narjes ansari

Music plays a prominent role in contemporary poetry's structure and arouses the emotions of the audience while enhancing the beauty of the verses. The undeniable connection between poetry and music is evident because the beauty and longevity of any poem depend on its utilization of music. With that in mind, Mahmoud Darvish and Qahar Aasi are among the poets who have shown special attention to this aesthetic element. In Darvish’s poems, there is an epic spirit, which characterizes as a guard/ weapon to protect the land of Palestine. Similarly, Aasi's recent poem, "From the Fire and the Silk", shows his patriotic spirit. Both of these poets have tried to integrate music in their poems to deliver the message to their audience in a more beautiful and attractive way. The current research examines the element of music in Mahmoud Darvish's poetry collection, "Almond Blossoms and Beyond", and Qahar Aasi’s collection "From the Fire and the Silk". Using a descriptive-analytical approach and precise statistical analysis of selected poems from both poets, the investigations indicate that they share common themes in their poetry, but the authors seek to illuminate the method of employing music in the poetry of these two poets and the harmony between music and its content. The results demonstrate differences in the utilization of music and its relationship with the content and subject matter of the poetry by the two poets. However, the connection between music, content, emotions, and thoughts is a matter that can always be observed in their poetry.

Stylistics is a form of analysis which is primarily concerned with the field of literature. It approaches a literary text from different aspects, one of which is syntactic analysis. The study of the syntactic structures can shed light on the links between the thoughts. Each person, depending on their mental characteristics and the subject at hand, makes use of a number of different syntactic features. The present feature seeks to shed light on syntactic forms resilience poetry, drawing on the works of three poets: Muin Bseiso, Mohammad al-fitoori, and Adnan al-Saegh. Since this form of poetry mirrors the thoughts and beliefs of the people living in one particular society, it is inevitably realistic, alive, and dynamic. Given the biological and cultural diversity of Arabic-speaking communities, this form of poetry can take many different linguistic and stylistic forms. This very issue calls for further studies and research on the style and language of the poets of resilience poetry. On the one hand, each poet has made use of a different style depending on the extent to which he has been affected by the status quo and socio-political changes of his country and each poet enjoys a style which differentiates him from other poets. Therefore, cultural, social, and political environment of these poets, their position and prominent role in the contemporary Arabic poetry, all of which bear solid themes, have led to their selection. Given the wide variety of syntactic structures, only nominal and verbal structures, tense, and Modality are of concern to the present research. The aim of the present research is to shed light on the aspects to which poets have resorted to achieve the common goal known as reliance poetry. Therefore, the main research problem is to identify and stylistic study of the syntactic structures of these three poets. In this way, the idiosyncratic style is identified along with the type of their interaction with language.The present study follows a descriptive -analytical-statistical approach. Twenty odes from each poet on the theme of homeland were selected. These odes were selected to shed light on how linguistic and stylistic components were made use of to express their thoughts and beliefs and best depict this form of literature.With regards to the results, it was found that Bseiso’s style is characterized by nominal structures with verbal predicates. The political position of this poet as the head of the Palestinian communist party leader. On the other hand, his physical presence in the fights against the Zionist enemies could be considered as factors that could lead to his usage of singular pronouns in nominal structures. al-fitoori has mostly utilized nominal structures and singular pronouns to express his thoughts and feelings in his initial poetical works. This is due to the grim social and political situation of his time when colonialists were looking to destroy their culture and identity. He also consolidates his being and presenxe by using such structures. However, verbal sentences in al-Saegh’s poetry are more frequent compared to Bseiso and al-fitoori's and can be considered as one of his stylistic features. This can be due to the narrative and storytelling aspect of his work. The expression of such concepts inevitably entails the usage of verbal structures.In al-Saegh’s works, tenses are either past or present. He does not seek to escape from the reality by depicting the old world; rather, he levels criticism at the current situation of the society that cannot create a link between its two different worlds. To disentangle from this bipolarity, he creates another world in the past tense. Such a style is an indirect mode of expression to express objections. However, Bseiso and al-fitoori’s works are almost completely set in the present tense.Declarative forms are stylistic features of al-Saegh’s poetry. He makes flashbacks to the past and depicts the scenes in a natural way. Nonetheless, unlike al-Saegh’s poetical works, most of al-fitoori’s odes are a combination of different kinds of verbal modalities in the macro-structure of odes. However, in Bseiso’s works, due to his wrathful spirit, the decisiveness and function of the declarative structure is highly common. He has explicitly expressed bus thoughts using this structure and humiliates and ridicules his enemies by drawing on imperative and interrogative structures. However, imperative structures are less frequent in al-Saegh’s works. Due to his bitterness towards war, he does not try to persuade the soldiers to fight. His obligatory participation in war has played a role in this matter and has led to him using declarative and narrative forms to retell and depicts the status quo of the country. The essay aspect of his sentences, which is mostly reflected in his interrogative modes, is in fact coveted in despair and disappointment.

