جستجوی مقالات مرتبط با کلیدواژه « آدونیس » در نشریات گروه « ادبیات و زبان ها »

Water and fire are two categories that have long been used as symbols among different nations and cultures and have been respected by nations as two important elements of nature. These elements are considered holy, purified and pure symbols in many places. Therefore, for a better understanding and correct recognition of these signs and symbols, there must be a specific framework and method; One of these methods is the use of semiotic knowledge. Charles Sanders Peirce is one of the famous semioticians who presented a new way to understand signs. His semiotic system, unlike Saussure's, which is based on a binary model of the signifier and the signified, is a three-dimensional model consisting of representation, subject, and interpretation. In fact, it is with the connection of these three aspects that the main meaning of signs is obtained and the meaning hidden in the lower layers of the text is determined. On the other hand, after the Second World War, due to the inappropriate social and political atmosphere prevailing in Iran and the Arab countries, as well as the stagnation and decay in the society, many poets of the Persian language and the Arab world, in their poetry, turned to the use of symbols and the myths were inclined. In the meantime, Shafi'i Kodkeni and Adonis also used a lot of symbols in their poetry due to their full knowledge of literature and national and world heritage. In fact, Shafii Kodkani can be considered one of the most knowledgeable poets of Persian literature, who is fully aware of the situation of his time, and the use of symbols and myths in his poetry is considered one of his ways to express the disordered state of society. Adonis is also one of the most prominent contemporary Arab poets who has always tried to convey a new attitude to the audience in his poetry. He is a modern poet whose all efforts are aimed at getting rid of the past and looking to the future. For this reason, he turns to the world of symbols because he cannot clearly express his mentality in the petrified Arab society. On the other hand, the symbols of water and fire are considered to be one of the most frequent symbols in the poetry of these two poets due to their value and meaning in human life and their alignment with the fundamental thoughts and views of Shafii Kodkani and Adonis, and the reason for choosing these two symbols is also for analysis in this article, the special importance of these two symbols compared to other symbols in the poems of these two poets and also due to the closeness of the concepts of these two symbols and their great use in their poems.The present study tries to explore the layers of meaning and the function of the symbols of water and fire in the poems of Shafii Kodkani and Adonis in a descriptive-analytical and comparative manner and using the semiotic model of Pierce.  In this article, the researchers have tried to refer to different sources and use the library method to randomly select poems from the whole divan and tell the audience the invisible world of meanings hidden in the layers of the words water and fire. In order to get the implied meanings of these words, they have first considered the general atmosphere of the society mentioned by the two poets and then by examining the coexistence of other words and using the two sides mentioned in Peirce's theory, i.e. representation and subject, they have reached the third side and the final goal, which is the interpretation of the word.Shafii Kodkani and Adonis are among the great and contemporary poets of Persian and Arabic literature, whose poems have attracted the attention of many researchers and many researches have been done on their poems. But with the investigations that were done in reliable scientific databases, it seems that none of these researches were based on semiotic theories and this issue demanded that a semiotic-centered research be done on the poems of these two poets. Therefore, it can be said that no independent research based on semiotics has been done on the poems of these poets and only in some researches, some topics of semiotics have been briefly mentioned. Therefore, the difference between this research and the previous researches is that, firstly, only two symbols have been specially selected from among the symbols in the poems of these two poets to make the discussion more specific; The second difference is that this research analyzes the symbols in a comparative way in order to determine the commonalities and differences in meaning between the two poets. Another difference that can be pointed out is that in the present article, the symbols are examined based on Peirce's theory of semiotics in order to achieve the underlying layers of meaning in the mentioned symbols in a systematic way and in a specific framework. From the results of this research and the meanings that are obtained from the words water and fire in the poems of these two poets, we can refer to flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth and love and feelings mentioned.By examining the political, social and cultural conditions governing the society of two modernist poets, namely Shafii Kodkani and Adonis, it can be seen that in some moments of their poetic lives, due to the chaotic social and political atmosphere and the stagnation in the society, they symbols are used to express their thoughts in order to convey their constructive views to the audience and free people and society from ignorance and corruption and guide them towards modernization and progress. Among the signs, they use more natural symbols, and among natural symbols, they use more symbols that are in line with their thoughts and ideas. Therefore, they pay more attention to the symbols of water and fire, and these two words are among the most frequent words and signs in the poems of these two poets. In the current study, considering the semiotic model of Peirce in the function of water and fire symbols in the poems of the mentioned poets, it is concluded that the representation of water and fire, which is actually the signifier, is the phonetic image of the words and the meaning of the first signs. In fact, Shafi'i Kodkani and Adonis use these mental and vocal forms and abstract concepts such as flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth, love and feelings are expressed for the audience in a concrete and sensual way. Therefore, it can be said that these abstract concepts are the subject of Peirce's semiotics model, which is considered as the secondary meaning or the signifiers and semantic elements of words. In order to guide the audience from the primary meaning or the representation to the secondary meaning which is the subject and object, the poet draws the space of the poem in such a way that the reader can easily understand the function of these signs and to achieve the third side of Peirce's theory, which is the interpretation.

