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

The duality of life and death is considered one of the most important dualities that poets have paid special attention to. It is one of the dualities that attracts the recipient to arouse in him an optimistic feeling towards the expected birth. This duality was the focus of two poems by two poets, the first "Autumn Song" by the French poet Paul Verlaine and the second "Life in the Form of a Dead Leaf" by the Syrian poet Wafiq Sulaytin. The aim of the research is evident in its attempt to search for this duality in the two poems, through an inductive analytical comparative approach. The most important thing that the research addressed is summarized in analyzing the components of the poetic paintings; the auditory image and the visual image in the two poems, then the dialogue between the two texts on more than one level: the level of pronouns, the level of verbs, words and phrases, and reaching the dialogue of ideas. The most important results that the research reached are summarized in that man is a paper with two faces; If the Western poet chose his life to be on the first side; the world of material reality, then the Eastern poet had chosen to be on the other side of the paper based on his appreciation, appreciation and belief in this side. Hence, the point of difference between the two poets in their vision of the concepts of death and life; the first sees death as the end of life and the second sees it as its beginning in a Sufi view based on revelation. However, they agree on transcending the limits of closure and restriction in the poetic experience towards launching and liberating meaning from restrictions so that poetry becomes a new creative force capable of continuously revealing the depths, opening up to the horizon of meaning and the spaciousness of transcendence; transcending phenomena towards the hidden and transcending the body towards the soul.

Death is a fundamental concept in Western philosophy. Undoubtedly, many distinguished philosophers have tried to examine this notion and share their insights. In this essay, we briefly present views of thinkers such as Friedrich Nietzsche, Søren Kierkegaard, Martin Heidegger and Norbert Elias and then attempt to enter the realm of postmodern thought through pre-modernist and modernist notions. In order to limit the scope of postmodern discussion in this essay, postmodernist literary novels have been taken into consideration. To this purpose, two important works of this genre, in which the concept of death is central, namely In Watermelon Sugar by Richard Brautigan and Slaughterhouse-Five by Kurt Vonnegut, were analyzed. Also, in the Iranian story section, a short story by Yaqoub Yadali entitled "Hamhameh"(Uproar) has been discussed. Findings suggest that to postmodernists, the meaning of death is significantly different from that of modernists. Their point of view also affects their reader’s mentality and provides them with a new outlook on death. Postmodern readers come to the understanding that death is a simple and unique experience.

Symbolist is one of the important and outstanding features of contemporary social sonnets. In these poems, some of the motifs have multiple meanings so they have became to symbols. Symbols and motifs are significant in analysis of literary works and stylistic studies, so by correct understanding of these symbolic motifs we will understand the perspective of the poet, his mentality and spirit, the level of thought and the political-social situation of his life period. Death is one of the oldest motifs that has been in the center of attention for a long time due to its tremendous impact on a person, and many works of art have created about that. From the total of 1236 sonnets written between 1350 SH to 1384 SH and collected in the book of Contemporary Social Sonnets, “death” is the motif of 308 sonnets, i.e. 25% of them. According to stylistic studies, the words "night", "day and morning", "silence and darkness", "spring", "reservoir and winter", "tree", "garden", "wind", "soil", "fire" " and "sun and sunshine" are motifs that came from the nature. Because of their multiple meanings, this motifs have symbolic function. This article tries to analyze these symbolic motifs with a descriptive-analytical method and express their exact meaning in some verses of contemporary social sonnets. Keywords: contemporary social sonnets, death, motif, motifology,

The definition and concept that every human has of the phenomena, while being specific and individual, is connected to the common spirit of the group and leaves a mark and memories of the group. Thinkers and critics of humanities have placed this common collective spirit and general thoughts in the category of implicit concepts. Implicit concepts that are the same as myths from a point of view.Whether it is the myth of the surviving stories of the same people, or whether it is a mental concept, which includes various examples, this essay, using a descriptive-analytical method, compares and explains the similarities and differences between the two stories of Ki Khosrow. and Sarai (Azeri Turkish) deals with the archetype and the myth of death and water, based on the American perspective and school.The myth of both stories is related to death and water. What kind of death is interpreted as immortality and mystical death of Ki Khosrow, and what kind of death is done to show purity and the intended hero (Sarai) does not have a body. Both myths and legends present such a death to their heroes while passing through the birthing water.

