فهرست مطالب shahriar hemati

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.

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.

Literature has got a social and cultural meaning as all human intellectual and spiritual activities do. The literature of every nation has, therefore, always undergone a change in parallel with the vicissitudes of the society and it accordingly has become the real symbol of the society. There are many parallels and similarities between Arabic and Persian poetry, The need to implement a cash position Ghzamy between literature is required. The study, which was conducted with analytical method Is trying to tell other common points between the two letters from the angle. This comparative study shows that Arabic and Persian poetries have from the outset been the arena of conflict between male and female linguistic substructures. In the classical period, however, the patriarchal and male language was predominant and the female language the missing longing of the poetry. And if, with such cultural restrictions and the prevailing poetic language of the time, a few females tried to attempt tackling poetry, they, consequently, had no way but writing poem in male language. Owing to having relation with the West and consequently knowing its movements and obtaining more liberty, women of the contemporary era found an opportunity to gain an understanding of their own situation and consequently played a more indispensible role in the social and cultural activities. With the emergence of women in the arena of poetry, the poetic language of Persian and Arabic literature lost its classical loftiness and patriarchy and it in accordance with acquiring female linguistic features took a more conspicuous tinge of softness, elegance and flexibility. Nazok Mlaekeh and Forough Farokhzad were the founders of female linguistic substructures of poetry and therefore attempted consciously to express female emotions in poetry.

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.

Contemporary Arabic poetry by the method of narrative texture has been turn as a spectacular method or evolved technique and by ignoring clauses and barriers to old expression was able to provide a new type named texture for arrangement of vocabularies and combinations in a specific frameworks and to achieve a clear structure about the look stylization and poetry's poetic experiences, of course, this texture is created in a narrative structure and it is along with other elements of narrative such as occurrence, personality, time, place, challenge, and language that play a role. But in connection with the poem by Mohammad Afifi Matar, it should be noted that most of his Qasidas have the ability to incorporate various forms of narrative and drama, especially when the poet speaks of current human problems and contemporary challenges, the signs of modernism, such as the attention to the technique of texture in his poem, are further revealed and takes wide mediator dimension to itself. Among his beautiful qasidas is “Separated Steps” which not only in the function of narrative symbols reaches the level of other poems but it can also surpass from the same qasidas for the shine of the texture technique. This essay aims to reveal the effects of this technique, its motives and the beauties in the desired qasida by relying on a descriptive-analytical method in the analysis and evaluation of literary texts.

Semiotic proceeds to investigate the hidden points of poetic texts and follows a network of textual relations using beneficial methodology in contemporary periodical criticism, and causes the dynamics of texts in critical reviews and identifies existing codes in linguistic structures and measures their flexibility with innovative concepts. Muhammad Afifi Matar is a great Egyptian poet, whose expression possesses a set of codes and ambiguous concepts that are often related to effective cognitive marks, which provides an excellent opportunity to review his poetry in various aspects, such as semiotics. Therefore, in the ode of ‘Don Quixote’s sufferings’, we chose the methodology of semiotics, till we step forwards with the help of it, within the boundaries of this circumstances and linguistic or non-linguistic effective cognitive diagnostics. The result of this research reveals that, the poet borrows most of his vocabulary from everyday life in order to achieve the expressive capabilities of the present ode, in order to reduce the pressure of his complex visual language and, on the other hand, to avoid direct statement, but still it plummets in a chain of paradoxes that create a huge gap between the tangible reality and his mental imaginations. The images used in this ode are summarized in terms of nature and terms which are related to it, although these images of the same language system are disarranged in the application of vocabulary and the way that we look at them. The poet’s thresholds play a major role in representing the manner in which the poet enters the text and brings him to the right end, and the aesthetic space of the text presents its own unique character through a variety of phrases and contrasts in the ode, so that it helps the overall coherence of the text by choosing the far and nearer vocabulary.