Adonis and Shafie Kadkani are scholars who have explored the stylistics of mystical letters from surrealistic and formalistic perspectives. This research, conducted within the framework of comparative literature in the American school, utilizes a descriptive method and content analysis to compare their viewpoints on the cognitive style of mystical letters in the Islamic world. The objective is to explain their choice of theoretical approaches and identify points of similarity and difference in their opinions. The findings reveal that each writer has focused on specific aspects of mysticism, and there is no fundamental contradiction between their perspectives. Adonis emphasizes that mystical texts contain unique knowledge, distinct from ordinary experiences, which mystics convey through innovative concepts and a specialized language. On the other hand, Shafie Kadkani highlights the innovation in interpreting common concepts and using language and linguistic tools, rather than introducing entirely novel ideas.

Conceptual metaphors have always been a significant subject in cognitive semantics. As the two leading theoreticians of this field, Lakoff and Johnson emphasized the physical aspects and bodily experience of conceptual metaphors. In addition to the physical aspect, later, other theorists led by Kovecses emphasized the role of context, especially the cultural context in the processing and understanding of conceptual metaphors. Adunis, an Arabic poet and critic, focuses on thought and culture in his poems, and his poetry book, Aghani Mahyar al-Demashghi, has intellectual and cultural foundations and substructures that are taken from philosophy, Sufism and Surrealism. In the meantime, the similarity of cultural experience in the construction of conceptual metaphors and its relationship with cultural foundations in Adunis's thought and poetry is the main motivation for the present research. The results of the research demonstrate that the metaphor "dynamism is progress and innovation" is the most important conceptual domain of Adunis’s thought and poetry in the poetry collection "Aghani Mahyar alDemashghi". On this basis, Adunis conceptualizes the destination domain of "dynamics" using multiple and sometimes contradictory concepts such as running, flowing, stopping, burning, etc., which are all in line with the objective concept of "progress" in his semantic world.

Myth, as the first human intellectual system, is part of the mental experiences of nations, and poetry has been a continuation of that because imagination in myth is cognate with the imagery in poetry. Adonis and Bekas, with assimilative and abstract mindsets and breaking down classical forms have brought great innovations and by adopting and recreating mythological symbols have appropriated them to express their themes. This research, using content analysis and a comparative approach based on the American school, examines the application of myth in modern Arabic and Kurdish poetry, with an emphasis on the poems of Adonis and Sherko Bekas, to explain the fundamental aspects of the mythological symbols in their poetry. Myth is used in all the major themes of Adonis and Sherko Bekas’ poetry, yet implicit connotations of mythological concepts are more than the explicit ones. Phoenix, Jesus, Mary, Scheherazade, Cain and Abel, Mahyar and Hallaj, Sisyphus, Noah and Sindbad are among the common myths in their poetry. Sherko Bekas is more inclined towards Eastern and Iranian myths, while Adonis often leans towards Greek and Roman myths. Expanding the semantic strategies, utilizing conceptualization capacity, exerting the fluidity of mythological themes, and combining them with historical knowledge are factors that have helped both poets succeed in applying myth in their poetry. They have added to the richness of the meaning of their poetry by combining concepts, masking mythical characters, strengthening structural and conceptual functions of language, explaining the mental and physical dimensions of time and place, and hinting at narratives and characters.

