جستجوی مقالات مرتبط با کلیدواژه "mahmoud darwish" در نشریات گروه "ادبیات و زبان ها"

The Islamic Republic of Iran and Palestine have resisted internal and external oppression and arrogance throughout their history full of jihad and struggle. Intellectuals of these two societies demonstrated their protest against the current political conditions at the time, coinciding with the outbreak of the two world wars, and portrayed the political conditions, poverty, deprivation, the thugs of darkness, and other topics by singing poetry. The literature of resistance had an important role in this field. In order for the poet to portray the painful and distressing conditions of society in the literature of resistance, he tends to a special subject field and aims to stir up the spirit of struggle and resistance among people. Mahmoud Darwish and Tahereh Sfarzadeh sang wonderful verses on resistance, which led to the emergence of poetic commonalities in their poems. The research deals with the emergence of resistance in its various forms, as the two poets chanted, relying on the comparative approach. The result indicates that the chants of the two poets were the scene of the emergence of common contents such as the call for peace, identity, patriotic fervor, martyrdom, and other religious and patriotic contents that make the poets enthusiastic about it.

Music plays a prominent role in contemporary poetry's structure and arouses the emotions of the audience while enhancing the beauty of the verses. The undeniable connection between poetry and music is evident because the beauty and longevity of any poem depend on its utilization of music. With that in mind, Mahmoud Darvish and Qahar Aasi are among the poets who have shown special attention to this aesthetic element. In Darvish’s poems, there is an epic spirit, which characterizes as a guard/ weapon to protect the land of Palestine. Similarly, Aasi's recent poem, "From the Fire and the Silk", shows his patriotic spirit. Both of these poets have tried to integrate music in their poems to deliver the message to their audience in a more beautiful and attractive way. The current research examines the element of music in Mahmoud Darvish's poetry collection, "Almond Blossoms and Beyond", and Qahar Aasi’s collection "From the Fire and the Silk". Using a descriptive-analytical approach and precise statistical analysis of selected poems from both poets, the investigations indicate that they share common themes in their poetry, but the authors seek to illuminate the method of employing music in the poetry of these two poets and the harmony between music and its content. The results demonstrate differences in the utilization of music and its relationship with the content and subject matter of the poetry by the two poets. However, the connection between music, content, emotions, and thoughts is a matter that can always be observed in their poetry.

Social poetry mostly deals with expressing the problems, needs, and daily life issues of the society. This kind of poetry is a result of the direct connection between the poet and the society; the poet tries to reflect the objective events and realities of their own society through it. Contemporary Arabic and Persian poetry, alongside other topics, mostly addresses the pains and sufferings of the people. Mahmoud Darwish and Qahar Asi, like other contemporary poets, have been influenced by the political and social circumstances of their time. The tyranny of the rulers in these two countries has obliged these poets to fulfill their social mission effectively. Although social poetry is a subset of poetry of sustainability, as it has assigned a significant portion of their poems to itself. It has been subject to independent research, analysis, and scrutiny to reveal the perspectives and views of these two poets. The findings show that the most important social themes in the poems of these two poets consist of: sympathy with people, the pain and suffering of war refugees, exile, hope for the future, and the promise of peace. Furthermore, the political events in their homeland and the difference in the environment have resulted in a difference in their perspectives.

 It is a pure descriptive study in which the documentation tool has been used to collect the data. The content was organized using a descriptive-analytic method based on the American school framework for comparative studies. The researchers also apply a quantitative research approach to explain and evaluate synaesthesia in the abovementioned works.