Death is one of the concepts that has different meanings in human culture. Its common meaning is loss of life, and in addition to that, it also has other implicit meanings; including ignorance, sadness, bad temper, etc., and finally, from the mystical point of view, death, that is voluntary or optional death, is to die from the world's whims and desires and reprehensible carnal traits and to be revived to the divine life. Based on the words of Revelation, traditions and hadiths, a deeper understanding of the various concepts of death can be obtained. Ghazali and Attar are among those who have addressed this subject under the influence of anthropological discussions in the Quran and Hadith, as well as their mystical perspective. Although Ghazali has a mystical spirit, but when we compare his words with Attar's words, the difference becomes apparent. Ghazali is an ascetic and thoughtful theologian who has the color of Sharia and the element of logic in his words, and Attar is a mystic with a tasteful and artistic view of theology, and his imagination and mystery give an artistic color to his words.

The metaphor of humanism from Lakoff and Johnson's point of view means assigning some aspects of human existence(the destination field)to mental concepts and inanimate objects(origin field) orThe significance of this metaphor is that by taking advantage of the knowledge that it has about many aspects of his existence, he can help to better understand and accept abstract concepts by humanizing themThe aim of this study was to compare the humanism of death in Hadigheh and Masnavi based on Lakoff and Johnson's viewpoint and by documentary method.The findings show that death anthropomorphism in these two works is depicted in the form of a generalmetaphor of "death as a human with social relations and interaction", which has two subcategories of "Death as human with relation and confrontational interaction" and "Death as human with relations and amicable interaction".The results of his research show that, in Sanaei's thinking, death is in relation and "confrontational" interaction, as a colonel, warrior and murderer who seeks to exercise power to the lower hand, and in loving relations, in the form of shepherds, old andguests,he"cooperates"with other people.In Rumi's thought, the humanization of death is more than a "confrontational type, in which death as a judge, a martyr, colonel and warrior is at odds with people such as thecriminal,theconvictandthereceiverofawareness.Consequently,in Sanaei's thought, a person is introduced as helper In fact, based on a military and violent atmosphere,Rumi has drawn the relationship between man and death,but Sanaei has also focused on the relationship and interaction of peace, solidarity and tranquility.

"Conceptualization" is a dynamic process based on which language units serve conceptual operations and background knowledge. Cognitive science experts consider language structure to be a direct reflection of cognition; Accordingly, a single word can have different conceptualizations in different situations. Schemas, as one of the tools of cognition, are general concepts that are created from the internalization of lived experiences and are responsible for organizing, interpreting and exchanging information. Pragmatic micro-schemas are micro-schemas that are called depending on the situational and functional context. This research, paying attention to the macro-schema of self-destruction, seeks to classify the pragmatic micro-schemas and their corresponding conceptualizations. The scope of the current research is children's stories with the theme of self-destruction. Each of the stories is considered as a pragmatic and objective situation for calling a specific micro-schemas of the macro-scheme of self-destruction. The present research with analytical-descriptive method aims to answer how to conceptualize the self-destruction scheme in the situational contexts of children's stories. The result of the research introduces five pragmatic schemas as five different conceptual bases: schemas of discontinuity, continuity, individual discontinuity-continuity, collective discontinuity-continuity, and unwanted discontinuity. For the first time, this article focuses on self-destruction in children's literature

The domination of science in the modern era and the effort to have a realistic attitude to all aspects of life have made people today unable to adopt the solutions of the ancients (such as eschatologicalimmortality) to face death. By examining different types of pre-modern immortality, including ancestral, cultural, mystical, mythological, and eschatological, the present article has shown that their common components, i.e., communalness, certainty, and imagination, are almost opposite to the components of modern immortality. The components of modern immortality, which include individuality, uncertainty, memory (as opposed to the imagination), and the concept of eternal nature, are prominent in teenage novels of the 1390s. This research first reviewed the stages and tasks of mourning. While checking and determining the components of pre-modern and modern immortality, it has been showed the correspondence of each stage of mourning with different types of immortality. Then, relying on the novels of "SanjābMahiy-e aziz "and "Shekārchi-ye Koose-ye kar", the issue of death and the role of pre-modern and modern immortality are investigated in advancing the storyline, accepting another's death, and completing the tasks of mourning by the characters. It should be noted that the analysis of samples is based on qualitative content analysis with a descriptive-interpretive approach. The research results show that in both novels, resorting to pre-modern immortality components traps the characters in the initial stages of mourning, i.e. denial, searching, and bargaining. In contrast, the maturity of the characters with the completion of mourning tasks and reaching the stage of improvement and organization through the components of Modern immortality (centered on memory in the novel "SanjābMahiy-e aziz "and eternal nature in the novel "Shekārchi-ye Koose-ye kar" is realized.