Among different types of texts for translation, poems are one of the challenging ones given their aesthetic specifications that are in harmony with the meaning. A poem can convey a variety of aspects of meaning to the audience, which is not easy to do in other ways. In addition, creating a balance at all levels of the target text to create an equal and similar text to the original text is not feasible, which in many cases leads to a failure to convey the whole meaning and concept. Literary recreation is an approach that is expected to attract more attention for making a versified version of the poem translation. The present study examines Jami Poetry Collection by Taiyeh ibn Faraz in terms of semantic, superficial, and aesthetic aspects and the transfer of meanings from Arabic into Farsi in a versified form. The study was carried out through a descriptive-analytical method. Taking into account the notable similarities between Jami and Taiyeh ibn Faraz’s poems in terms of words, sounds, and clarity of words, Jami’s work can be considered as a translation loyal to the original text. The poet does not attempt to create literary aspects to convey the idea via an independent work in Farsi. The translator has made himself committed to finishing the verses with words identical to the original text in terms of sound so that in many cases he has finished the sentences with the exact Arabic word. This approach has created ambiguities in the meaning and highlighted the loyalty of the translation to the original text.

The feminine literature is one of most important topics in contemporary literary criticism. following the Women's movement to achieve equal rights with men, “Feminine writing style” was developed as branch of feminist criticism in the mid-20Th century. According to feminists, men are not able to represent women's experiences in their works, so it is necessary to express these experiences in women's language.Using statistical- descriptive and analytical methods, this research has attempted to study the components of feminine writing in Hoda Barakat’s novel "Hajar al-dahk" in two lexical and syntactic layers. This result was obtained by studies: In lexical domain: intensifiers, hedges, repeated words and color terms, in syntactic domain: simple sentences, short sentences, compound sentences, incomplete sentences, and interrogative sentences used as soliloquies are among the components highlighted in the novel. It is worth mentioning that, although war literature demands its own language, this issue could have no significant impact on the type of language of the author, and she has maintained her own specific feminine language. The lost identity of women in society has played a significant role in shaping their particular language and could be the main cause of feminine writing components formation.

The study of the vocabulary of poetry is one of the approaches used to evaluate a poetic style. Along with other layers of stylistics, namely syntax, rhetoric, and phonetics, it plays an essential role in analyzing the poets’ way of expressing themselves, and in studying a historical era or literary school. Since words form the structure of language, the study of the diction of literary texts is essential in understanding poetic style and language. Therefore, words should be considered the first tool that embodies poetic emotions and bring the poet into contact with the reader. Due to the importance of this linguistic element in literature, the present study tries to examine the linguistic layers in the poetry collection Sama fi Khozeh (Sky in a Helmet) by Adnan al-Sayegh, a contemporary Iraqi poet known for his resistance literature. The article tries to discover the connection of this layer with the content and form of the text, and the relationship of words with each other, and to determine the function of frequent poetic words. Based on the analysis conducted in this research, the words of this poetry collection have been selected in an entirely purposeful manner so that they correspond with the poet’s surroundings, and this is reflected in the title of the collection, too. The diction shows the contradiction of the spiritual (internal) and material (external) worlds through the centrality of the keywords “sky” and “helmet.” This has created a dialectic of endlessness and limitation. On the other hand, new lexical combinations have caused individuality and stylistic emphasis, and have given a different structure and a distinct style to the poems. Moreover, the concrete forms of words have been juxtaposed with their auditory and visual forms in an artistic manner.

