حامد پورحشمتی

The village holds a significant place in contemporary narrative discourse, showcasing its narrative essence through ballads and vivid imagery. Utilizing various conceptual connotations, the village adapts its functions based on the poet's interactions and his reliance on themes that relate either realistically or dreamily to this setting. Mohammad Afifi Matar, a prominent Egyptian poet, perceives the village as an open space rich in narrative mechanisms and characteristics, emphasizing its importance through scenes from his hometown and the needs of its inhabitants. His poetry introduces readers to a series of real or imagined events, inviting them to engage more deeply with the narrative process. This research employs a descriptive-analytical method to explore the portrayal of the village in Matar's poetry. The findings suggest that the poet serves as a wise narrator with a significant presence in shaping these narratives. His depiction of the village encompasses three main aspects: nostalgia for his childhood and past; an optimistic image characterized by natural beauty and abundance; and a darker tragedy linked to the village's social and environmental challenges, manifesting in drought, poverty, and hunger among its residents.

Cognitive linguistics is a modern approach in language studies that addresses the relationship between human language and mind, as well as physical-social experiences. Mark Johnson and George Lakoff are pioneer theorists in this field. They assume that conceptual metaphor is distinguished from surrounding phenomena by explaining and objectifying abstract concepts to identify and share human experiences. This kind of metaphor is manifested in different types of schemas based on the concepts formed in the human mind. Because metaphysic imaginations and ethical concepts and their connection with perceptible cognitive and daily life experiences have a bold presence in language type and religious expression, examination of image schemas in Holy Quran’s metaphors reveals a system of conceptual structure and sophisticated meaning layers of Quran verses. This study has tried to investigate three types of schemas: path, containment, and force based on the description and analysis of Quran samples based on the theory of Lakoff and Johnson and mental constructs available in Ali 'Imran Surah. The internal context of language and imaginary images expressed in Ali 'Imran Surah has been explained in a way that reader can touch their concepts based on their daily experiences and find clear truths by reviewing the available abstract issues in this Surah. Research findings indicate that path schema in Ali 'Imran Surah emphasizes destination as the result of the path considering the sensual concepts, while containment schema in this surah is distinguished in positive and negative scopes as container and contained,.

Point of view is one of the most important terms in contemporary narrative studies, because it is an attempt to reduce the narrator's control over the text and a method to show the narrator's perception and view of the target topics and relationship establishes with other characters. Todorov pays attention to the cognitive and intellectual aspect of the point of view and uses it to control the characters' insight into various events or to inform the narrator's understanding of other characters. Reza Barahani and Farouk Gouida are modern poets in contemporary Persian and Arabic poetry who pay attention to the events of the narrative and the behavioral changes of its characters when faced with various issues, as they value the narrator's participation in the narrative, so that the narrator in their poems has the freedom of action and the power to move to any place and time, but often, instead of direct intervention, they summarize and analyze the events after their occurrence. Since Todorov's critical theory in examining the point of view has a significant impact on literary criticism, the present research has applied this significant impact in the poetry examples of two modernist Iranian and Arab poets in order to understand the narrator's basic views on challenging issues in the real and imaginative worlds of the two poets. This descriptive-analytical article intends to examine the point of view patterns of two poets from Todorov's viwpoint, according to the American school of literature. The results indicate the dynamics of the three main techniques that Todorov has considered in the classification of the point of view, including the "back view" technique, which is distinguished by the narrator's preoccupation with the deep expression of the subject in the " Gouida " poem, and on the contrary, the narrator in the Barahani poem is evasive of it. The technique of "simultaneous vision" in Barahani's poem is distinguished by the peaceful coexistence of the narrator with the character or his participation in his life's affairs, and in Gouida's poem, it is used in the context of the narrator's conflict with the character and questioning him about his actions and thoughts. In the "view from outside" technique of Barahani's poem, the narrator deliberately hides the truth, and in Gouida's poem, it shows her inability to discover the truth.