Critics consider poetry to have various functions, ranging from providing pleasure to describing and explaining phenomena in the world of existence, cultivating and refining ethics, and promoting values. Of course, it should not be overlooked that each of these functions can vary depending on the conditions of time, place, literary type, and the poet's perspective. However, one of the most important functions and responsibilities of poetry is its social function because social events and movements are among the important human issues that have an inseparable connection with the spirit and psyche of human beings. When poetry becomes intertwined with the life of the people in society, it attracts more attention and takes literary works to the edge of immortality. Social events are not always the same, so their reflection in literature and poetry is always different. Different literary forms are also the result of social and cultural conditions, and poetry is a suitable medium for reflecting these events among various literary types.Badr Shaker al-Siyab, a modernist Arab poet, sees poetry as having a social purpose and believes that poets and artists have a great responsibility to their society and the people, which they must fulfill in the best way possible and highlight the pains and desires of their fellow citizens" (Rajaei, 2009: 164).Khalil Matran, one of the pioneer poets of the romanticism literary trend, also believes that every nation makes its own tyrants and oppressors, the silence of the people in the face of oppression and social injustices cause oppression to continue. In dealing with social issues and fighting against oppression, he directly mentions the names of oppressive rulers (Mir Qadri, 2006: 412).Nazik Al-Malaika who is one of the pioneers of realism and the founders of new poetry, believes: "All the visual, auditory and mental emotions a person are formed in society, and to be one of the citizens of this society, he cannot escape from the characteristics that govern it, and such a person whether you like it or not, you have to portray your society. Consquently, community and sociability are natural characteristics of every person, which cannot be considered as a shirt that a person can take off whenever he wants, but in his blood, thoughts and nerves (Al-Malaika, 1962: 264).Ehsan Abbas is one of the Arabic critics who took the social aspects of the poetry in his consideration and believes that the poet's relationship with society takes shape in three distinct ways:a) The social position of poetry in terms of its connection to economic factors, social environment, and values that shape or manifest in the poet's work.b) The social theme or objective that the poet strives to achieve.c) The social impact of poetry throughits reliance on the audience, which can be small and limited or large and extensive (Abbas, 2009: 137).Mikhail Naimeh believes that “Poetry is not merely a combination, coordination, and harmonization of words, rhymes, and rhythms, nor is it simply a creative force. Poetry is the song of the nightingale, the cooing of the dove, the sound of trickling water, and the roar of thunder. It is the smile of a child and the tears of a mother who has lost her child. Poetry has accompanied humans since the beginning of creation and will stay with them from childhood to the moment of death. Poetry is familiar to broken hearts devoid of joy and excitement in this world, as well as to hearts full of sophisticated pleasures and desires” (Naimeh, 1998: 91).The contemporary world has witnessed tremendous changes in human society. These developments are prominently revealed in the field of human relations and affect poetry. Contemporary poetry reflects human experiences. "Today's poet is no longer the old poet who sits on the platform of oratory, exhortation and wisdom, but comes among the people and ranks among them, and shares his lived experience in his poetry with them (Ziyaadini, 1389: 36-37). Therefore, the most important task of contemporary poetry is to reflect the social and human realities of a society, and it is a powerful and influential tool for expressing new ideas that sprout in the mind of the poet. By utilizing the power of expression and the companionship of words, poets can highlight the existing realities in society. On the other hand, human issues and themes have become increasingly complex in human society, and poets consider it their responsibilities to reflect these human realities and strive to achieve this primary and great goal. In this regard, we have witnessed the emergence of poets in two countries, "Palestine and Afghanistan", who have taken steps towards social activism and struggle with a humanistic and social approach. Among all these poets, Mahmoud Darwish and Qahhar Aasi have shone brightly with almost similar destinies in defending the human values of their homeland and people.In this research, among the human themes of these two poets, the components of their social poetry, which have more critical and corrective content, have been examined. Because the analysis of such poetry expresses common pains on the one hand, and clarifies the poet's thoughts on the social realities on the other hand.

 Based on the research conducted alongside linguistic and cultural differences, there are common social themes in the poetry of these two poets. The most important common themes are empathy with the people, reflection of the pain and sorrow of refugees, exile, hope for a brighter future, and the promise of peace. However, what distinguishes the social themes between these two poets is the political evolutions.  In Afghanistan before and after Mujahideen, Qahar Asi, like Mahmoud Darwish, always criticized the occupying forces and defended Islamic and human values in his poetry. But after the Islamic government came to power and the internal wars began, he focused more on criticizing and reflecting on their atrocities. Meanwhile Darwish in his poems, mostly screams the pain of exile and criticizes the aggressions of the occupying forces, but Qahar Asi, in addition to criticizing foreign forces, focuses more on reflecting on internal wars, reflecting on atrocities, and warning against bloodshed. Empathy with the people is also one of his important themes. Alongside his efforts to liberate the country from foreign domination, he is not insensible to the daily lives of the people. In his poetry, he calls on everyone to support and help oppressed people. The poet encourages people to defend national values, kindness, and unity. He has also reflected on the suffering and sorrow of Islamic countries in some of his poems.