Music is one of the most dynamic and vibrant elements in building blocks of poetry, and poetry of resistance as included in contemporary Arabic poems, accompanied by its special rhythm and melody, is an innocent representation of emotions and conscience of Arab people with his lost dreams. Accordingly, the present descriptive-analytic study firstly considers a selective approach of poems by Moin Basisu and Mohammed Al-Fitory to analyze the extrinsic musical of odes and their changes and innovations in the poems as adopted by the two aforementioned poets. It then investigates the role of rhymes and their typology in relation to the music and meaning of ode. The study also reviews and analyzes the acoustic mechanism of the poem of resistance which leads to the richness of poetry music in order to define the relationship among the internal music, the content of the ode, and the poet’s state of mind. Results show that the rhythmic melody in these two poets’ poems has undergone different changes and new interpretations have had a vital role in minimizing the boring uniformity of music. And synthetic melodies in Fitory’s poems because of a new rhythm and melody originate from the poet’s personal experiences are regarded as highly poetic poems. It also has made the conditions appropriate for internal music analysis, uniformity, and homogeneity of acoustics in words structures. In overall, it results in harmony, musical cohesion, and multi-aspect semantics to the poem.

Narration is the most basic part of the story and its skeleton. Narration is the manner or technique by which the story is narrated by the author. The narrative structure of the stories determines the artistic value of the story, and in order to study this criterion, it is necessary to examine the narrative style of the stories separately or comparatively. In this paper, based on the narrative style, two popular social novels by two renowned Arab and Iranian writers, The Yacoubian building by Alaa Al Aswany, and Bioten by Reza Amirkhani, are investigated. After reviewing and analyzing the two novels, it became clear that the personal narrative style of these two authors was largely similar. The particular styles of Aswany and Amirkhani in these two novels are "suspension, anachronism and time deletion, descriptive pause, short circuit and focalization." The results of this study show that both authors have used a kind of short jump in the process of story suspension to generate interest in the audience and from the perspective of the plot element processing, we also see a kind of action system. The two novels are very similar in structure and content and have a strong connotation because of reason and the causal relationships. The narrative structure of time in both is circular, nonlinear and lacks proper order and sequence, which leads to anachronism. The use of temporal summaries in both works has given rise to short frequency. Aswany and Amirkhani, with their inner focalization. Stand beside each character and express their goals with his voice and language

Language is one of the fundamental elements in stylistics and gender, in turn, is of significance to the language of literary texts. Robin Lakoff is the first theorist of linguistics to discuss his views on the female speech patterns in discourse. From his point of view, male and female language is more projected in speech than in writing; a sample of Nahj-ul-Balagha and the guidance of Fadakieh of Hazrat Zahra sermons were selected for their similarities in terms of the conditions and subjects and were analyzed based on Lakoff's theory. Lakoff's phonological, lexical, and syntactic elements along with emotional - related concept were employed to descriptively analyze the selected sermons in terms of the linguistic features manifested in the speech of males and females. The patterns obtained appeared to match up, though partially, with Lakoff’s model in difference between males and females in terms of rhyme, pun, using adjectives, questions, syntactic coordination. They, however, did not differ in terms of emphatic expressions, oaths, and taboo words. The mismatch of the western point of view and that of the infallibles is utterly obvious. It is stands to logic to argue that the infallibles did not discriminate for/against one gender rather depending on the condition and topic of their speech resorted to different styles.

Stylistics and the research conducted in that area over the works of literature is one of the most important topics in modern criticism. The purpose of such discussion is the linguistic context such as music, implications of short and long terms, compound expressions and their relationships, rhythm and their figural usage signifying their artistic context. The present paper studies Javid’s poems through a stylistic approach. He is considered as a representative of the poems of commitment of the contemporary movement of in Egypt who struggled against the authoritarian regime of his society. The stylistic introduction of his work is in fact a critique of his thoughts, perspectives, and sublime connotations. However, due to his wide range of literary works only three of his poems representing Imam Hussein as a sublime role module, a savior of the today’s human being are considered through a descriptive analysis. This study clearly shows the harmony present between the poet’s romantic emotions and realistic perspectives with that of society; in addition, the thought of deviation from Imam Hussein’s school of thought is the cause of cruelty, misery, and injustice in communities and nations can be traced in the three chosen poems. The poet has been successful in employing variety of linguistic techniques and turned it to a style to create a connection between concept, thought, and language to convey his view points to the addressee.