The city is an open area whose repeating linguistic characteristics contribute to creating meaning and expanding contemporary poetic images. With its diverse functions, the city displays a true image of man’s life and identity, generally defines the human self, and characterizes its link with the internal and external challenges of the motherland. Samih Al-Ghasem attached great significance to the cities of Al-Ghuds and Haifa and believed the two cities had a specific linguistic position because the two, in his poetry, embrace various images and perspectives which describe the reality trend of life, as being occupied by the Zionists, and show the poet’s emotional equilibrium with the sensitive events that unfold inside their borders, thereby forming a spirit of resistance and national concerns towards them. The research has selected two occupied cities of Haifa and Al-Ghuds from among various cities that Samih Al-Ghasem has intended in his poetry. The research also uses a descriptive-analytical approach to compare the most important cognitive concepts those two cities have in common. Thus, a summary of research results suggests that the comparison of the two cities in the poetry of Samih Al-Ghasem reveals specific and general features. The general features indicate common cognitive relations between the two cities that can be divided into three subjects of addressing tragic scenes of children, displaying concerns for originality and identity, and the crisis of negligence and indifference to current developments. However, its specific features include the partial realist description of scenes of destruction of Al-Ghuds and displacement of its residents, in addition to optimistic and pessimistic perspectives of the current status; meantime, as for Haifa, the poet mostly looks to the Israeli’s hostile measures, describing them with the ugliest attributes.This research uses a descriptive-analytical method to answer the following three questions: What is the position of Al-Ghuds and Haifa in the poetry of Samih Al-Ghasem in terms of the way words effectively contribute to diverse themes?Given the examples, how would Samih Al-Ghasem describe the cognitive dimensions of Al-Ghuds and Haifa? andHow are the two cities' most notable and common conceptual contexts described by Samih Al-Ghasem from a functional perspective?While recalling the cities in contemporary Palestinian Poetry, it has dedicated a special place to the use of vocabulary and symbols through it that identifies further affiliations and desires of the poet and reflects social and inherent concerns and anxieties of the poet; since the cities in Palestinian poetry became the dramatic scene where the essence of images, themes and new literary codes in the furnace of events are revealed that in  contemporary critical study based on sign processes and indications. Therefore, Palestinian cities for their great poets such as Samih al-Qasim, are considered as a gift and good source in order to draw new images and add aesthetic background in his idea of resistance in such a way that their major use of the vocabulary suggests the inspiring East where the nature and national identity of a poet, while realistic view and emotional stances, are tied together. Our study was focused on the cities that Samih al-Qasim’s poetry has paid attention. The current study has chosen two cities of Jerusalem and Haifa on a selective basis. Although the overall theme of poems places these cities among the common National and patriotic issues, each of them has a unique innovative signs than the other that can be distinguished. One of the instances is the painful realistic feature appeared most in Jerusalem, and the other is the ethical signs dedicated to city of Haifa while optimistic and pessimistic view to the city of Haifa. Therefore, this study aims to analyze call of Jerusalem and Haifa in both Samih Al-Qasim's poetry in terms of statistics and content to show hidden images and indication based on the descriptive - analytical method for analysis of literary text and to decode the signs and indications.

According to Gérard Genette, analepse is one of the new techniques which is utilized for presenting the events of the narrative and anachronism that the poet uses to establish the relationship between events and characters with the past when the narrative revolves around a particular subject or stops. The analepse technique in contemporary narrative poetry, along with saving the narrative from monotony and linearity, assists the clarification of the depth for semantic changes in the narrative and the changes made in the psychological and social states of the characters. In their narrative poems, Farouk Gouida and Reza Baraheni avoid the linear system of time and ascribe great importance to the features of the past in numerous fields such as strengthening the context of some of the events and comprehensible moments of the narrative and clarifying the ambiguous angles in it. By means of a descriptive-analytical approach, based on the American school of comparative literature principles, the current study aims at implementing the impacts of analepse from the Gérard Genette’s perspective in the poetry of Farouk Gouida and Reza Baraheni. As the results have indicated, the analepse technique in the poetry of Farouk Gouida and Reza Baraheni is directly related to the intensity of pain and sorrow that these two poets faced in the past. Furthermore, it assists them to know the origins of the problem and offer similar conditions for it in the past. Analepse in Farouk Gouida's poetry, with its general, internal, and external types, has emerged to fill the semantic gaps and complete the shortcomings of the present. However, in Reza Baraheni's poetry, it occasionally tends to change the meaning of the event within a subject belonging to the narrative and is accompanied by the insistence on repeated returns.

