zohreh behroozi

Pragmatics is a branch of linguistics that studies the simple or complex relationship between language and speaker and audience. In pragmatics, the theory of speech act has a prominent place, which was introduced by language philosophers such as Austin and developed by his student Searle, and he divided the patterns of speech action theory into 5 types under the influence of internal and external factors of context. So, based on Searle's theory, we study Faliha Hassan's poems in terms of the speech acts, because her poems have many semantic dimensions and talk about human and emotional issues as well as social and political issues such as war. This Iraqi poet has a critical view on various subjects and she is influenced by the context of her poems with this act of explicit and implicit speech. This Iraqi poet has a critical view on various subjects and her poems are distinguished by these explicit and implicit speech acts. Therefore, this article tries to study the function of speech acts in Falihah Hassan's poetry based on a descriptive-analytical method. The results show that the poet used a variety of speech acts. But interestingly, this poet has used 5 types, specifically assertive act, directive act, and expressive act. In the poet's poems, we find that she used assertive acts to describe and express her emotions and experiences during the war.

Time is one of the significant features of narration that links the events of a text together based on stylistic choices. Time, in terms of analopsis or prolepsis, can create anachrony in a text. Ghassan Kanafani, utilizing this technique in Return to Haifa, attempts to narrate the confusion and displacement experienced by the characters. This study, adopting a descriptive-analytical framework, examines the role of anachrony in introducing characters, presenting information, and affecting readers. The study identifies 31 instances of analopsis in the novel. The characters’ analopsis appears in forms of conversations and reminiscences of war and displacement as the result of stimulating of senses and attending a specific place like such as the beach, streets, and houses. In this regard, the author narrates the 20-year experience of displacement and forced migrations of people since 1947. Saeed, a character in the novel, uses prolepsis 7 times in his speeches, which probably crystallize the 1967 awareness (enlightenment) among people. It can be concluded that Kanfani expresses his optimism towards the nationalists’ movements and the Palestinian people by relying on preliminary analopsis and reporting future events, believing that people are ready to pay high costs to fulfill national goals.

Power and ideology are two key concepts in the critical discourse approach, making discourse meaningful to maintain or change social relations. Ideology covers a set of beliefs and values that play a decisive role in power relations. It is an instrument for establishing unequal power relations in society and giving it legitimacy in critical discourse. The usefulness of examining power relations and ideology via critical discourse analysis is that the analyst seeks to discover the mechanism of social inequality at the substrates of the discourse. The novel Beirut '75 by Ghada al-Samman is an example wit many many underpinnings via which the writer critically criticizes class distance, the unfair power distribution, and authoritarianism. The present study aims to investigate the imbalance of power in situational contexts and to analyze the ideology behind the discourse. The results suggest that some linguistic features such as vocabulary, conditional clauses, tense, and simile play a significant role in highlighting the inequality of power distribution and establishing the opposition of the parties to the discourse. The discourse has two contexts that are different in terms of social, cultural, and worldview classes. Discourse, based on the ideology of authoritarianism, establishes social relations with the aim of achieving personal gain and with the slogan of service for service. Moreover, liberal ideology and values represent absurd traditions and anti-woman society. It represents a failed attempt to achieve freedom, defined in terms of wealth, fame, and power.

Rhythm is a very important element in poetry, and it is one of the essential ingredients Because rhythm is the aesthetic that it gives to the poet a faster effect on the listener and, therefore, adds to the effect of the meaning of the poem. This rhythmic and musical effect is very effective in resistant poetry especially in the qasida "al-Mūjat al-ḥamrā" of Sulaīman al-˓īsa, a qasida full of epic meanings that the listener understand revolutionary concepts, the same concepts of excitement that make the hard-core nation Emotionally, the listener understands this feeling from the rhythmic structure seen in both aspects of the inner rhythm and external rhythm. The purpose of this research is to investigate the rhythmic and musical structure of the qasida "al-Mūjat al-ḥamrā" based on the descriptive analytical method, and find the musical elements used in the poet,and discover the Semantic effect of musical elements on qasida. So we use the method of censusing to determine how much it has been used. These musical elements. So in this study, we arrived at the

The poet has composed the poem on the beat al-baḥr al-kāmil because the concepts used in the poem have a high semantic and need to be firmly laid out with a precise framework, and the poet has used the letter "al-dāl", and "al-bā" a lot, for the sound power of these two letters, but in the inner rhythm, the poet has used too much of the plosive letters to create a rhythmic and musical space poet with these strong letters for prepossessing of the listener to fight and to achieve freedom, and verbal esthetics is seen in the qasida such as:" al-ǧinas", "rad al-˓aǧuz ala al șadr" Because the poet has used some similar words to illustrate the opposition between the Palestinians and the occupiers , and the purpose of repeating some of the words is to emphasize the concept that was mentioned at the beginning of the verse.