نشریه بحوث فی اللغه العربیه
سال دهم شماره 2 (پیاپی 21، پاییز و زمستان 1398)

Stylistic science is related to the linguistic system. Statistical method is one of the methods of linguistics in the analysis and review of the style. And many researchers introduced statistical studies in stylistics. Bozeman's Hypothesis is one of the statistical methods that the German scientist Bozeman put forward for the first time, and the term was called this name. This hypothesis examines the number of verbs and adjectives in the text. Therefore, the number obtained from the verb-to-adjective ratio expresses whether the text is related to science or literary. This article examines poetry of Hosseini al-Sharif Razi and Al-sanawbari based on statistical stylistics. The most important results indicate that Hosseini's poems Sanawbari are more emotional than the poetry of Hosseini for al-Sharif Al-razi, because emotion has an important role in increasing the ratio of the verb to the adjectives. Mourning, joy, anger, and so on are emotions. The existence of grief and disaster and anger against the enemies of Imam (AS) in Al-sanawbari’s poems has been more than al-Sharif Razi’s poetry. Also, rhetoric, repetition, and pun played a significant role in the sensation of Hosseini Al-sanawbari’s poetry. The plurality of words and diversity have led to a decrease in the passivity of al-Sharif Razi’s poetry. This is due to the deep thought and editing of poems.

Reading a poetic text does not mean relying on apparent and superficial connotations, but rather on the semantics connotations or text infrastructure, which require interaction with the text and its structure. The resistant poetic text has positive and moral connotations that bring life among people and nations. The Semiotic approach to the resistance poetry seeks to reveal hidden features in the depths of the text, which appear only after decoding symbols and helps to understand the treasures of the text in it. The poet Abdelaziz Al-Maqaleh is one of the icons of modern Yemeni poetry and has a deep root in the Arab poetry movement, which has contributed to the resistance movement and the struggle against aggression and occupation. The ode ‘From the Days of Saif bin Ziyazen in Persia’ is an evidence that he is the poet in Arab resistance. This article is a semiotic reading of this work and aims at deciphering and analyzing it based on the semiotics approach. It also addresses the semiotics of the title and the implicit significance of this poem according to a descriptive-analytic approach. One of the most prominent conclusions of this article is that the poet used the title as a semiotic key in his poem, as implicit implication for the poet calls for a deep and in-depth reading to help inquire into the depths of the ode. In addition, the symbols and metaphors used in this ode may increase profound connotations that need deciphering to understand them.

Abstract Investigating the meaning dynamics and semantic structures in a poem is a criticism model that focuses on the register and the poetic aspects that poets choose for activating semantic elements. The relationship between meaning and meaning-creating elements is a strong one so that every poet takes advantages of it. This paper aimed at exploring the linguistic effects and meaning-making structures in the poems of Ibn Lubban. Therefore, using a descriptive and analytical method, the paper focused on the obvious elements used by the poet. The findings indicated that Ibn Lubban took advantage of repetition for showing happiness. Moreover, meaning-communicating elements can be seen in his poetry. Lexical diversity in some parts of his poem intensified the semantic effect. The poet used diversity in his poem to create the necessary and intended meaning in the text like hatred from the judgment in his city. Undoubtedly, synonyms with the same meaning and referent that have an important role in emphasizing the intended meaning are of many uses in Ibn Lubban’ poetry. Moreover, word plays, interrogative structures, the centralization of meaning, positive aspects of puzzle and riddles, and the opening of a poem are among the means that Ibn Lubban used to add to the merit of his poem, meaning dynamics and diversification of meaning. He used these to challenge audiences’ understanding and make them try to discover the intended meaning.