The concept of freedom is one of the most frequent concepts of modern epic poetry, which has found different meaningful dimensions due to the extensive social and political developments. With the growth of philosophical schools, especially the philosophy of existentialism, the concept of freedom became one of the most important categories in contemporary life, and the humanistic and existentialist approach provided the ground for intellectual and social revolutions. Jean-Paul Sartre, French philosopher, one of the founders of existentialism had crucial role on the existential thoughts and had deep effects on the thoughts of literary writers. Mahmoud Darvish, Palestinian resistance poet, and Ahmad Shamloo, Iranian contemporary modernist poet, are prominent poets whose poems reflect the concept of freedom, the study of their poems reveals their philosophical an existential dimension. The present study with a glance to Sartre's theories, tries to do a comparative study of Darwish and Shamloo's ideas about freedom, in order to analyze the similarities and differences between their poems and express the manifestations of Sartre's thought in the viewpoint of these poets. According to the present study, the concept of freedom in the attitude of Shamloo and Darwish has a philosophical dimension that is not limited to individual freedom and includes the whole society. The concept of freedom in their worldview, is consistent with the categories of precedence existence over the nature, apprehension and responsibility, negation of metaphysical forces, the instability of nature, and the relationship between death and freedom in Sartre's theory.

Stylistics is a methodical science that emphasizes the understanding of the text and aims to discover the aesthetic values of the structure of the text using its lexical aspects and by comprehending the relationships between its inner components. The poem ‘Aljasar,’ by Mahmoud Darwish, includes topics such as insisting on returning to the homeland, revealing the crimes of Zionists, and remembering the tragedies Palestinians endure. This study aims to analyze and evaluate this poem based on three features of linguistic, cognitive, and literary stylistics, using a descriptive analysis method. Regarding the linguistic features, the beauties of this poem are evaluated by analyzing its music and words. Moreover, in literary analysis, elements of a poem such as metaphor, irony, and symbols are evaluated to explain the most crucial principles of the thoughts of the poet. Finally, by analyzing these features, we have concluded that the poet has aligned his poetic language with the statement of his thoughts and exploits language and literacy as means for stating his thoughts. The poet employs all capacities of the language to inspire the resistance of Palestinians against Zionists to take back their homeland.

Irony is a tool for authors developed in linguistic terms using charming, integrated, and technical methods. An ironic expression has different purposes to make the words understood for recipients without expressing the words directly. This is because the author tends to avoid possible negative feedbacks. In this way, he can prevent the recipients from accurate comprehension. Thus, the recipients guess these mental images and think them possible. Since the irony is required to be comprehended in any situation, the recipient uses the mechanism of interpretation. The present analytical study aimed to investigate the ironic aspects of the poem Nazaf Al-Habib'O shaqaeq Al-Nomaan written by the contemporary poet Mahmoud Darwish. The results of the present study showed that, in this poem, the use of irony along with practical skills, linguistic and rhetorical awareness, and multiple reading strategies keep the recipient away from comprehending the author’s point of view. It can be concluded that interpretations arise from the use of irony in poems make a word more beautiful and clearer so that the recipient could get the content of it.

Synaesthesia is a rhetorical and artistic device. This figure of speech is derived from the combination of two senses or the paradigmatic relations between senses. Poets use this rhetorical device to broaden their imagination in order to create beautiful and impressive imagery that adds to the poetic aspects of the text. This artistic device aims at increasing audiences' literary perception or pleasure by deviating from norms and foregrounding literary conceptions. So, it allows the poets to communicate their feelings to the audience. The present study seeks to examine synaesthesia in two poetry collections, “Don’t Apologize for what You’ve Done ” by Mahmoud Darwish and “From the Fire from the Silk” by Qahar Asi. This descriptive-analytical study, undertaken using the quantitative and comparative literature methods, revealed that both poets employed the aforementioned literary device frequently. Therefore, the remarkable frequency of synaesthesia might be attributed to Asi and Darwish's poetic style. It should be noted that these poets have employed synaesthesia in distinct manners by connecting it to the content, intellectual, and emotional features of their poems.

 Desk research and document mining were used to collect the data. The content was organized using a descriptive-analytic method based on the American school framework for comparative studies. The authors also apply a quantitative research approach to explain and evaluate synaesthesia in the abovementioned works.

