جستجوی مقالات مرتبط با کلیدواژه "آخر الزمان" در نشریات گروه "ادبیات و زبان ها"

The Prisoner of Mirrors is the title of a novel by Saud Al-Sanousi, the Kuwaiti novelist, who began it with this sentence from the Indian Tagore (He who carries his lamp behind his back sees nothing but his shadow in front of him). With this phrase, the writer tries to express the content of the novel in a concise, philosophical sentence, and through it he touches the deepest meanings found in it. This novel is not just a romantic drama novel, but rather it appears through its details that it revolves around the search for the self, the discovery of a dispersed and lost identity, and the pursuit of happiness. chronotop plays an effective role in accelerating and renewing the course of the novel's events. It is a technique considered by many critics to be one of the most important narrative structures for understanding and visualizing events in the narrative construction. This study proceeded to its treatment and its various forms of manifestation and its implications through its descriptive and analytical approach. After presenting and analyzing the subject, the study concluded that the manifestations of the temporal structure in the novel are more temporal than spatial. Because the novel narrates the moral aspect of the story of the suffering of Abd al-Aziz, the protagonist of the novel, who lived a life of loneliness and pessimism. I also noticed that time within the novel is dominated by the retrieval mechanism more than the anticipation. Because your love for the events in the novel centers on the past. Finally, the aesthetic of the narrative structural structure complements the acceleration and slowdown of the narration and the summary, scene and pause that they contain, as these mechanisms, in their entirety, created an integrated tone that tells the story of a hero (abd al-aziz) suffering from loneliness and alienation and trying to recover himself and reveal his identity.

Adverbs add to the meaning of the word and clarify its different angles in such a way that it can be said the more the verbal adverbs are, the greater its meaning will be and its implications become wider. Time and place adverbs are most commonly used in Arabic because every action takes place at a time and occurs in a place. Al-Khansa is one of the most famous Arab poets and the pioneer of making jeremiad of that nation. In this article, the author intends to examine the time and place adverbs in Al-Khansa's poetry in order to clarify how the poet has used them to creating meaning? And what roles have these adverbs played in the images which she has created? The method chosen to conduct this research is a descriptive analytical method and sometimes the use of statistics. The results of this research point to the fact that Al-Khansa has used well-known adverbs to express her emotions, which more reflects the grief of the loss of her relatives, and has created meaning and innovations through the proper use of them. She has added to her admiration through using adverbs which has placed him at the top of that trait. Occasionally, by using specific adverbs, such as giving or delaying, she extracts her intended meaning. The poet has also used the adverbs for the richness of the simile and metaphorical images she creates, and she used them to creat metonymic images.

Apocalyptic literature can be considered as a kind of idealistic literature in which the poet-writer is dissatisfied with the current state of his society and the flow of affairs and seeks to create an ideal world, a world other than the present world, using his creative imagination. In this type of literature, anxiety and political, social and religious anomalies and the inability to overcome it focuses the poet-writer view to the future, thus the present time is the source and origin of his historical consciousness and evaluate the present time from the perspective of the future. In the present article, it is tried, while examining the apocalyptic images and their components in Khalil Havi's poetry by analytical-comparative method, to match those images with the apocalyptic images of the Bible, and also to examine the effect of Khalil Havi from the Bible. From the results of this research, we can point to these two points: First, Khalil Havi in his apocalyptic images of his poetry is completely influenced by the Bible. Secondly, Khalil Havi makes his promised paradise in this world.

Badia-Al-Zaman Hamadani one of the greatest authors in Abbasids age, innovated a new technonogy which is attended by other authors of that age, even by the authors and poets of the next ages. The interest in innovative technology Badia-Al-Zaman not limited to the Arabic language but some of the authors and poets in other languages follows him  and wrote valuable works Including Saadi's Golestan book. Saadi influenced in compiling this book from the Arabic Magamat, to the point that some critics consider the introduction of Golestan in a composed way it's a perfect Maqameh. This article seeks to adapt to the Sa'di's Golestan into Magamat Badia-Al-Zaman compare the similarities and differences between them and to clearly express. Based on the results obtained, Shared cases between Magamat and Saadi's Golestan are twelve and difference cases are seven. Thus, with regard to cases more common than differences, Saadi follow style of Magamat, but this influence is not merely imitating Saadi in Golestan genius is clearly visible.