After passing through the stage of structuralism, semiotics laid the groundwork for issues such as body, perception, feeling, and presence, and gradually shifted to a phenomenological perspective. In other words, the process of meaning-making is open and fluid, and confronts us with a presence whose biological senses, perceptions, and experiences are the source of linguistic production. Accordingly, the main foundations of meaning are sensory-perceptual perceptions that, through a physical and sensitive presence, convey their lived experience through languag. Therefore, in this study, a short poem by the Syrian poet Adonis (1930) entitled "Al-mezana" was selected and studied by descriptive-analytical method. The approach of this research is phenomenology and its tool is semiotics. The purpose of this study is to investigate the poet's life experience and how emotions are transformed into meaning and the role of subject and object in realizing the meaning of experience. Phenomenological analysis of Adonis's poem "The Al-mezana / minaret" shows thatThe phenomenology of the signs mentioned in Adonis's ode shows that meaning and experience are two separate processes that are  aligned with each other. Another important point in obtaining the meaning and experience of individualization is the direction that Adonis, as the narrator, gives to the main stage in order for the event of discourse to occur. Adonis has provided the source of the production of the signification of the forgetfulness of Eastern culture from the point of view of the weeping minaret and the end with the chimney. Thus, from the point of view of how phenomena begin, end, and are chosen, the narrator's view is taken, and as a result, a possible image of the phenomenological scene is created

The basic elements in literary images and imaginary forms, such as metaphor, simile, irony, metaphor, matching of the senses, etc., depend on colors; color has an important and prominent place; Because it gives literary words dimension, direction and depth and also its great impact on our lives and spirits is evident, poets use this element to give objectivity to their literary concepts. The abundant effect of colors has encouraged many researchers to study their effects and dimensions, both positive and negative, and each of them is trying to show these effects to others. In this article, an attempt has been made to study color as one of the main and important elements in contemporary literature, especially in the poems of Adonis and Qaisar Aminpour, by descriptive-comparative method, and also to evaluate the poems of these two Syrian and Iranian poets. The most obvious achievement of this research is that these two poets used six colors of black, white, blue, green, red and yellow with different committees to reflect and express different intentions and themes that were often due to the social conditions of the society. Their symbolic use was used to add to the richness of their poems.

Henri Louis Bergson (1892-1941), the French intuitionist philosopher, has focused almost his whole philosophy on real-time, and by suggesting a time outside the spatial-temporal limitations that can justify the fluid existence, tried to explain the truth behind this concept. The immediate intuition and perception that Bergson considers an instrument and method for perceiving and understanding the duration of existence is the same intuition by which the great poets and especially, the surreal poets pursue to remove the veil of truth. In the meantime, in Arabic literature, a surreal poet who happens to be familiar with western philosophy in general and Bergson’s philosophy in specific has taken the time out of its linear framework and tried to, like the human dynamic field, raise this subject in the concept of the extension and duration and use it for expression of continuous ‘becoming’ of life and its developments is “Adonis”. Adonis tries to know the truths of the world by placing his existence at the center, and like the flow, Bergson feels inside him and generalizes it to all phenomena. In this ode, the poet looks at what he has been through during different stages of his life and realizes it with his imagination power which is the same concept of “pure memory” introduced by Bergson. Finally, like Bergson, Adonis also considers the way to the perception of the truth and experience of the original and pure memory to be the “immediate perception” of them and avoidance of their exclusive attributes.

Semiotics is a current approach to study the mechanism of meaning formation and production.The nature of the tensive process that exists at the heart of any discourse is that it transforms meaning into an indefinite and complete entity, Since the discourse governing the two poems "The Lament of Hallaj" by Adunis and "The Death of Nasiri" by Ahmad Shamloo is based on extent and pressure relationship,and these two poems have various becomings and actions and are value-oriented, this article tries to use analytical-descriptive method to study the tensive-emotional system in these two poems through a comparative method. It makes the mechanisms of formation, production, continuity of emotional meaning and its interaction with other meanings clear and tries to explain the partnership of signs-meanings in the production of meaning. Findings of the study indicate that the elements involved in the mechanisms of production of emotional discourse, finally act to establish the desired meaning of the two debators, and debators use tools such as "discourse position", "conjunction and disconnection of discourse", "effect of verbs", "far-sightedness" and "rhythm and melody" in this direction. And also among tensional schema forms, the forms of emotional pressure peak and decrease of cognitive rang is applicable to the first section of Adunis's poetry, and the simultaneous decrease of pressures and extensions is applicable to the second section. As throughout Shamloo's poem, the tensional schema of simultaneous drop in pressures and expanses can be shown.