 Synaesthesia is an illusory technique of integrating two senses and perceiving one via the other or attributing the characteristics of one to the other. This literary device has been recognized as a significant technique in Persian and Arabic literature because it can pique the audience's attention while also transmitting the poet's sentiments and spiritual experiences. Synaesthesia enables the poet to broaden his or her imaginative horizon and create fantastically impressive imageries, which enhances the poetic effect of a text. “This creative device combines or substitutes one of the human senses with the other one. In this regard, it links the characteristics of one sense to the other. Needless to say, synaesthesia covers not only the five senses but also the abstract senses” (Golchin & Rashidi, 2011: 297). This artistic device is built on a “proclivity to change and combine.” For example, the poet may use this rhetorical device to alter the sense of smell so that audiences experience it via the senses of taste, hearing, and touch, or they see colors through sounds and hear sounds through colors (Modirzadeh Tehrani, 2020: 84-85). Furthermore, by using this aesthetic technique, the poet seeks to create innovative conceptions (Sheikh, 2010: 129).     Mahmoud Darwish and Qahar Asi are two poets who employed synaesthesia to create innovative literary imagery and elegantly express the intended meaning and sentiments. Given the following basic classification, we can analyze the use of synaesthesia in these poet's works:     The first type of synaesthesia is “horizontal harmony”. It results from the combination of two senses, such as sight and hearing, hearing and sight, sight and taste, sight and touch, touch and sight, and so on. The integration of hearing and sight senses is often highlighted in these poets’ works. As a result, this aesthetic combination has caught the poets' attention more than others. The explanation for it might be Mahmoud Darwish's and Qahar Asi's exceptional sight and hearing senses since both have seen war and its devastating effects: both poets can detail the explosion of the shells, cries of the war-torn, and visions of people’s suffering via such a combination.     Vertical harmony is the second form of synaesthesia. Here, poets do not confine themselves to integrating merely two senses: they blend terms related to five senses with terms that represent abstract concepts, creating attractive imagery. In this case, the poet may brilliantly express his mental imagination by using literal devices that render the abstract notions evident (Hassanli, 2004: 282-283). The poets in question have employed a synthesis of sight sense and abstract ideas more frequently since sight is one of the most essential human senses and allows people to interact with their surroundings. The combination of this sense and imagination results in the creation of innovative imagery. Mahmoud Darwish and Qahar Asi transmit their experiences and thoughts vividly via such artistic combination, contributing to the creation of novel ideas in the realm of poetry. 

The findings reveal that, although the poets employed synaesthesia in different manners, what counts is that they established a relationship between the way they use this literary device and the content, ideas, and feelings they attempted to convey via their poetry.     The most notable aspects of these poets’ collections are their intentional use of the aforementioned literary device and its harmony with the theme. According to the sample analysis, synaesthesia has transformed the poems into creative poetry and has been used to convey meaning and increase the literary impression communicated to the audience. Mahmoud Darwish and Qahar Asi have used various types of synaesthesia in their verses on occasion, demonstrating their inventiveness in using this literary device. Darwish’s poetry employs the following synaesthesia combinations (horizontal axis) frequently: (1) sight-hearing combination; (3) hearing-sight combinations; (1) sight-taste combination; (1) sight-touch combination; (2) touch-taste combinations; (2) smell-sight combinations; and (1) taste-smell combination. Darwish's use of synaesthesia on the vertical axis (the combining of five senses with abstract concepts) is also frequent. Accordingly, there are (8) sight-abstract concept combinations; (3) touch-abstract concept combinations; (1) hearing-abstract concept combination; and (1) smell-abstract concept combination. Qahar Asi’s frequency use of synaesthesia in the horizontal axis is as follows: (2) sight-hearing combinations; (5) hearing-sight combinations; (2) sight-taste combinations; (1) touch-sight combination; (2) sight-smell combinations; (1) smell-hearing combination; (1) hearing-smell combination; and (2) hearing-touch combinations. Furthermore, his use of synaesthesia on the vertical axis (the combining of five senses with abstract concepts) is as follows: (15) sight-abstract concept combinations; (1) abstract concept-sight combination; (4) abstract concept-hearing combinations; (1) smelling-abstract concept combination; (1) abstract concept-touch combination; (2) touch-abstract concept combinations.     According to statistical analysis, the most common use of this literary technique on the horizontal axis is synaesthesia created by the hearing-sight senses. Furthermore, sight-abstract concepts are the most often utilized combination in the poets' collections on the vertical axis. In general, we may say that these poets' most active senses are sight and hearing. One explanation for such a focus on these senses might be because poets' sight and hearing senses were stronger than other senses: these dedicated poets had seen shell explosions and terrible wartime scenes. As a result, the combination of various sensations, known as synaesthesia, allows these poets to more clearly depict the sound of war-torn cries and scenes from people's suffering.