Johnson and Lakoff consider conceptual metaphors as mappings between two domains called source and target domain. The function of these mappings is to objectify the abstract concepts of the target domain through the schemas of the source domain. The purpose of this research is to classify death-awareness stories based on "rebirth" in children's literature. In this regard, paying attention to the metaphor "death is a journey," this article seeks to answer how the schema-images of "journey" work in the conceptualization of "rebirth" and "resurrection." The method of this research is analytical-descriptive, and its statistical population is children's stories with the theme of rebirth and resurrection for the demographic group of early childhood. The result of this research shows that, according to the up/down orientational metaphor and the "path" scheme, the mentioned stories are divided into four categories: resurrection without transcendence, resurrection with transcendence, transfiguration with transcendence, and the chain of renewal. The above categories are also classified into subcategories. For the first time in Iran, this research examines reversible deaths with a cognitive semantics approach.

Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.

Since early decades of the 20th century, Persian novelists have made considerable efforts to provide native versions of various non-native narrative genres into their fiction. Since the introduction of the novel in Iran, writers such as Mohammad-Ali Jamalzadeh, Sadegh Hedayat, Bozorg Alavi, Bahram Sadeghi, Houshang Golshiri and many others have represented specific styles of narration and techniques to distinguish their works from their Western predecessors. Ismail Fassih, who is more famous for his crime fiction, has done something different in his novel, The Story of Javid, by creating a Gothic fiction, a genre that rarely appears in Persian fiction. In Gothic fiction, elements such as setting, character, and theme are used to create a certain effect in the reader. This article attempts to explore these elements in The Story of Javid by emphasizing the native aspects of this novel through a discussion of Fassih’s individual style of writing and the way his work connects to the social backgrounds of the mid-20th century Iran.Gothic fiction appeared in the mid-18th century, but evolved in the subsequent centuries and still has its own audience. The genre has European origins and there have been various outstanding works of Gothic fiction since its introduction. This literary genre has not been practiced widely in Iran. Esmail Fassih is one the limited number of writers who have provided Gothic fiction. This article provides a brief history of the genre and defines some of its main elements as practiced by the major writers of the mode. Then, a close reading of The Story of Javid will be provided using the elements of the Gothic. In the meantime, a discussion of socio-political aspects of Fassih’s novel and the way they connect to the Gothic will be provided.Death is a key feature of Gothic fiction, which, in The Story of Javid, is intertwined with the setting and the themes of the story to create a sad atmosphere of stillness and decay. In most Gothic stories, death and fear appear simultaneously. In The Story of Javid, plot structure uses suspense, and the key events of the story are connected to death throughout the novel. The combination of fear and death in Gothic fiction serves to create a deeper effect in the audience. Horror accompanies death in the novel to create an atmosphere that is reminiscent of the unconscious states of the mind. In Gothic fiction, characterization moves along the axis of black and white and the result is that characters are flat and less developed. In The Story of Javid, the reader encounters flat characters who simply embody the good or the evil. The purity and innocence of characters such as Javid and Sorayya Khanum, and the mischief and hypocrisy of characters such as Malekara and Leila highlights the duality of black and white in the novel.Esmail Fassih creates a gothic narrative in The Story of Javid, which is not common in contemporary Persian fiction. The story takes place in the remote past and is part of a history that no longer exists. The novel depicts a large mansion which contains spooky spaces such as underground corridors and water storage. The atmosphere of the story contains death and scary events, and the flat characters display clear duality between good and evil. The duality of good and evil is the most obvious feature of the story that moves the characters forward. Fassih depicts an Iranian version of the Gothic. What separates his Gothic fiction from many Western examples is the social aspect of the story, which deals with the open oppression of the government agents to the defenseless people, especially to the Zoroastrian minority. Therefore, Fassih does not simply imitate the Gothic, but provides a Persian model that is reminiscent of characteristics of the genre, while its social context -which is rooted in a historical reality-remains native.