In order to create his poetry, every poet inevitably deviates from some grammar principles and rules, and he always tries to express the meaning in a clear way; Because otherwise, he has taken a step in the insignificance of poetry and poets. One of the ways to know the poetry of any poet is to pay attention to the syntactic and grammatical rules used in that poem, to examine how the relationships between the parts and elements of a sentence are considered, considering the rules that are considered within the structure of a sentence with a specific language. It determines the syntactic and grammatical structure of each poem.In this research, an attempt has been made to investigate the use of syntactic and grammatical rules with a formalist approach in the poems of the Third Brotherhood and Adonis with a comparative and analytical method. In this regard, the shifting of sentence elements, deletion, use of verbs, etc. in the poems of the two poets in question were investigated. The results of the research show that Adonis is more advanced in the components of departure from syntactic rules, moving sentence elements, introducing and delaying, and deleting sentence elements compared to Akhwan, and Akhwan has been able to avoid more syntactic norms in the field of using old Persian and archaic words. Get from Adonis.

The stanza form of the contemporary poem doesn't have any predetermined format and it is the poet who designs its written structure based on his intended meanings. In Umberto Eco's cultural semiotics, images and forms can be studied in the form of "stylization" and "invention". The present article having a descriptive-analytical approach and relying on the semiotic opinions of Umberto Eco, has examined the reflection of contemporary Arabic poetry in Persian translation. The research data were chosen from the collection of Al-Ketab: Past Place Now (2018), which is translated by Amir Hossein Allahyari from Al-Ketab: Ams Al-Makan Alaan Adonis. The writing form and format chosen by Adonis to write the poems in the Al-ketab contains many meanings and has served the meanings of the poetic text. The results of the study indicate that Adonis started innovating and styling by writing Al-ketab in manuscript format and using norm deviation in the written form. In many cases, Allahyari has not succeeded in conveying these two ways of sign production to the target text. Sometimes, he has produced innovations and stylistics in the target text that were not used in the original poem in order to better convey the content of the poem.

Adonis’ poetic structure as a linguistic shift exercises organized violence against language and calls for the establishment of new relationships that cannot be studied based on the positivist perspective. In addressing linguistic employment in a poetic text, it is necessary to start from its linguistic source as it involves establishing a contiguous relationship that embraces language. Considering the fragility of the positivist perspective in the study of the mentioned poetic text, Adonis studied language based on what was prevalent. Yet, he did not seek for the poetic text to rise from the familiar prevailing references. Instead, he tried to change the references and replace them with other elements.Poetic structure as a new application of language intends to establish new relations between words in an attempt to innovate a new language that embraces repulsion and disagreement. By this inception, Adonis was generally in the poetic text and specifically in the poem, the Dialogue, tried to first discharge the words from their solid significance based on a lexical perspective and then load them with new indications by establishing new relations. By all this, the poet tried to violate the readers’ background in an attempt to substitute it with another background of the text. As a result, the semantic displacement, which the poet practiced as the prevailing cognitive background, changes through what came to happen. For this reason, by breaking all the backgrounds, the literary text converged to the sin based on the daily purpose of indication. The present study aimed at investigating the Adonis-based text to shed light on its meaning.The poem ‘a Dialogue’ formed a basic input to burst the indication and load the singular values with a new indication, which the words gained from the sequence, but not from the perspective of the former status. This study also examined this topic via a descriptive-analytical method by starting from the formality method for the language to be itself the starting point for reading the text. The results of this research indicated that the poem aimed at establishing a known layout to start from confusion with the centrality of questions and reject the binary-depended choice between evil and good, which dominated Arabic attitudes. Thus, the poet tried to change the vision by seeing things by breaking the routine approach to language and knowledge. We noted that the formalists were interested in the concepts of breach and deviation from traditional perceptions, in order to change them and the related criteria (Al-Manasrah, 2006, p. 303). Accordingly, it felt permissible to say that the poetic text ‘a dialogue’ was not a representation of reality and a reflection of the prevailing references. Rather, it was the establishment of a dialectical relationship with these references to proceed toward establishing new references. Thus, the poetic text established a conflict with the references of the addressee and tried to penetrate into the modularity of knowledge to change the focus of vision to things by delving into a stereotype-based language. According to Jakobsen, “the poetic effect does not dominate within the sum of social values, nor does it have a preference over the rest of the values. In fact, it is no less than the basic organizer of ideology, which is always directed towards its goal. Poetry is what protects us against rusting. It defines our conception of love, hate, rebellion, reconciliation, faith, and ingratitude (Jakobsen, 1988, p. 20)”.