The spatial polarity or dichotomy is a new critical approach in recognizing the contradictions and differences of related place words, which play aesthetic functions in the text either obviously or in hidden manner. Closed spaces, due to the significant role that they play in Arab contemporary poetry, have various functions, such as cognitive-dramatic functions, and can familiarize the readers with the differential effects of the open and close places, spaciousness and confinement, introversion and extraversion, and other contradictions which result from internally and externally induced challenges and influence the quality of the poetic invention, and in turn result in a strong opposition of spatial terms. Mohammad Afifi Matar is a great poet of Egypt, whose poetry revolves around a set of contrasting elements with variable meanings, which by accommodating and capitalizing on place polar terms, incorporates different intrinsic and social issues. This research uses descriptive-analytic method and focuses on the polarity between house and prison in the poetry of Mohammad Afifi Matar. The results of this study show that the poet refers to the function of the house in contrasting ways, such as the confrontation between dream and tragedy, the opposition of its openness and its closed space. On the one hand he wants to digress from the external realities and its frustrating concerns towards the world of good memories, and on the other hand, he arouses the negative feelings of sadness and anxiety associated with house by using its position to the concept of land and defense of the homeland. The poet extends the concept of prison through the polarity of self and community; in the former he emphasizes the intensity of his suffering and psychological pressures, and in the latter on important social issues while he was in prison and before it.

The term "meaning of meaning" has long been commonplace among Arabic scholars, and today linguists are referred to as titles such as reflexions, reflections and shades of meanings. In the Qur'anic texts, there are other meanings other than the main and lexical meanings that go beyond the meaning of the meaning. Key words: Parvin, poems, story of messengers, telemia, moral messageAnd through emotional and linguistic elements. In the Holy Qur'an, one of the unique forms in which the second meanings are manifested, is the presentation of the form and the delay in the verses. This fascinating form in the verses shows that verses similar in different ways have been repeated with a little difference and their vocabulary has undergone a shift It has brought new and innovative meanings, which can be found by using the findings and achievements of linguistics. This article, by descriptive-analytic method, seeks to open a new window of Quranic expressive beauty by comparing the proportional contrasts of the presentations and delays, as well as using the meaning of lateral meanings and implications. It has brought new and innovative meanings, which can be found by using the findings and achievements of linguistics. This article, by descriptive-analytic method, seeks to open a new window of Quranic expressive beauty by comparing the proportional contrasts of the presentations and delays, as well as using the meaning of lateral meanings and implications.

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.

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.

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Syzyf myth is one of the main inspirations for modern Arabic and Persian poets. In ancient Greek myth it is stated that Syzyf, because of defying the gods, was condemned to carrying a big rock up the steep mountain to the peak. He is forced to repeat this because in every trip the rock goes off this hands near the top and rolls down the mountain. This way he symbolizes eternal punishment and pain. This story has become a source and reference for many social, philosophical, political, and cultural themes in poetry. This study investigates the influence of this myth on the works of two prominent poets: Mahdi Akhawan Sales and Abd Al- Wahhab Bayati. The questions which are addressed include: 1) Why do Abd al-Wahhab Bayati and Akhawan sales pay a attention to this myth? And 2) what elements do they bring in to make effective use of this myth?

The separation of any person from family and friends is an experience that generates a feeling of sadness and loneliness. This is the result of causes outside human will. So, the bitter conditions that the two poets, Masood Saad-e Salman and Al-Mutamid Bin Abbad, have lived through In the days they spent in prison have led them to compose poems that express their emotions about life. The Poetry of Masood Saad-e Salman about prison is called " Habsiat" and that of Al-Mutamid Bin Abbad is called " Osariyat". These poems are characterized by features which make them a special kind of literature. This article tries to survey and study the prison poetry of these two poets, one Persian and one an Arab. The results of this study show the correlation of the two texts. There are common themes in the poems of Masood Saad-e Salman and Al-Mutamid Bin Abbad, is driven by a common attitude about life by these two poets while in prison. The question which is posed here and we are going to answer, is, What are the most important common points which cause us to compare these two poets? This is: what we will try to answer through a review of the similarities in their poetic works.

The ‘al’, ‘alef wa lam’, or ‘lam’-  - is the variation of a word or a noun that has a great number of usages in Arabic sentences, and perhaps it is not an exaggeration if we say that it is the most usable morpheme in the Arabic language. Its varieties, usage and avoidance are among the prominent problems of teachers, which has further created problems not only for immature students, but for the experienced Arab professors as well. The issue around the usage of this word is not a contemporary problem; rather it has been a matter of disagreement and discussion for long. Many books on syntax, eloquence are full of useful items about this word, as well as differences in meaning which is the result of attaching or not attaching this morpheme to other nouns in Arabic. However, researches about variations of “al”, and the meaning differential of this word must be carried out in the future studies.