One of the basic topics of cognitive linguistics is conceptual metaphor based on which an unknown and abstract conceptual field is inferred and understood by matching with known and concrete concepts in the human mind.that these well-known concepts originate from human experiences in all aspects of his life, including philosophy and literature. On the other hand, existentialism is a philosophical school that uses literature as a means to express its ideas; Existentialism's philosopher's turn to literary expression caused philosophy to merge with literature. Existentialist literature deals with themes such as loneliness, fear, sadness, emptiness, freedom, and death. Meanwhile, Arabic literature and especially poetry were not affected by the concepts of this school; And an example of this attention and luck can be seen in the poems of the contemporary Lebanese poet Khalil Al-Hawi, because the resonance and reflection of the elements of freedom and death are evident in his poems. He beautifully and artistically portrays the concepts of despair, pain, humiliation and despair caused by the consecutive failures of the Arabs and especially the uprising of 1967, which had a special echo in his soul and soul - all of which are abstract concepts - with concrete and tangible concepts in his poems. He has used conceptual metaphors to make his poems even more heartwarming. Therefore, the authors intend to analyze the conceptual metaphor in the existentialist components of freedom and death in Al-Hawi's poems with a descriptive-analytical method.

Existentialism is one of the most important contemporary philosophical currents, widely reflected in literature; situation, Boundary Situations and death are major existential concepts. In this paper, the reflection of the above concepts in the poems of Shams Langeroodi was surveyed. The results and numerous examples show that firstly, these concepts were reflected to a great extent in the studied poems; secondly, these concepts were reflected through artistic logic and poetic arrangements; and thirdly, some approaches and subdivisions can be seen among the results. Four existentialist approaches to death can be seen among the poems, which are, in order of frequency, as follows: 1. Death as a phenomenon that causes decay, ending, and termination 2. Death as a fact and as a boundary situation. 3. Death and anxiety 4. Death and absurdity and futility. Among Boundary situations, suffering is the most significant. The poet has reflected on the concepts from a variety of perspectives, and therefore the existentialist approach of the poems cannot be fully traced back to a particular thinker.

The approach of social semiotics is one of the prominent sub-branches in the science of semiotics, which reveals the meanings hidden in them by explaining the signs. This approach is based on the three domains of identity codes, signs of social etiquette and the nature of social signs. Since the obituary is a historical and realistic narrative, it has a lot of capacity to examine semiotics, especially with a social approach. The purpose of this research is to introduce an original and little-known Muqtali, in which valuable information can be obtained from the context of the Umayyad society by analyzing codes and social signs. This article tries to identify the semiotics of one of the original murders in the west of Iran in a descriptive-analytical way, and for this purpose, it has used the social semiotics approach of Pierre Giruo. This book is called Siral-Asrar Fi Misibeh Abi al-Imam al-Athar (AS) from the famous Ashura historiography and the work of Ayatollah Jalili Kermanshahi. The findings show that the author revealed the political, economic, social and cultural issues of the Umayyad period and the Ashura event using social symbols and codes, and at the same time expressed her views and ideologies. These signs depict the beliefs, ignorance of the people of the society, poverty of thought, rule of terror, hypocrisy and hypocrisy, violence and oppression, corruption of rulers and governors, etc. in the Umayyad society

"Spacemental poetry" is one of the contemporary styles of poetry in Iran which rose to prominence after the publication of its manifesto in the winter of 1348. Yadollah Royaee, the famous poet of this movement has tried to explain the ideological basis and the characteristics of this type of poetry and to keep it up-to-date. His works, which are a perfect reflection of Spacementalism, contain various linguistic, philosophical and aesthetic aspects. By explaining the ideological basis of his works and the Spacemental poetry, we discover many instances of Husserl’s phenomenology as well as some other philosophical and ontological issues. It also seems possible to find some reflections of Schopenhauer's aesthetics and his encounter with art and art works in "Haftad Sange Ghabr" – Royaee's famous work which presents his philosophical and ontological concerns. We argue that the collection offers an intuitive visualization of what Yadollah Royaee has created by thinking about death.