Characters masque technique features a lofty technical value because the symbolic and dramatic dynamicity thereof in the contemporary literature has bestowed a lot of inspiring implications of the kind of inventive expressional loads to the words in the Arabic poems; these implications are capable of transcending beyond borders of the non-intermediated discourse that is close to tangible reality, so that a new situation which is interlaced with the poets’ values and traditions can be created. As a literary technique evolved from the call on the characters, this masque technique enjoys distinct methodical renderings in the poems of Solayman Al-Isa and, being inclined towards intermixing the present and past conditions, it compels the poets to express the pervasive challenges and problems in the depth of their experiences and incites them to fancifully react to the individual and social dramatic subjects in their periphery. Taking advantage of the purposive techniques forces the poets away from the mere narration of the past incidents and consecutive and transient calls on the characters in the margins, disguising the various characters with masques or getting close to beneath their masques. I helps to establish a sort of close interaction between the poets and the called-upon characters as well as between the poets’ contemporary conditions and the events of the societies before a given community. This study used a descriptive-analytical method to deal with the technical and implicative aspects of the archetypal characters’ masques in Solayman Al-Isa’s works and gain access through a sort of processing to many of the archetypal characters’ masques that might be pertinent to religious, literary, historical and folklore matters. Poets have defined special functions and methods for all of such archetypal characters’ masques. Consequently, they have become simply and easily capable of removing the wall between the distant temporal intervals between poets and their applied characters.

Heteroglossia is one of the most common critical methods in demonstrating the creativity of a conversational style in relation to another language and consciousness. According to Mikhail Bakhtin, heteroglossia is realized in linguistic intertwining with more than one voice in different linguistic units, in which the other can play an essential role in showing the intrinsic and social characteristics of the narrator. Narrative dialogue in the poetry of Farouk Gouida and Reza Braheni is often based on heteroglossia in the face of different values and ideas, which in addition to its great importance in freeing the narrative from the narrator's dominance and avoiding the monotony of one-sided expression, In terms of form and content, it has become a useful technique to attract the viewer's attention and convey different views on narrative events. This study, by adopting a descriptive-analytical method in its study, intends to implement patterns of heteroglossia in the poetry of Farouk Gouida and Reza Braheni from the point of view of Mikhail Bakhtin and based on the principles of the American school of comparative literature. Summary of research results in selected samples of their poetic texts indicates that heteroglossia is distinct in Farouk Gouida's poetry based on its functions in the types of hybridization, stylization, and pure dialogue with the dynamics of the languages that they represent public opinion to prepare the conditions for the poet to accept his desired ideologies and ideas. Therefore, the discourses of Farouk Gouida have a greater geographical scope compared to the common discourses in Reza Braheni's poetry, because heteroglossia in Braheni's poetry is often characterized by conscious individual hybridization or high emotional interaction with characters.

The criticism of contemporary literature has taken a big step to change the one-sided view of the events of the text and to implement the method of external dialogue in its context in order to recognizing various views and awareness. According to Bakhtin's view, polyphony is based on the multiplicity of interconnected and various sounds and languages in the structure of dialogue and its composition. The contemporary Arabic poetry is known for its narrative action between the thoughts of the characters and the exchange of common and different voices in order to explore literary polyphony, especially in the poems of Fereydoun Moshiri and Adib Kamaluddin allow them to express their concerns, desires and pains in various ways. This descriptive-analytical method seeks to address the most remarkable literary polyphonic techniques of two poets based on the American school of comparative literature. The summary of the results shows that the two poets, in addition to adopting to the traditional method of voice narration, resort to polyphonic types such as hybridization in order to developing the social views of languages in the light of ambiguity and ambiguity in their function, as well as stylistic style. In order to achieving the structural unity between the sounds, despite the difference in the type of dealing with another sound. The two poets use pure dialogue when engaging in controversy between characters or exchanging questions and answers on a particular subject, and at the end use a variety of ideologies to show how the characters deal with fundamental known values and ideas in the form of an ideology of surrender or defiance.