Learning Arabic, as the language of our religion and culture and one of the most enriched and applicable languages of the world, is grappling with numerous deficiencies and challenges in our society. Meanwhile, English is increasingly penetrating into all the layers of mind, thought, and social communications, and wittingly or unwittingly devastate all other languages and cultures employing all psychological, cultural, social, educational, and media forces and tools. Adopting a descriptive-analytic method, the present article comparatively criticizes the reasons behind the deprivation of Arabic in Iranian schools and universities from various linguistic and pedagogical perspectives, evaluates the status of Arabic compared with the prestige attributed to English as an international language, and identifies the effective features involved in an ideal pedagogy and the necessary strategies. The comparative study of the similarities and differences between the syntactic features of Arabic and English compared with Farsi based on the methods of contrastive linguistics and the moderate version developed by Aller and Zia Hosseini (1970) alludes to the fact that the syntax of Arabic as Sami language is extremely different from the Indo-European languages of English and Farsi, and consequently presents many difficulties to the students. Furthermore, the investigation of such factors as curriculum planning, language learner, teacher, textbooks, and other educational tools, and teaching methodologies reveals that unfortunately the planning and teaching of Arabic Iranian schools and universities are exerted quite far from the vast development taking place in teaching foreign languages all around the world.

Women have always played a great role in the realization of insurrections in the course of history besides heroic men. The great Iranian revolution could be mentioned as one of the most objective cases of women''s cooperation. Furthermore، everyone admits with certainty that it is the Great Zeinab''s admirable patience، perseverance، and strife that immortalizes Imam Hossein''s mobility. Women''s mission in this strife commences right after he is martyred; but among the women present in Karbala، Hazrat Zeinab''s sublime character beams on the horizon of history، and attracts the attention of men of letters and arts، particularly poets. Here، the researcher tries to do a close scrutiny of the distinguished contemporary Arabic and Persian poems on the Great Zeinab; thus، this essay will elucidate her reflection in the poetry of both languages، and underline the distinctions between the poets of the two cultures and nations in the representation of her character. Furthermore، the notion of slavery has been examined in the poetry of both languages due to its close affinity with Ashuraee women. This study evinces that Persian Ashuraee poems have put more emphasis on Hazrat Zeinab''s bravery and valor، lucidity and rhetoric than her other features while the most prominent virtue identified in Arabic poetry is her forlornness. Another distinctive feature between the two poetry is that Persian poems render a much more precise and detailed portrait of her.

Poetic images are primary elements in the essays Kamal Abodeib and Mohammad Reza Shafiee Kadkani and are of the most important criteria in the poetry criticism of Iranian and Arabic critics in all periods of times. This aspects of aesthetic cognition of poetry in the contemporary period was considered by the critics of the two languages and some predominant Iranian and Arabian critics wrote independently on this topic. Kamal Abodeib and Shafiee Kadkani are instances of these critics which have presented new and bright viewpoints in the field of imaginative figures in their outstanding creations. A critical view with a new critical state in the field of poetic images and compilation of independent books on this topic have obliged use to take part in a research and comparison of the various opinions of these two critics in the field of poetry images. A research in the field of imaginary figures of poems illustrates a general view of the critic to this phenomenon of aesthetic cognition and his research is a research in the oral structure of a literary essay. This critic justified the opinion of Abdolghaher Jorjani who believes poetry images are primary, dynamic and lively elements in the creation of an artistic essay. He believes that coordination between meaning level and psychological level can improve poetry figures. Shafiee’s research on imaginary figures shows that he has a profound and impressive look in this field. He knows the imaginary figures as a collection of visual images. Unlike Abodeib’s manner, his course as a critic is completely partial and elaborated. This critic like Abodeib used an adaptive method and after a discussion of some theoretic problems in this zone adapted these with poetic instances.

Colors in Arabic poetry as the main means of illustration earn a specific application. So perhaps it said that the best images so that those have been using the colors. Omar Abu Rishah, the Syrian poet; who has well-known love and homeland. He by using different colors in the images in his poetry has been able to create exquisite images. Red has the highest frequency among the colors used by the poet. Then we see black, white, green, yellow, blue and purple. The symbolic meaning of colors in many cases has been used to refer to concepts more deeply. The cases also have been used only in its original meaning. In this paper is a summary of poet's life, then it studies the colors used by poet, and for them has been written the poems separately and they are analyzed.