One of the most important issues of life is the purpose and meaning of life, which is seriously considered by thinkers and thinkers today. Victor Frankl is a theorist who has answered this question through his difficult experiences.In his school, which is called "meaning therapy", he has tried to remind man that everyone in his life must discover a meaning through which he can overcome hardships and be safe from emptiness and despair. Semantic therapy believes that life has meaning and that each person should seek his own unique meaning and that man has the freedom to choose his approach to life.The purpose of this study is to investigate the components of meaning therapy in Forough Farrokhzad's poetry in order to provide solutions to the meaning of life.  This research is done by descriptive-analytical method; In this way, first the three important components of love, suffering and death are explained and then examined in Forough Farrokhzad's poems. The statistical population in this research is a complete collection of the poet's works. The result of this research shows that Forough is full of life. He considers love, suffering and death as a phenomenon of life and has reached a deep meaning of life by accepting these three components. Forough's view of love is very wide. He goes from discovering love to discovering himself. She seeks refuge in love in search of inner peace. In the period of decline of human emotions and despair, he sees love as an escape to make life meaningful. The suffering and pain that is rippling in Forough's poetry is a sign of his acceptance. He has consciously accepted the suffering and recited the poem, and in the end he holds man responsible for his own destiny. He also considers death as a part of the phenomenon of existence, but this death is a consciousness for Forough accompanied by fear, which passes this horror with a meaning called love. Forough finds the meaning of life very simple. To create the path of life, he creates great meaning from every small and simple issue for a life full of love. In his poems, the poet not only finds human understanding incapable of understanding the secrets of existence and self-knowledge, but also believes that man must take this inability into account, and for this reason, while pointing to man's inability to understand himself and existence, by calling to Happiness and satisfaction give meaning to life. Finally, we must say that the categories that Viktor Frankl introduced about giving meaning to life are not only known to make human life meaningful, but according to his theory, the dark side of these categories has been dominated by their bright and meaningful side. According to Frankel, death is not the end of life. Suffering, despite being unfortunate, may be the joy of human existence. Love is not just a generic and based on known drivers in psychology, but it can be something beyond what was stated.

Modern art and literature transformed the foundations of modern aesthetics by paying attention to the negative and unconventional philosophical topics that did not play an important role in classical aesthetics. “Death” is known as one of the central elements of modern literature based on the thoughts of the existentialist and post-structuralist schools. In the modern novel, death plays an essential role in the structure and texture of the story in terms of content, language, and art; and many of the aesthetic aspects of the novel revolve around it. Sadeghi, as one of the leading writers of Iran, made “death” the subject of his novel, “Malakut”, and used many of the literary aspects of his work around this concept. In this research, using the descriptive-analytical method, the aesthetic aspects of death in “Malakut” have been analyzed, which are tied to other components of modern aesthetics. The findings of the study show that the relationship between death and other components of modern aesthetics such as paradox, absence, and ambiguity has led to the importance of the dark aspects of existence as well as the rejection of the work based on the classical and conventional standards of aesthetics.

One of the most important topics that Eastern philosophers and mystics have dealt with is the problem of anthropology, and one of the important components related to it is the knowledge of death, love and the science of man. Different schools and theories are confused in this matter. Studying about these issues will resolve some mental ambiguities and choose the right path in life. The current research has been done with the aim of examining the human being from the perspective of Rumi and Iqbal Lahori with an approach to science, death and love in a library method.The current research has been done with the aim of examining the human being from the perspective of Rumi and Iqbal Lahori with an approach to science, death and love in a library method. Findings of the research: From the similarities in the thoughts of the two poets: they consider acquiring knowledge as one of the important and influential factors in improving human status. Rumi believes in three sciences, empirical science, job science and Sufi science. His attention is to Sufi science. But Iqbal believes in acquired and present knowledge. Regarding death, both poets consider death and immortality inevitable for all human beings. Rumi considers the type of life and death of a person as a reflection of the conscience and heart of a person, but Iqbal says: true immortality is desirable when a person knows the existential essence of the concept of self. According to both of them, love comes from God.