The Polarity of place in contemporary Arabic poetry recognized through the frequency of acceptance of semantic contradictions and dualism in place. Meanwhile, in the understanding of the many concepts in the text, the Polarity of the city has a prominent function and it is a great help to the reader in accepting the depth of the poet's thoughts, images, and individual and social moods. The city in the poetry of Mohammad Afifi Matar, citing the depth of overall image that can be obtained from his poetic examples, has a lot of dual semantic structure. Because the poet on the one hand paints a complex and profound picture of city and on the other hand it is trying to expand its elements and belongings to create a different perception of its concepts in the mind of the reader. This research, using a descriptive-analytical approach, seeks to examine the Polarity of city functions in Mohammad Afifi Matar's poetry. Briefly, the result is telling that the poet to have a defamiliarization look with the city, goes beyond the standard language, insists on repeating it, and characterized by the interaction between different semantic contrasts that have spatial paradoxical aesthetic effects. On the one hand, he uses the inherent Polarity and objective reality, stability and weakness, hunger and well-being, and also time and place to define the narrative characteristic of what happened in the city; he extends the scope of its semantic functions on the other hand.

In addition to its patriotic function, the mission of resistance poems is international. Because this kind of poem utilizes all its literary and technical capacities to arouse public interest, as well as bring a lawsuit against unwelcome developments in political and social fields of different nations. Throughout history, Afghanistan has terribly suffered from unjustified presence of foreign enemies as well as its arbitrary government. However, the presence of such colonialists as Russia and Britain in Afghanistan, as well as the tyranny of the local government have finally been ended with Afghans' victory in different battlefields. Their resistance against cruelty has demonstrated their high capacity to fight against colonialism to the extent that poets from other countries have composed poems in praise of that public movement on the theme of Afghanistan resistance. A case in point is attempts of Jaber Qumaiha, a contemporary Egyptian poet, to show different aspects of resistance in Afghanistan in his collected poems entitled "I sing about Afghan's jihad". This analytical-descriptive research aimed at alluding technical themes of resistance in the work of Jaber Qumaiha. The results of the present research suggest that the poet has introduced the conception of sacrifice in themes of piety and monotheism as the key factors to Afghan's victory in order to express motif of Afghanistan resistance; moreover, Afghan children susceptibility to the war has also been emphasized in order to arouse the sense of social accountability. With regard to the technical aspect, the poet has emulated religious figures, particularly the Islamic Prophet. But on the other hand, by voicing the same opinion, as well as knowingly adopting Quranic interpretations, the poet has set the stage to convey the message of resistance and show its relation with patriotic issues.

Arabic neo-poetry is known for breaking down the traditional structure of poetry and extending its semantic boundaries by equipping the literary discourses with narrative structures which enable the poet to show their creative imagination and aesthetic views towards objects. “Time” is one of the prominent elements of narration. Formerly, it manifested itself through the logical sequence of events, whereas nowadays narration time does not depend on this sequence and the narrator can change its structure through the interaction between different levels of time to avoid monotonousness. Muhammad Afifi Matar has paid special attention this in his poem “Uprooted Steps” in which, through forming a semantic bridge between present, past, and future events, we see a temporal overlap. This article seeks to analyze the element of time in this poem. It suggests that the poem has a fluid temporal structure so that inside time present, the past and the future are contained. In many cases, the poet does not narrate the events according to the order of their happening, but rather delays or even stops them. The functions of time in this poem are different, changeable, and intertwined depending on the context of the events. These events sometimes take a long time and sometimes happen in the blink of an eye to create a temporal overlap between the past, the future, and the present. Returning to the past in the context of the present sometimes depicts the unpleasant experiences of the past, and sometimes has epic and hopeful effects through the historical calling of non-narrative characters. The poem uses flashforwards from the beginning to highlight future events and to respond as early as possible to the reader’s curiosity about the future. The poet continously plays with the time of narration; to avoid monotonousness, he, with the aid of temporal paradoxes, fills the gaps in time past, informs the reader of future events before their happening, and sometimes interferes with the the passage of time.