One of the hallmarks of contemporary Arabic poetry is the reflection of literary heritage in that poetry, while ancient myths occupy a prominent place, so that poets in their poetry offices express their desires and hearts. Social-political activists, with the aim of authenticizing their literary work, have come out of it and exited from enrichment. The present study seeks to describe how the mythical personality of Oedipus came to be and how it was invoked and applied by a descriptive-analytical method in contemporary Arab poetry by two prominent Palestinian poets, Mahmoud Darwish (1941- 2008) and Samih al-Qasim (1939-2014). ) To analyze and critique and finally, drawing on the American model of adaptation, to make a comparative critique of the poets' style of inspiration in the aforementioned myth. It is understood that the aforementioned had a socio-political reading of the aforementioned myth and attempted to induce the audience to use their ancient personality as well as to draw on personal and impersonal concerns through the use of this ancient personality. Challenge themselves and, in turn, challenge the heterogeneous environment of the environment.

Phoenix myth in the poetry of Mahmoud Darwish to the cause of the oppressed Palestinian nation and struggle for emancipation from the yoke of Israeli occupation, despite the desire to reclaim land occupied many wars and crimes, and also tied His poetic developments. He reread phoenix as a symbol of resistance and steadfastness, and the rise from the ashes of death is refresh. Phoenix in the poetry of Mahmoud Darwish of the first tribunal has referred to the " Uhibbuki aw la uhibbuki (I love you, I love you not)" to " Ka-zahr el-lawz aw ab'ad (almond blossoms and beyond) cardboard dimensions" who has changed his last court. In this paper, we have to analyze its dimensions. The results show manifested in three problems: First, the myth of the phoenix in the poetry of Mahmoud Darwish is to say that the aspirations of the Palestinian people and he did not die, but each time the blood of their martyrs and brave youth raised will continue. Second, Darwish's poetry Phoenix in some cases to speak of man and woman is the symbol of calving. Thirdly Phoenix in the final stages of his battle with death and resurrection symbol Darwish life again. The method in this paper is analytical, and tried to critique and analyze the myth of Phoenix and semantic transformation of a great deal in his poems.