Myth has a special value and place in the contemporary Arabic poetry and is strongly intertwined with it. Prominent contemporary Arab poets turned to this element in order to symbolize the poetic language and to express ideas indirectly and more artistically. A very important myth that has appeared in a large bulk of contemporary Arabic poetry is the myth of Gilgamesh. This mythical character is defeated due to the inclusion of various meanings, including the attempt to discover the mystery of immortality, the desire for immortality, enmity and friendship together, enduring difficulties in achieving goals, meeting a wise old man, and trying to destroy evil. In the test of awakening, the loss of the plant of youth and the water of life, the surrender to destiny, etc., have created a good opportunity for contemporary Arab poets to present their personal and social experiences to the audience in the light of calling that myth in the context of their poetry. Samih al-Qasim from Palestine in the poem "Jaljamesh, Alloh-Al-Thales Ashar", Adonis from Syria in the two poems "Jalqamesh" and "Sajil 1999", as well as Saadi Yusuf from Iraq in the poem "Manzel al-Masrat" are among the poets who used this myth artistically. This research has been done by a descriptive-analytical method, and content criticism has been performed through the analysis of the three poems. One of the most important mythological characters mentioned in the poetry of Samih Al-Qasim (1939-2014), a famous contemporary Palestinian poet, is "Gilgamesh". The myth has entered the poem book My exterior is the face of the essence of the day published in 2000 for the first time. In this poem, Samih Al-Qasim is inspired by the myth of Gilgamesh. What is striking at the outset is that the poet "unfamiliarizes" himself with this name. Because a tablet is added to the twelve tablets of the myth, the beginning of the speech is attractive to the audience and creates enthusiasm and motivation for reading the poem to the end and learning from the new words of the mythical character. It is worth mentioning that the poet based the poem on the centrality of Gilgamesh's character.In the relatively long poem Sejil (1999), Adonis has paid attention to this myth many times and tried to use the "formula of speech" and the technique of masking and identifying with the myth of Gilgamesh, as an intangible and objective equivalent, from the theme of that ancient text. In "Sajil", the poet has tried to use the same myth to portray the oppression and isolation of intellectuals. He wishes Gilgamesh had power and all the people of the city would obey him. But Gilgamesh is an unruly ruler and no one pays attention to his words. Therefore, the poet's purpose is to highlight the isolation of intellectualsThe contemporary Iraqi poet Saadi Yusuf has paid special attention to the myth of Gilgamesh in his poem "Manzel al-Masrat" from the poetry book "Al-Layali Koloha", which was published during the Ba'ath party's rule in Iraq. The poet "Manzel al-Masrat" represents a house in Baghdad where dancers and actors live and dance and have fun. This poem is one of the works in which Saadi Yousef invokes the myth of Gilgamesh in its opening lines so that he can express the socio-political issues of his country.According to the type of concern and desire, mainly based on Gilgamesh's journey, the poet is disappointed of achieving his desires. Confusion, bewilderment during the migration, Enkidu's death, and his quest to unravel the mystery of life and death help the character unravel and liberate his backwardness. Therefore, despite the fact that Samih Al-Qasim has placed his Gilgamesh in a wider space by using various tricks, and apart from mentioning the same philosophy of life and death, he has not gained any new experience in it and in the process of invocation; the use of old faces is a redundancy in poetry. The study shows that Samih Al-Qasim tried to inspire the audience with the idea of ​​"human immortality" through inspiration from the mythical character of Gilgamesh. His poem is a reminder that the twentieth century man has not discovered the secret of immortality and he has no share other than death. The purpose of Adonis in invoking the ancient mythical figure in his poem "Jalqamsh" was to inspire the audience with his literary works in line with the twelve tablets of Gilgamesh's epic. He insists that, just as the mythical Gilgamesh after enduring the hardships of the journey to attain immortality, he has come to the conclusion that he must write his experiences on the Twelve Tablets to guide people. He believes that poets have to travel and go through hardships in order to gain experience, knowledge and permanence.Saadi Yusuf also aimed to depict Iraq as the equivalent of the cedar forest of the Gilgamesh period by creating an intertextual link between his poetry and Gilgamesh's speech and focusing on this character's experience of death. The poet seeks Gilgamesh so as to destroy contemporary Hombaba and restore morality and chastity to Iraq. In another interpretation, Iraq is envisioned as Enkid for Saadi Yusuf who died of moral corruption. The poet describes the death of his friend to the audience in this text.