The semiotic science was given great care of the title as an open threshold that determined the identity of the text, its production method, and its intuitive and intriguing content that could be derived from its superficial and profound implications. This title, for its important functions and levels of poetic poetry, transcends and oversees the poetic text in a single form, composition or phrases with coherent parts to preserve its unity, contribute to the appearance of its theme, define its vision and symbolize its significance. The functions and thresholds of the title threshold are activated in the poetry of Mohammed Afifi Matar. This study attempts to follow the most important functions of the title and its common toxicity levels in his poetry. The overall result of which is that the poet makes most of his concentration in the assignment of the main and sub-sections on a unit and a series alternately in form, and seeks to take into account this proportionality in many aspects with its texts, both verbally and verbally, but what is important in achieving the object is the way it reaches the content More than the content; the poet wants the method of Ennizha Beni Annawin and refused the hierarchy in order to achieve the function of the Greek.

The contemporary poem seeks to find out ways to strengthen the role of lexicon and composition as well as to avoid uniformity of their traditional functions. It is exactly what encourages poets to apply visual methods proportion to their expression in one hand, and on another hand to add new structure accordance with the meaning of words and their line orders to their exemplum designs. Poetic line defamiliarization is among well-known methods that are widely used by contemporary Arab and Persian poets, especially the present research focuses on exemplum of Muhammad Ibrahim Abu Senna and Ahmad Shamlou who oblige themselves throughout their poetic lines to apply uppermost visual flexible techniques to transfer their feeling and decisions. The present analytical-descriptive research addresses fundamental functions of poetic line defamiliarization used by both aforementioned poets relying on American comparative literature school. Our work has led us to conclude that both poets focus on functions of poetic line defamiliarization in their exemplum; from poets’ viewpoint undulating line, indicating influence of tension on their writing style, gradual fall, representing fast and slow semantic fall along with subjective lexicon collapse, linear vertical structure, using for implied and inaugural equity of lines, and finally silence technique, in which punctuation is sometimes used to start a short silence and end in a longer one are notable instance.

Semiology is a critical movement based on scientific and methodical aspects applying for the aesthetic conception of poetic texts and deciphering complex semantic codes which are difficult to be decoded through a simple and unilateral look. Using all powerful and effective cognitive tools in hand, semiology has approached the area of literary researches. Its shades of analysis have been spread over contemporary Arabic poems so that semiology researchers can unveil aesthetic nature hidden in the text and develop a different understanding about it. Meanwhile, following this issue in Mohammad Afifi Matar`s poem by applying the semiology method, it not only results in careful scrutiny towards his poetic expression but also helps determine hidden points and latent secrets. The present research aimed at investigating the exemplum of the ode Silent Sun Beam. The major theme of the exemplum is famine and poverty, being comprised of a descriptive report by which social events are indirectly viewed from the aspect of nature. Using its dominant narrative structure, it tried to find words and combinations which could lead the exemplum texture to move from textual areas to poetic aesthetics in a dramatic way, that is, dark and distraught place. Calling for natural words and personifying them made the treasures of exemplum`s vocabularies, Moreover, the textual aesthetics announced the forms of intertextuality combined with folklore beliefs about capabilities of natural elements to change situations.

We consider the narrative structure in the contemporary poetic text to be an integral unit that carries many elements and techniques for its artistic image. The place element has a significant importance in the creation of the narratives and the creation of bonds that combine the narratives with a specific atmosphere in which to express the views of the narrator, The presence of the prominent closed spaces in the poetry of Mohammed Afifi Matar comes in a special verbal nature confined in closed spaces to the organization of the dramatic events and deepen the internal life of the person concerned, but this may result in the merger at the opposite result and lead to adventure in the experience of the outside and then get out of the opposite interviews. This study attempts to use the descriptive-analytical approach to address the narratives of the closed spaces in the poetry of Muhammad Afifi Matar, and in particular focus on the location of the cemetery and the makhee. The cemetery is unique in the dimensions and sizes of the excellence of the closure and limited as a narrative meaning that may be the twin death and resurrection in a position and then suggest offset hostility and familiarity in other positions and that the cafe in his poetry can be a haven to escape the personal safety and stability of the events of reality Occasional, bipolarism occurs, or becomes a conflict between self-sufficiency and globalization.