Written norm deviation is a foregrounding element in today’s poetry in which poets distance themselves from conventional means of writing and employ various ploys in writing and line arrangement of their poetry. Although this matter does not change the major meaning of the poem, such strategies only adds an objective notion to the poem, completing its message to some extent. As a powerful, contemporary Arab poet, Mahmoud Darwish has exploited norm deviation in his works through various means. In this study, it is attempted to explain and analyze the most prominent instances of his exploitation. Norm deviation is a newly emerged principle and phenomenon in literary criticism which has significantly been taken into account in structural studies and contemporary linguistics. This phenomenon is one of the formalists’ most significant findings, which forms the basis for discussions on stylistics today. Formalists introduced literary language as “deviation from the norm” and studied various styles according to this principle (Shamisa, 2002, p. 157).
In fact, deviation from norm involves moving away from the dominant principles of norm-based language as well as inconformity with the common language. In case of a proper artistic application, "it may introduce some foregrounding to the language and put an end to the automated norms of language which are no longer capable of aesthetic transfer" (Salajegheh, 2004, p. 50). However, certain scholars such as Leech consider a boundary for this and believe that "deviation from norm could continue until it does not disturb communication and involves translatable foregrounding" (Leech, 1969, p. 40).
In Arabic language, deviation from norm is called al-Enziyah. It is worth mentioning that deviation from norm is an artistic improvement used by poets to translate their own emotional experiences, and it is not exclusive to the poets of a certain era. Following the World War II, Arab poets turned towards modernism and rejected many of the accepted norms in poetry and prose. The first people to follow modernism in Arabic literature were Badr Shakir al-Sayyab and Nazik al-Malaika (Abbas, 2004).
Until now, a number of studies have been conducted in the area of paranormal in the poetry of Mahmoud Darwish, each pointing out a part of various paranormal instances in his poems, including phonetics, mixed, and rhetorics; however, the present study is an attempt to complete these findings by examining the deviation from norm in Darwish’s poetry. The present research is a descriptive-analytical study. Mahmoud Darwish is a powerful poet who has used written norm deviation in his poems through various means, the clearest instances of which are pointed out in this study. One of the most obvious of these instances is the use of dots over letters, which usually occurs amidst the text or at its end. In fact, if the poet had intended to express the entire events, he should have used more words; this would naturally have increased the volume of his messages, forming a type of prolixity in his words. This also allows the reader to imagine their own interpretations over the dots and understand the poem’s content as they wish. In some cases, Darwish has used dots and pauses instead of a full verse; for instance, in the first verse of the ode, “KafarQasim” he portraits people who are dreaming of wheat and violets. He uses dots instead of words as he continues to better demonstrate the abundance of their dreams and wishes.
Another method of written norm deviation is the use of certain shapes to explain the purpose and intention of the poet as well as inducing them to the reader. One of the most artistic poems of Mahmoud Darwish is the ode called “Metr Muraba’a fi al-Sejn”. In this poem, he has used a type of unique style of writing, creating a sort of written norm deviation of poetry which is in line with the poem’s contents. He has written this poem in continues lines, which ultimately forms a square with four corners. The poet is attempting to describe prison, its space and its emotions, and express the challenges and hardships he had to face. Yet, to better demonstrate such hardships to the reader, he has employed a type of particular writing which is one of a kind. Given the contents of this poem revolving around describing a prison, Darwish has written this poem in the form of a prison itself. This means that he has written his verses back to back, in the form of a long line with no spaces, which forms a square at the end of the poet depicting a prison cell usually in the form of a square.
Darwish has used other writing styles in his poetry; one of them involves writing the same verse in a poem in two different forms. He writes the first verse horizontally and then repeats it vertically, laying out the words of the verse in a fixed, separated manner. Doing so, the poet places more assertion on his words and transfers the meaning and content of his poetry to the readers, better, and clearer.
Another method of deviation from norm employed by this poet is the use of dash at the beginning of verses. By doing so, he intends to communicate a particular semantic load to the reader through each verse; in fact, it is a type of independent element which serves the whole, plays a certain semantic role, and transfers a particular message to the reader. Mahmoud Darwish has employed deviation from norm at the written level through various means:The use of dots at the beginning of verses.
The use of dotes rather than a whole poetic verse.
The use of certain punctuations such as squares, brackets, dashes, and slashes.
Writing a verse horizontally and repeating it vertically word by word.
Darwish has also neglected the old presentation norms and principles, breaking the structure of verses by writing them in short or very long length.

Palestinian poetry Because of the challenge between the Palestinians and Israel was attentive to town and among cities and calling them becom as the source of goodness and mercy and Drive Poetic image fits toward the his poetry goal but its Repetition inspiration poetry substantiality poet Mahmoud Darwish and strengthen the stability of his identity and it have the Most Repetition of cities so that the continuous Repetition between the poet and the city reveals of a strong relationship, for example of many Symbolic implications that they fluctuate Between the experience of grief and pain, and shine and prosperity of the city. In addition, Beirut by poet expresses the name of the land of Palestine, when the roots of the city Found strength with connection to the legacy and Time evolution and created Time and space synchronization between the poet and the city. Therefore, this study aims to analyze call of Beirut in Mahmoud Darwish poetry in terms of statistics and content to show hidden images and indication based on the descriptive - analytical method for analysis of literary text and to decode the signs and indications.

