists of robbing the colonized of their identity and ignoring their history and culture in an attempt to make them appear as savage barbarians.

Romanticism is one of the most famous contemporary literary schools that has had a great impact on the works of poets and writers from different countries of the world. The most prominent features of this literary school are: honest interpretation of personal emotions and feelings that come to the human conscience; being intrinsic or individualism; empathy and unity with nature; paying close attention to landscapes, especially pristine and wild landscapes; adherence to imagination; interpretation using new and inspiring codes; getting rid of poem meter and rhyme in moderation; back to the beginning and childhood; regretting of the past; dreams, love, despair, thinking about death and... . Although it has emerged recently, it seems that the themes it emphasizes can also be found in poetry from earlier literary periods. The author intends to answer these questions by examining Ibn Zaydoun's sonnets, one of the most prominent poets of Andalusia. Which of the themes that are called romantic themes today exists in the poems of Ibn Zaydun? How close are the images that the poet has created to express these themes to the specifications of the illustrations of the school of Romanticism? The author's method for answering these questions is descriptive-analytical. The results show that although the school of Romanticism is a new school, the following themes can be considered as examples of romantic themes in Ibn Zaydun's sonnets: the individual grief caused by an unexpected love for Valladeh the daughter of Mostakfi that not only led to separation but also to his imprisonment. The longing for home that has been sometimes appeared in poems combined with beloved’s memories and sometimes in independent poetry. A return to the past, especially to a period in which the poet's bliss has flourished. The study also shows that the poet's portrayals, especially his descriptions, lack consistency in the vertical axis of poetry, but in many cases he has chosen the metaphorical language that is a characteristic of romantic poetry to express his inner feelings.

Research "Semantics of Place in the play of “kharej-al-serb”by Mohammed Al-magout" Using a descriptive-analytic method based on Farzan Sujoudi's theory, he has studied the layered element of the place and has examined how it is related to other symbolic levels. The semantic analysis of the place in the play is important in that respect that Based on this method one can examine the explicit and implicit function of the place element in identifying the hidden talents of the text and the secondary concepts related to the cultural, political and economic values of society. In addition, by presenting a new reading of the literary work, he expressed the influence of this element in explaining the possibilities of textual creation and by examining how it relates to other levels, it has played a role in shaping dramatic discourse. The purpose of this study is to explain the most important Symptoms of place and how they are organized, Describe the function of the cues mentioned in the formation of text encryption systems such as scene, personality, conflict and time. On the other hand, the impact of this system in place of the representations is described. The purpose of this study is to answer the following questions: How has the place code been linked to other markup levels? What characteristic and structural components do these passwords have in the aforementioned play? The results of this research indicate the   place is formed in the form of a cryptocurrency layer consisting of numerous surfaces and deep-level structures. This layer contributes objectively and abstractly to the creation of dramatic discourse and the representation of social cultural meanings, sometimes it manifests physically on stage, sometimes its objective function is weakened and its mental aspects is enhanced. It can be said that understanding and interpreting space as a semiotic process is possible by studying how it correlates and interacts with the branding layers in the play. There is interplay between location and other layers. On the one hand, Place explicitly and implicitly promotes surfaces such as decor, light, sound, and so on. On the other hand, those levels have a great impact on the organization and selection of Place components.

The breaking of the fantasy world with reality, the breaking of the boundary between writer and reader, and in general the breakdown of narrative brought about by postmodern literature, led to the formation of a special form of narrative in the postmodern novel called metanarrative.  In this way, the author distances himself from the usual methods in the classic novel and creates an innovative and norm-breaking work that contradicts the well-known definitions of the novel. In this type of novel writing, the author's interaction with the narrator, character, narrative text and linguistic aspect is completely different, and all elements of the novel evoke deep social conditions and developments. What attracts attention in the meantime is the turn of Arab novelists to this method in the early years of the emergence and spread of this method in European novels. Considering the speed of modernity in the last decades of the twentieth century in Arab countries and also the compatibility of this narrative style with classical Arabic literature in which there is a living relationship between the narrator and the narrator and usually the narrator tends to hide in the story. No, this method was taken into consideration. A closer look at the history of the evolution of Arabic novelism in the last decades of the twentieth century shows the use of this method by anonymous writers whose literary position in academic and narrative research has been neglected, including the melodic melody of the Maghreb writer. In Ain al-Fars novel, this method is innovative and systematic. In this article, using the most important theoretical sources on the method of metanarrative, an attempt is made to examine the most important components of metanarrative and how it is used in this novel. The result shows that Shagham in this short novel, by creating mechanisms such as the entry of the author or narrator in the work, communication with the narrator and the fusion of reality and fantasy or storytelling, as well as the use of storytelling industries, try to create a metanarrative process. Is trained.