Bridging among linguistics, social and political sciences, discourse analysis opened up a new horizon to literature. Some theories lean to linguistics, some to social and political sciences. The common idea among them, however, is to explore the socio-political discourses governing the text through exploring the signs. Mauffe and Laclao’s discourse analysis theory is based more on social and political sciences and emphasizes the fluidity of sins. Adonis’s discourse is constituted based on this fluidity, and that is why Mauffe and Laclao’s discourse analysis can prove helpful in studying these items of discourse to achieve the socio-political aims. This study concludes that Adonis's discourse is a discourse of change and reform, and seeks a struggle whose weapon is the power of language. He sees the Arab countries' way out of backwardness as re-reading the concepts of value because he believes that these concepts have historically been contaminated by what the regime has imposed on them. He also concludes that poetry, by persuading people in society to build a better society, turns them into revolutionary subjects. The research method is that different signs are extracted from the poem and in order to answer the research questions according to Laclau and Moff's discourse analysis system, which examines the relationship between signs and also between discourses, analyzes the socio-political impact of Adonis's discourse. It becomes.

Animals have played a major role in human social life since the formation of human societies. Animals are the most important breeders, helpers and enemies of human beings and human beings have used them in their culture, myths, epics and all literary genres from the past to the present. Mythical birds are one of the most important mythological animals and Phoenix is one of the most characteristic mythological birds. Mythical birds are one of the most important mythological animals that have appeared in Persian and Arabic poetry and Phoenix is one of the most characteristic mythological birds that due to the outstanding traits that exist in this bird, has provided many potential interpretive possibilities in Persian and Arabic literature and poetry. Is . The results show that the functions of origin, ashes and birth, phoenix sound and damping are the most important functions of the phoenix myth in Attar Al-Tair area. One of the most important functions of Phoenix in Adonis's poems is to incorporate and transform the myth of Phoenix and give it a social aspect to the personal attitude at the beginning of the path to this myth.

The Writing scientific-research articles has certain rules and specific criteria, observing them has a better effect on the presentation of the content and provides the ground for a better and easier reception of the reader. Adonis is one of the leading poets and critics in contemporary Arabic poetry. Numerous articles have been published in scientific-research journals with the approach of analyzing his poems and thoughts and views in the field of criticism. Providing content analysis and reasoning or citation reviews in these articles depends on the observance of the necessary criteria and standards in the configuration and writing of articles and can present his analytical content in the best research format. According to this this, the structure and content of six scientific-research articles focusing on the poems and critical opinions of Adonis, which have been published in the Journal of Arabic Literature, have been evaluated with the aim of critique research and explanation of possible strengths and weaknesses. Rresults show that articles have significant weaknesses in issues such as choosing the title, following the principles of abstract writing, research questions and providing a precise theoretical basis, and it is necessary that the editors, especially the reviewers, review their approaches and performance. It should be noted that references to reliable sources, up-to-date ness of data and information are among the positive points of these articles.

Dark romanticism is a literary movement based on a desperate and pessimistic view of individual and social issues, with themes such as death thought, suffering, pessimism, loneliness, vulgar descriptions and disgusting aspects of human existence, ambiguous atmosphere and Darkness reflects fear, denial of human values, despair and frustration with society and the status of human existence and isolation. In the works of some poets and writers, examples of dark writing can be found that reflect a desperate and pessimistic view of existence in certain historical situations. Contemporary Arab poet Adonis is no exception. Oshari is a Syrian poet who was incarcerated for his political activities and composing protest poems against the authorities; Among contemporary Arab poets, he played the most prominent role in contemporary and modern Arab poetry, which placed him among the first modern poets and theorists. Contrary to many people's beliefs, Adonis is not a poet of romanticism; And in his poems there is no sense of romanticism, but in his last book of poetry entitled "Al-Masrah and the Mirrors (Scenes and Mirrors)" there are traces of black romanticism that is expressed in a vague and symbolic language. The purpose of this study is to show the dark romanticism in this collection. The findings of the research show that the reason for Adonis's dark style of writing in this collection is sometimes rooted in corrupt society and sometimes originated from his achievements."Teab" is one of the most frequent motifs that the poet has used the most to portray his failures. The authors have tried to identify and translate parts of this book with a higher percentage of dark writing by descriptive-analytical method, and then analyze it. Exploring the fields and factors of dark writing in this collection allows us to consciously encounter one of the works of contemporary Arabic literature that originates from the dark and dire revolutionary situation of society