Words, including pronouns have emotional connotations and implications out of context, and when they are used in a text, their semantic effect is enhanced by the context. The contemporary poets attempted to use this potential capacity. This means that pronouns, as effective elements, are able to make the text dynamic and stimulate the addressee’s emotions. Like other writers, Mahmoud Darwish has widely used pronouns in order to utilize their potential to convey his emotional experience. He has succeeded to do so because the basic referential and lexical structure of pronouns refers to concepts such as identity, affiliation, power and solidarity. In addition, they are effective components in the time of creating the work and in the context, having a semantic function in line with the poet’s thought. The statistical population of this study includes the first-person pronouns used in the divan by Darwish, Why did you leave the Horse Alone. The authors of this article have examined the dispersion and frequency of this pronoun in the work to explore the implications and the aesthetic values. The method employed is descriptive-analytical. The survey shows that the poet narrates the reality of Palestinians, using the first-person plural pronouns. He describes that reality as a “whirlpool of clashes”. Sometimes, this pronoun is used in the subject position and implies authority and power. Sometimes, it is used in the objective position and connotes a feeble, vulnerable and passive identity. However, the agent in that role is not indifferent and always struggles for a higher position and tries to alter the other’s situation, making him or her passive. Moreover, Darwish tries to promote solidarity in the nation.

Literature plays a major role in the cognitive and mental world. Poetry, among other things in literature, may overcome many of the limitations in literature which structural barriers impose. Literature also has non-literary implications concerning historical and social issues at critical periods. The issue of time is not ubiquitous not just in dealing with social events, but is necessarily interwoven in contemporary Arab poetry as it requires some kind of communication which includes all the three elements of Past, Present and Future. Modern Palestinian poetry uses the concept of as a source when hopes about the future and returning to home from exile are expressed. This potentiality has opened new doors to the Palestinian poets such as Mahmoud Darwish, who incorporates his exile in Beirut in his work with many different time dimensions. The developments in Beirut and the Arab-Zionist conflict have taken away the poet from his own self and plunged him into resistance and confrontation. This research uses a descriptive-analytical method and the results suggest that time plays a major role in "Madih ul-Zell el-Ali” ode by Mahmoud Darwish. The thematic focus revolves around Beirut which means the events take place in this city; Different temporal elements have been resorted to in harmony with the goals of the author, such as foreshadowing, anticipation, flashback, and sequence. The employment of these techniques reflects Mahmoud Darwish’s concern about the events of his time and sufferings which he observes in Beirut.

Text linguistics is a modern term referring to the study of linguistic elements of texts. In fact, it is a kind of analysis consisting of various methods and is characterized by its investigation into linguistic elements that are beyond the sentence level as well as the relationship among embedded elements of sentences. The present article attempts at exploring text linguistics. Then, it moves on to tap into this field of science in order to have a certain reading of Mahmoud Darwish’s “Identity Card”. Thus, the article first discusses the concept of text linguistics and the way it has been formed, and then goes on to explore its goals, duties, and linguistic elements. Then, it applies text linguistics in practice and on two bases on the ode“Identity Card”; the first basis is interpreting intra-textual coherence based on linguistic contexts and the other is interpreting such a coherence based on non-linguistic elements. The present study reveals that Darwish’s ode enjoys a cohesive and coherent framework and that its components are sequentially linked and intertwined with one another. In addition, techniques utilized in the text are thoroughly in line with the fulfillment of its goals. Therefore, the six stages of ode, which are known as the overall foundations, are completely coherent. Additionally, after breaking each of the overall foundations into smaller parts, we can see that the poet has tapped into a variety of linguistic techniques to improve the text development. Furthermore, linguistic data, such as references, omission, transition, and repetition are vividly seen in the text, which further add to Mahmoud Darwish’s poetic competency. This study also argues that the component textural elements of the ode “Identity Card” are properly inter-related and coherent, resulting in the overall unity of the ode. This unity is based on a coherent thought starting with the title, followed by the introduction, and body and ending in the conclusion, encouraging the reader to keep reading the text.

Archetypes are the same and common ideas in the mind and the unconscious of human beings that show itself in the form of common beliefs at any age and their recognition may increase our understanding about the deep cultural, moral and religious currents. Jung mentions several archetypes in his works and counts each of them from the most meaningful of manifestations of the collective psyche alone or in the general link together. In this research, we have investigated archetype of numbers between Iranian and Arab poets, Tahereh Saffarzadeh and Mahmoud Darwish, according to the American School of Comparative Literature and descriptive – analytical method. The main question in this research is that each of these two poets, what attitude has to the numbers in thier poetry according to nationality, the position of the time, place and circumstances of their inner thoughts and how is employed them each of two poets. Some of the results include: A) the numbers of one and five in the poetry of Mahmoud Darwish and numbers of four and seven in the poetry Saffarzadeh have high frequency. B) The number of three is used in the poetry Saffarzadeh, but Darwish did not use it. In contrast, Darvish has paid attention to the number of six, but Iranian poet is not used it.