BadiOzaman and Hariri Maqameh are among the very important literary prose genres, which first emerged during the Abbasid period. Such short stories serve different literary purposes and reflect different social, economic and cultural aspects of their time. For this reason, some researchers have largely investigated it. The prose literary language of these works is comprehensible to the audience, and they are fascinated by it. Educational, cultural and new literary concepts are presented in the form of short stories known as Maqameh. Furthermore, Badiozaman and Hariri Maqameh are, in fact, the cornerstones of the brilliant art of writing which are considered as the map of the future authors. These authors owe their high reputation to artistic creation in Arabic literature, they created a new form through such an unprecedented creation in the field of literature. This study investigates the strengths and weaknesses of Badiozaman and Hariri Maqamehs following the hypothesis that any literary work has certain strengths and weaknesses and it is thus worth an analysis.
Theoretical Framework: This study investigates Maghamehs of Badiozaman and Hariri. To begin with, a definition offered by Maghameh is presented, and then it introduces the authors of these works and their details. Then, a comparative study of the strengths and shortcomings of the Maghamehs will be presented. Both idiomatic and literal definitions of Maghameh are given, and its pre-Islamic morphology is discussed rather than its more prevalent meaning. Another theoretical basis of this study is the expression of the aspects of artistic creation of Maghamehs, which shows that the first author of Maghamehs was Badiozaman Hamedani. His Maghamehs were narrated by Isa Ibn Hisham, an adventurous cunning businessman. The hero is known as Abu Eskandari.
Badiozaman's most prominent follower is Abol Ghasim Hariri, who has clearly noted that Badiozaman is a pioneer in this field. Maghamehs of Hariri are narrated by Harith bin Hisham, a traveler and scholar who was very punctilious and cautious. Its hero was called Abu Zayd Serug, who is a master in volubility and speaks like a magician, thus he always reaches his goals. The third research theoretical foundation could be investigated in the history of the formation of Maghameh and the principles of writing Maghameh. This section also elaborates on Maghameh after Hamadani and Hariri.
In general, Maghameh is premised on a combination of courtly and ordinary literature or, in other words, it is a combination committed by non-committed literature. It is derived from seriousness combined with comedy; an imagination that is derived from inspiration within itself, which testifies to the glorious skills of the author in the creative transfer of his goals to the audience. Maghameh has three basic elements: Narrator, hero and narrative discourse. The third element is a basis for assessing and discussing Maghameh, yet it has not received sufficient attention from scholars and researchers. In this article, 10 different views of scholars of this field will be explained.
The researcher impartially compares and contrasts the strengths and weaknesses of Maghamehs of Badiozaman and Hariri by seeking the truth and explaining 5 strengths and 4 weaknesses.
Research This research was done using analytical methods to show its real nature and identity regardless of the different Maghameh narrative methods such as historical, literary, descriptive ones. Thus, it only focuses on the texts of famous Maghamehs with no bias and presents an acceptable form of the text of the Maghamehs.
According to what has been discussed about Maghameh, a wise reader will understand the notable presence of comparative analysis of the strengths and weaknesses of the Maghamehs. Previous research on Maghameh of Badiozaman and Hariri lack the comparative analysis of the Maghamehs or they suffer from missing accuracy, logical consistency and precision. However, this research explains the problems and strengths of the Maghamehs by adopting a mere analytical method. It attempts to explain the most important insights presented in this field. Maghameh of Badiozaman and Hariri have a variety of literary purposes such as praise, syllables, description, pride, rhapsody, etc. The prominent features of the research are the unique and innovative analyses of Maghameh. In addition, emotions and feelings play a major role in the creation of Maghamehs.
Conclusion and research implications: This research attempted to provide an impartial analysis of Maghameh texts, and thus it explained different political, ideological, ethnic, literary, social, educational and lexical aspects of these works. Scientific achievements of this research also include that Maghameh is a mirror reflecting the events of the past, and they are considered as a valuable social, political and literary document.
Moreover, Maghameh is a literary text in the form of a story containing loads of verbal array, syntactic elements, lexical secrets, poetic beauties and proverbs. It is embedded in a humorous narrative space and decorated with various multi-layered and overlapping information and useful teachings. In brief, Maghamehs reflects the truth within them and symbolizes a particular kind of literature.

The language grammar is a group of rules which is done on words, sentences, phrases, letters and semantics. In the other word they are the rules that have been founded by the linguists and the language learners would learn it for a better understanding of writings and words. Generally the grammar is divided into two groups: Syntax (words recognition) and Semantics (phrase recognition); these two together create the language. Arabic Syntax and Semantics are equal to the Persian grammar. The present article studies the time and place adverbs in both Persian & Arabic languages.

Maghameh is one of the literary styles that has been created in the fourth century. The present article studies various aspects of this literary style. First it defines it and then studies its formation and growth followed by its characteristics, sources and different views on it. It attempts to study Malek Al Shoara Bahar’s works and his goals in using Maghameh, affects and similes in his poetry. Also the affects of Persian and Arabic literati from Badi’ Al Zaman and his knowledge has been studied. At the end of the article Persian and new Arabic Maghamt has been introduced.