The formal literary school was one of the most important pioneering and deconstructive schools in international literary criticism. With its emergence, this school influenced many traditional principles of writing and literary traditions. The Formalists paid great attention to the issue of form and literary language, etc to achieve their main goal, which is literariness; Adonis, was regarded the poet, and famous Arab critic among the most prominent contemporary literary theorists, who have used the impression and inspiration from various schools as a source for expansion and richness of their views, in the meantime, Formalism is the most important western schools that are likely to have an abundant impact on the Adventist's theories. Therefore, in the present study, we want to critique his views from the perspective of compatibility with formalist principles. The method that we used in this study is analytical and descriptive using comparison tools, the model of which is a combination of the French and American approaches; For this purpose, in the main discussion, we searched for the words of Adonis, regarding his influence, and also examined the most important commonalities and differences between his literary views and formalities and finally, we concluded that there are several shreds of evidence in Adonis's words and views that can be a testimony to his knowledge and influence on the Formalists. One of the main pieces of evidence in which several flavors have been seen from their views is the prominent role of literary language in Adonis's views and his attempt to increase the literariness.

Poets tend to focus on the element of place in their literary works in order to induce concepts, in addition to playing a role in creating a living and influencing context in the text. Adonis has used well the element of space and its movement in different forms in his poetry. Therefore, the place in his poem is characterized by the movement that makes the place be an animated creature and has a significant role in explaining and inculcating his intellectual orientation and feelings about the events of society and his time and the use of the element of space may be a wise interpretation of the poet's inner desires and dreams. Adonis poetic images are full of spatial motions, including vertical movement, landing, circular motion, employing multiple moves, horizontal or transverse motion.The present research seeks to address the physical perspective of the place in the poetic structure of Adonis relying on “Transformations and Migration between the Regions of Day and Night”, and "The Stage and the Mirrors” Diwans and based on the psychological method, while tries to attribute it to the feeling and emotions of the poet and affirms a variety of poetic examples of place moving and its implications in poetic pictures. The method of this paper is descriptive and analytical-statistical and psychological. The vertical movement in Adonis 's poetry has been used extensively because of its connection with his optimistic and revolutionary views on the issues of his society,

As a literary technique, hybridization seeks to break the tradition of marriage within the family of words and the creation of new networks of companionship. It has a significant role in the beauty and structural coherence of literary texts. Since words lose their effectiveness due to constant association with each other, by deviating from the norms governing the standard language, words can be selected from one family and placed next to other families to highlight literature, open a new horizon, and affect the audience. This literary device became popular in literature via Saint-John Perse, the eminent French poet (1887-1975), in the works of other contemporary Iranian and Arab poets. Before him, however, the Russian theorist Mikhail Bakhtin had laid the foundations of hybridization by proposing polyphony and monophony theory in fiction. Among the poets who are influenced by this literary technique; Shāmloo and Adūnīs can be mentioned. The two poets have a relatively similar worldview due to their almost common social and political conditions.

Conducted via a descriptive-analytical research method, the present study aims to examine the aesthetic dimension of this literary technique and its implications and effectiveness by examining the use of hybridization in Adūnīs’s and Shāmloo’s poetry, which has led to the departure of the language of their poems from the standards of natural language. This article is an attempt to comparatively study Adūnīs’ and Shāmloo’s poetry for introducing them to the reader, and to answer the following questions: 1- What is the use of hybridization in the two poets’ poetry? 2- What are the implications of this literary device in the two poets’ poetry?