The use of imaginative elements as well as artistic and poetic images in the poetry of Sherko Bekas is so significant that attracts the attention of every eyes reading them and every ears listening to them. It is fair enough to call Bekas the greatest and the most innovative poet in Kurdish literature. This study in the field of comparative literature seeks to investigate such images and imaginative elements in the works of Bekas, and the famous Arab poet Darwish, using an analytical-descriptive approach. In order to keep the length of this study reasonable, one selected ode from each poet is considered. The deft use of poetic fantasy and imagination is laudable in both odes; more various and more significant in Bekas, however. The poetic fantasy and imagination of Darwish is not as expanded as that of Bekas.

Resistance poetry is full of religious, mythological, and historical symbols which are of great importance in Palestinian resistance poetry. Mahmoud Darwish is one of the great contemporary Arab poets who has used Quran in his poetry. He sometimes uses the Quranic figures in accordance with Quran text and in another part of his poetries, employs them according to his social- political motivations. His poetries are full of spirit of epic and resistance against Israel and its oppression. The most important of these figures, we can name Cain, Noah, Moses (peace on them), etc., each one is symbol of fight against tyranny and oppression in the poetry of Mahmoud Darwish. The authors of the present paper aimed to express Mahmoud Darwish poetry's' symbolic Quranic figures and their implications through reviewing his poetry and taking advantage of analytical-descriptive method.

The literary text contains crucial strategic parts such as the title, the beginning and the conclusion that reveal its secrets (laden powers) and aesthetics. The beginning is the most important of these parts because it establishes the text as it is that linguistic sign from which textual connotations are generated. Therefore, studying the workings of textual beginning discloses the way textual connotations form. Besides, after the title the textual beginning is the first encounter between the reader and the text, either it allures him to continue reading the text or distances him/her, hence comes its importance. This reading aims at unveiling the capacity of textual beginning to establish the text: is it capable of establishing the text or is it just a linguistic sign like any other textual signs? If it can, how are textual connotations formed then? This reading presupposes that the beginning is capable of forming textual connotations as it is the sign from which all other signs, structurally and semantically, emerge. This reading while posing the issue of textual beginning is informed by the semiotic approach which studies the interconnection and correlation among signs of the text as a whole network. In order to disclose the workings of the beginning the nature of textual beginning including its definition, types, functions and limits are discussed. Then the textual beginning in Mahmoud Darwish’s poem “Qubar Al-Qauafil” will be studied to explore its capability of establishing the text. The study shows that it is a pluralistic beginning that establishes the text both structurally and semantically. As far as structure is concerned, the vocabulary of the beginning appear in the body of the text in the same wording or synonymously. As for the connotation, all themes of the text derived their connotations from the main focus of the beginning: forgetfulness, with variations the relation between the beginning and the textual themes.

The analysis of black color in the Nima''s poetry and Mahmoud DarwishColoColor is a deep link with literature، especially with the literature of resistance. The colors represent different emotions and symbols، through which we can find out a lot of secrets and codes، and we can find the political and social situation of the contemporary poet. in the Nymayvshyj in the Persian Literature and Mahmoud Darwish in the Arabic Literature have used the colors in the poems themselves. In this paper، we examine the extent of black color. Both poets alike have used this color، indicating that they are not optimistic about the political and social issues. Black is the most color in the poetry of Nima. Black means oppression and injustice in the Nima''s poetry. Black is also used on Mahmoud Darwish، which is showing the displacement and oppression.

Comparative Literature is one of the most important topics that has, nowadays, attracted the attention of researchers with the objectives and scope of its activities. The study of chronological and cross-cultural similarities and differences is one study area in such comparative studies. Mahmoud Darwish and Ali Mousavi Garmaroudi were two well-known poets who revitalized resistance literature, the former in Palestine and the latter in Iran. They spoke of people for people and backed people for the cause of freedom. Invitation to struggle, perseverance, sacrifice, hope, and action against tyranny formed the basis of some of their best works. This paper comparatively studies the theme of resistance in the works of these poets to unveil their thoughts and ideas in relation to the concept of resistence.