Palestinian poetry Because of the challenge between the Palestinians and Israel was attentive to town and among cities and calling them becom as the source of goodness and mercy and Drive Poetic image fits toward the his poetry goal but its Repetition inspiration poetry substantiality poet Mahmoud Darwish and strengthen the stability of his identity and it have the Most Repetition of cities so that the continuous Repetition between the poet and the city reveals of a strong relationship, for example of many Symbolic implications that they fluctuate Between the experience of grief and pain, and shine and prosperity of the city. In addition, Beirut by poet expresses the name of the land of Palestine, when the roots of the city Found strength with connection to the legacy and Time evolution and created Time and space synchronization between the poet and the city. Therefore, this study aims to analyze call of Beirut in Mahmoud Darwish poetry in terms of statistics and content to show hidden images and indication based on the descriptive - analytical method for analysis of literary text and to decode the signs and indications.

The transformation of standards and patterns in reading modern literary texts has led to a change in the outlook and analysis of the book's codification and systematic criticism, and has paved the way for tracking signs and signals that illuminate the reader's path and guide him to multiple readings and limits of interpretation. Semiotics has been shown as a reading activity worthy of interpretation and the production of a textual abstraction, or what is left out of it from a different perspective, but has important, the textual thresholds and visual methods for their primary signs or textual relations in the poetic text of the poem by Mohamed Afifi Matar. In this comprehensive study, we examine the quality of the poet's input in the text and its conclusion to the correct conclusion, such as the dramatic dreamy acts initiated by the poet since the beginning of the poem. He then closes it and goes forward without warning and warning against the confrontation for a great emotional performance that took place in addition to the visual methods Emotions, gaps, or situations that require suspension, surprise, or disclosure of psychosocial conditions that lead to an influx in the employment of words and structures.

Due to its certain elements and limits, the exemplum brings about poetic and narrative nature in a coordinated structure in order to realize dynamism in the text with easy access to wide conceptual burden that poems cannot transfer lonely, accordingly, contemporary exemplum, today, welcomes narrative techniques and its symbols. Mohammed al-Maghout, a contemporary Syrian poet, makes use of narrative techniques in his exemplum by applying simple words and expressions which normally combines reality and fancy to advance events and accomplish them. The present descriptive-analytical research aims to address main narrative signs in a sample of three divans of Mohammed al-Maghout. Results indicate that the poet mostly uses quadruple narrative techniques, while he is not bounded to a sequence and uniformity of the texture, which it gives profundity and an upward trend along accumulation of events. Description of places in his works simulates a partial look or a close appearance and, for him, narration time circulates around time differences for recovering and anticipating time alongside the time length technique for determining rate of events. Methods of developing characters in his poems are blazoned over steady function of pronouns, especially the first-person which is turned to footsteps of the main character, that is, narrator

The aim of the revolution poetry specifically resistance has been always been serving the hometown benefits and it's movement to strengthen the human nature is known as the basis of aesthetic inside human beings in order to empower it's own. The concept of Palestinian literature has been developed by starting poetry and could create new generation of resistance poets such as Abd al Rahim Mahmoud; the one who not only understood the Palestine events from the very beginning but also was deeply effective on his nation by his poems weapon. The present paper - which has been done in descriptive analytical method - aims to manifest his revolutionary tendency by images and concept he applied to awaken jihad spirit in his nation.