One of the techniques of "pretending to be familiar with familiar things" (Shafi'i Kadkani, 2013, p. 308) is hybridization via which words from a family are combined with a new language family, creating a kind of new poetic language. Among the poets who have been influenced by the Perse and who tried this literary technique are Shāmloo and Adūnīs. Part of hybridization in Shāmloo’s and Adūnīs’ poetry arises from the fusion of words from the family of music with the family of nature. Shāmloo takes the word "symphony" from the world of music and the word "night" from nature, and by combining them in “the sunset of the Siahrud River”, he creates the following combination: Symphony of the night drips / quiet / over the evening’ sadness (Shāmloo, 2004, p. 326). In this poem, Shāmloo highlights the composition (symphony of the night) by quoting the verb dripping and has also become unfamiliar with the verb dripping. The combination of the word “symphony” with “night” evokes the pleasant feeling of being in unison with the calm of the night. Since the word night alone is devoid of such a meaning, the poet gives it a new meaning by using the technique of hybridization. This has also led to lexical and semantic aberrations in the form of similes. In an atmosphere of emotional resemblance to Shāmloo, Adūnīs also combines the word “bell” from the family of music with the word “night” from the network of nature in the poem “the Divine Wolf”: The morning is burning and displaced / And I am the death of the moon / Under my face the bell (song) of the night breaks / And I am the new wolf of inspiration (Adūnīs, 1996, Vol. 1, p. 227). In the hybridization of night and bell, it is a kind of lexical aberration in the companionship axis, which creates a new combination of clichéd words in the form of simile and has led to semantic aberration, indicating signs of darkness and sorrow. The linguistic-grammatical network and the nature network are other networks that promote the poems of these two poets. Concerning this network, Shāmloo chooses the word syllable from the system of language and the wave from the network of nature in his poem “the anthem of the one who left and the one who remained” and uses hybridization as follows: In the darkness of the salty beach / We listened to the repeated syllables of the wave (Shāmloo, 2004: 550). The metaphorical hybridization of repeated syllable of the wave prepares the ground for lexical and semantic aberrations. Using repeated adjectives, the poet emphasizes the fluidity and movement of the waves, and by adding a wave to the syllable, he de-familiarizes the verb to listen. The wave alone has no meaning, but it is meaningful in terms of the poet's intention when it is put in a hybridization. In the surrealist atmosphere of the poem “limbo”, Adūnīs combines the word abjadiyyat (alphabets) with the word stars and creates a metaphorical combination of the merging of these two different linguistic families as follows: I was returned/My body is a gentle book/ The alphabet of stars and clouds wrote it/ My body moves towards the light at night and the bodies are galaxies (Adūnīs, 1996, Vol. 2, p. 370). The attribution of the word abjadiyyat (alphabet) to stars is because the body of the poet in limbo is a hybridization of the book of deeds and a galaxy of the results of those deeds. So the alphabet of the stars must be its writer. Because the poet considers his body to be a combination of books and galaxies, the hybridization of the alphabet of the stars, which are in complete harmony with these two, is necessary. This hybridization leads to the formation of such repetitive words in the form of similes, lexical, and semantic aberrations, as well as de-familiarization with the act of writing and highlighting this practice. The network of the supernatural and the network of nature are other networks that promote their poems. To express his feelings towards the beloved, Shāmloo in the poem (the sixth hymn) takes the tree from the family of nature and the miracle from the other side, and by mixing the two, the garments of the following are covered on it: I am not a miracle tree / only one of my trees (Shāmloo, 2004: 1036) Shāmloo is a tree like other ones and that tree is not the expected miracle. The hybridization of a miracle tree is a composition in the form of the past tense. Although the word tree and the concept of miracle go back to different language families, since the tree has long had a special and sacred place in mythology; therefore, the choice of these two families with obvious differences in networks is defensible in terms of communication. It has the poet’s intention of rejecting the expectation of something extraordinary from him. Adūnīs, like Shāmloo in his poem The Land of Magic, chooses the words earth and magic from different families, preparing such a capacity to express his feelings: And my land is constantly a land of magic / I confuse the air / I injure the face of the water / I go out of my house to the sea. (Adūnīs, 1996, vol. 1, p. 188). In this poem, Adūnīs wears the mask of an adventurous Sinbad and goes to war only with the unhealthy social conditions, to achieve his utopia. The poet is not disappointed; because his land, like the land of magic, announces unexpected events. The use of this eloquent combination in the noun phrase, which implies continuity, and the use of the verb (لم تزل: continuous) is a double emphasis on the expectation of being extraordinary from the poet's land. The network of religion and the network of nature is also one of the networks considered by the two poets. As Shāmloo chooses the word Sajjadeh (prayer rug) from the family of religion and soil from the words of nature in the poem "Rainy Design" and by combining them, he creates such works of art: Then / the holy silence of the sun setting on the soil prayer rug, / and the heavy hesitation of the bloody knife (Shāmloo, 2004, p. 1003). The poet believes in the sanctity of the sun and the earth; therefore, the composition of the soil prayer rug, which is a favorably compound in the form of simile, has created lexical and semantic aberrations. Despite the apparent distance of these two words in terms of lexical family and semantic infrastructure, since "in many languages, it is called the human being of the earth" (Eliade, 1996, p. 168). Accordingly, in terms of the concept of sacredness between the prayer rug and the soil is remarkable. In his poem “dream”, Adūnīs mentions the glorious past of the Arab countries with longing, remembering the past. Hybridization in this section, by combining the words of Surah and verse from religion and the words of cloud and stone from the family of nature, expresses the concepts intended by the poet. I entered the religious ceremonies of the Caliph / The womb of the waters and the sedition of the tree / I saw the trees that want me / And I saw rooms between its branches / And the boards and the windows are hostile to me / And I saw children for whom I recited / I heard, I recited for them / verses of the cloud and the verse of the stone (Adūnīs, 1996, Vol. 1, pp. 262-263). At this time, referring to the customs of the caliphate, Adonis called the seditions of that period the sedition of the tree. The trees of sedition, amid their foliage, are terrifying rooms. But inside these horrible rooms, there are clean and good children who are ready to receive the truth; Therefore, the poet recites for them verses of the cloud and verses of stone. Hybridization of verses of cloud and verse of stone indicate the sacredness of the elements of nature that the poet in the form of similes of two different language families to better convey their intended concepts, and thus he uses repetitive words for lexical and semantic aberrations.