Literary semiotics is a new method of literary criticism that examines the role of linguistic signs in the creation of poetic themes and manifests its internal actions by exploring the secondary layers of the text and represents the main meaning and purpose of the poet. Pierce is one of the most famous semiotic theorists who, by presenting a three-dimensional model for the sign, created a great change in this science and provided the ground for criticizing the semantic structure of literary works. The concept of sign in this model arises from the relationship between its three components, namely representation, interpretation and subject. Signs in Pierce's theory consist of a chain of causes and effects that are governed by a kind of cause and effect relationship. The new poetry is completely different from the old one in terms of structure and content, and instead of explicitly expressing the themes of his poetry, the poet uses virtual language and linguistic symbols and indirectly expresses the purposes of his poetry. Suleiman Al-Issi is a famous Syrian poet and one of the poets of modernity whose most important and frequent subject of his poetry is patriotism due to his committed tendency towards the literature and thoughts of nationalism. Considering that Suleiman Al-Issi also uses covert and indirect language to express his literary messages and uses language signs, the present study based on Pierce's theory tries to analyze the signs related to the concept of homeland and to critique the role of secrets in the construction of signs. The concept of homeland in Al-Issi's poetry is not limited to his country, Syria, but includes the entire Arab world. From the results of the research, it can be pointed out that the signs of patriotism in the poems of Suleiman Al-Issi have been produced in the form of cryptographic structures of the creator of the work, aesthetics, space, time and intertextuality. Through the correct aArrangement of explicit meanings together and within the context of the text, he expresses the implicit meanings of the concept of homeland in imaginative language, thereby guiding the reader's mind from the surface of speech to the deepest layers of the text and by this, he has recited the secondary intentions behind words and the phrases of his poetry. Therefore, in this way, it gives sensory and tangible effects to abstract concepts. Hence, Al-Issi can be considered one of the best poets in the Arab world in using abstract concepts in an eloquent, effective and at the same time believable format that can impress any reader. He develops readers’ minds to feel the poetry more easily and sympathize with it.

Bakhtin’s theory about dialogism of texts, polyphonic novel, intertextual relations and carnivals has inspired several literary critics and theoreticians in west. In Bakhtin’s point of view, human is a social being that finds his/ her truth of being in dialogic relationship with others; therefore, the truth of being of a text not only expresses the writer’s ideology, but also is a place for expression of ideologies possessed by each character that each one of them is representative of a stratum and ideology.  However, this point of view has appeared in analysis of narrative texts such as Dostoevsky’s works initially, relying on it in poetry has also confronted these texts with a new analysis. One of the most important blaze situations of polyphony and logic of conversation is the element of dialogue in these texts. Although, dialogue cannot be the same as dialogism merely, it can be considered as a place for expression of polyphony of literary texts. Therefore, the present study seeks to address the function of polyphony in the structure of poetic texts, meanwhile explaining the voices that Darwish had utilized in his poems through investigating existing dialogues in Mahmud Darwish’s  one poem that is uttered by characters depicted by Darwish and demonstrate dialogism of his poetry. The results of the analysis show that Darwish have not selected monologue in order to demonstrate oppression of the Palestinian people, but in simple narrative formats and various dialogues between Palestinians and occupiers has changed his poems to a place for expression of characters’ legitimacy meanwhile presenting both parties’ point of views and surrounding voices and the reader is invited to his poem as a fair judge.