Literature plays a major role in the cognitive and mental world. Poetry, among other things in literature, may overcome many of the limitations in literature which structural barriers impose. Literature also has non-literary implications concerning historical and social issues at critical periods. The issue of time is not ubiquitous not just in dealing with social events, but is necessarily interwoven in contemporary Arab poetry as it requires some kind of communication which includes all the three elements of Past, Present and Future. Modern Palestinian poetry uses the concept of as a source when hopes about the future and returning to home from exile are expressed. This potentiality has opened new doors to the Palestinian poets such as Mahmoud Darwish, who incorporates his exile in Beirut in his work with many different time dimensions. The developments in Beirut and the Arab-Zionist conflict have taken away the poet from his own self and plunged him into resistance and confrontation. This research uses a descriptive-analytical method and the results suggest that time plays a major role in "Madih ul-Zell el-Ali” ode by Mahmoud Darwish. The thematic focus revolves around Beirut which means the events take place in this city; Different temporal elements have been resorted to in harmony with the goals of the author, such as foreshadowing, anticipation, flashback, and sequence. The employment of these techniques reflects Mahmoud Darwish’s concern about the events of his time and sufferings which he observes in Beirut.

Cities are known as the geographical territory exclusive to a scholar where indicates the strong relationship between him and the city in which his honor belongs. Cities in fact turned to be the scenes and stages in which imaginaries, concepts and remarkable mysteries appear in Palestine poetries. But their motivic application has been manifested in Mahmoud Darvish poetry by his insist. An example is Quds which its motifs contain causes and motivational mysteries such as sainthood, Arabic civilization and ancient history of Quds. Thus the present research intends to study Quds's motifs in Mahmoud Darvish poetry briefly and in analytical – descriptive method.

Some thoughts and events are of a prominent position in human life as if they lead human to insistence and repetition by becoming a part of his concerns and at last they represent themselves as an individual and permanent feature in his conscious and unconscious. But permanent repetition of the mentioned imagery represents a subject of whose reality there is no information available under normal circumstances. Hence, repetition though, it is a linguistic-critical phenomenon, appears sometimes as a motif, in frame of a fundamental element in a poetic text, in signs and implications among which the poet included poetic codes and images to promote beauty and attraction of his text. Motif is highly significant in Samih Alqasim poetry and lets the viewer find the key hidden in his work in the form of a noun, verb or a sentence for a main point around which his poem turns. Of course the poet occasionally resorts to repetition which accompanies with insistence on temporary concern to have a certain view. As an instance, he uses palm and olive motifs each of which has been respectively iterated 51 and 69 times in his poems with sustainability goals in poetic necessity. Meanwhile, palm implies secrets such as resistance, vitality and new life and olive inspires freshness, prosperity and the poet's religious heritage tied with his patriotic feelings. This study seeks to uncover application of palm and olive motifs in Samih Alqasim poetry with reference to statistical data and emphasis on analytical-descriptive method.

Literature has always been proportional to the taste of humanity and played a prominent role in revolutions and social movements to achieve independence and freedom during history. Resistance literature as a branch of literature, has made a roaring literature that there is no way of stop and hopelessness to it, and has defended societies by putting aside repressive force, it has acted like a deterrent weapon to provide eternal cultural background of attacked societies, and wants to provoke the flame of hope in the hearts of nations. An approach to study poetry from the perspective of resistance literature, helps to understand its quality. One of the effects of this literature is to arouse the nation's will against demands of oppressors who believe in suppress and oppress. Resistance literature is the only weapon which some poets such as Moufdi Zakaria and Farokhi Yazdi by using it; had done a pioneering effort in Iran and Algeria's resistance poetry. Therefore this research investigates a comparative study between two poets; Moufdi Zakaria and Farokhi Yazdi, by descriptive-analytic method, without considering the two types of revolutions in both countries and emphasize on American and Sulaf School in comparative literature. Result of the study indicates that both poets have a common general goals and different methods. Since the resistance in Farokhi Yazdi is an aggressive one, instead of blaming autarchy and colonization, he pays attention to quarrel and awareness of his own nation due to negligence and uninformed domination over them, while Moufdi Zakaria takes an encouraging method toward his own people in resistance procedure and prefers to be proud of them and narrate their valor and courage in order to increase the spirit of resistance in them.