Part of the literary value of the poetry of these two poets, from the point of view of novel verbal knowledge, depends on the use of hybridization networks. The same tendency towards hybridization-like combinations has increased the frequency of use of metaphorical arrays in their poetry. Accordingly, in addition to lexical anomalies, it has also caused semantic anomalies. Sometimes the second word in these combinations, due to being in the compound, de-familiarizes the verb of that sentence. These favorably combinations serve the other components of the text. The similarity of lexical families in the poetry of the two poets, which is sometimes expressed in complete similarity in words, is due to the similar intellectual realms of the two poets. The creative minds of the two poets, by adhering to nature, often choose one of their favored combinations from nature. Therefore, in this study, the hybridization of music, vocabulary, religion, and transcendental networks with the network of nature in the poetry of two poets was studied as one of the commonalities.

Emotion is an important element in poetry. Other elements including imagery must be at its service, since their value is due to emotion. Adonis, as one of the most innovative contemporary Arab poets, is concerned with humanitarian affairs and problems. Love for the homeland and brotherhood are of great importance in his poetry, especially in his Palestinian poems. On the other hand, his poetry is full of poetic imagery. The question raised here is to what extent the Palestinian poems of Adonis, as a sample of all his poems, carry emotions and to what extent the images in his poems can convey these emotions to the reader. The analysis of this hypothesis is important because some of the critics believe that Adonis’s poetry lacks emotion. On the other hand, there is a consensus on the poetic imagery of Adonis. Thus, this article analyzes the emotions of hope, despair, love, sadness and sorrow in the Palestinian poetry of Adonis, and studies their correspondence to the images of the poetry. The results demonstrate that Adonis’ poems, like other modern poems, have deep and original emotions, and that since the poet’s emotions and thought are intertwined, not exaggerated like romantic and classic poets, these emotions seem intangible and ambiguous. Adonis, using imageray, especially symbolic ones like mystery and myth which need more analysis, conveys human emotional experiences, the source of all of which is love for the homeland and fellow human beings. This results in awakening the conscience of the Arab people and inspires them with hope.

The critical aesthetic theory of Frankfurt school regards art as an independent field and emphasizes its genuineness. According to this theory, success of a work of art depends on irreconcilability to compatibilities and disapproval of them. Ali Ahmad Saeid, a contemporary Arab poet, has been considered as a modernist in Arabic literature, and he has tried to use new language structures to experience new poetry. His critical language shakes the dominant ruling system and reveals the contrasts in the society. He tries to create a society based on justice, freedom and thinking. This research seeks to review Adonis's critical poetry in his anthology based on critical linguistics and the conceptual analysis method. The chapters of his book of poems challenge the events in the society, raise public awareness and awaken the society so as to criticize the current turbulent situation freely. The research gives evidence that the poet not only believes in the independence of poets of the government or certain people but also regards this as a poet’s duty to stand against any force which restricts him.