This article deals with a technical study of the famous Farewell Pilgrimage sermon in order to reveal its structural foundations and its artistic and aesthetics features. We know that this sermon is one of the masterpieces of Arabic literature and Islamic cultural heritage that reveals human rights before the earthly constitutions legislate what human rights are. This sermon shows the road map and reveals the signs and expresses divine rules. This precious heritage is a historic document that is valuable in advocating humanitarian virtues and good conduct. This article, based on the descriptive-analytical approach, aims to study the Holy Prophet's idea of this sermon and its technical and methodological characteristics as it reveals us the greatness of Islam and its prophet. This research begins with the introduction to the style of modern writing, and then addresses these five axes and the 1) the text of the sermon and its documents, 2) ideas in the sermon and its position compared to other sermons of the Prophet (pbuh), 3) the affective side of the sermon, 4) artistic and structural phenomena in the sermon, 5) semantic and communicative phenomena in the sermon. The method of research is descriptive and analytical approach based on the study of the text of the sermon and the extraction of its and aesthetics, relying on the nature of the text in terms of its special composition and its technical and stylistic potential. One of the results of this article is that the Great Prophet (Pbuh) incorporated various forms of repetition and confirmation within his text in order to draw the attention of the listeners to his words and to convince them. In most cases, this sermon was composed of brief phrases. Time preference (introduction and delay) is a stylistic phenomenon in this sermon which is full of rhetorical meanings and beautiful images. The general structure of the sermon was mostly composed of verbal sentences, so that these sentences were included in the text of the sermon as a technical inclusion that made the text more kinetic and dynamic.

The hero with its special features is considered as one of the basic parts for Palestine poetry as an active element in backing up the occupation issue. Sameeh Ghasem, one of the great resistant poets has great role in this regard, and the features of hero have been depicted in his poetry as a mirror for social and political circumstances that occurred in the poet’s viewpoint toward this issue. This research deals with implication of hero as a key factor in his poetry that is called center of resistant poetry, and studies changes through his poetry in different stages of his life. Hence, this paper investigates the hero as the main pillar of resistance poetry and observes the developments in his poetry at various stages of the life of the poet through his poetry. This discussion, based on an analytical descriptive method, relying on poetic text and context-based approach, attempts to trace the hero's transformations in a real way, without any prejudice. One of the research achievements is the following: The hero has a variety of implications as a pivotal element based on the stages of the life of the poet. In the first stage of mythical implication, it is dominant and realistic one, and in the second stage, it takes negative implication to denote on destruction and lost identity and little by little the realistic and coexistent implication overcame the resistant one, and hero’s implication swings between failure and pessimism in addition to cultural implications that have contradicted the intellectual confusion. In general, the hero refers to a resistance aspect toward a positive, peaceful and believable aspect of dialogue as the ultimate solution to the problem of occupation.

Digital interactive literature is a new form of expression that is related to the creation of text through words, and on the other hand, through creation through electronic technology. Of course, this technology is possible through a computer connected to the Internet. In these texts, the penman is confronted with a phenomenon that he did not know before. He has a computer connected to the Internet to read the text. The present study is to investigate the narrative of the novel ‘Robe Mokhaiefeh’ (scary quarter) by Ahmed Khalid Tawfiq based on digital interactive literature using a descriptive-analytic method. The research results show that words do not play a role in the story, but are part of the overall structure of the text. The combination of sentences in this type of narrative is short, and the writer uses a computer, along with words, color, image, movement to convey meaning. Because of the mixture of horror pictures and dramatic music with the text in a digital novel, the reader can feel the reality of words and is in touch with the meaning of words. Also, the use of multi-choice relationships (links) that give the power of discretion to the reader, while enhancing the beauty of literary work, and creating a reader-to-text interaction.

Stylistic is a critical approach that seeks to examine the technical and linguistic structures of a text in order to illustrate the hidden beauty of the text and techniques used. In this way, stylistics analyzes the text by distinguishing the works of poets and writers from each other. Ahmad Sahonun is a contemporary poet of Algeria, who has a particular style and influences the domain of sustainability literature. In this essay, we focus on the stylistics of one of his most beautiful poems in the field of resistance ‘Palestine enna ajebna al-nada’ which the poet speaks of the will of Arab people in general and of Algeria in particular, as well as of his love for Palestine and encourages people to sustain and to acquire transcendental qualities. In this study, with a descriptive-analytic method, and based on the statistical method, we consider the structural form of ‘Palestine enna ajebna al-nada’ at three levels of phonetic, hybrid, and rhetorical, to explain the beauty behind these levels. The results show that the use of bam and acoustic sounds has had a profound effect on the creation of internal music. At the combined level, we also see a number of Prepositional Phrases at the beginning of verses and stanzas that are in line with the atmosphere of the ruling, which is a miracle and a bow and arouses the spirit of the battle. He has also used many sentences to praise and express glory and exaltation. At the rhetorical level, the poet has also used a lot of expressive expressions to convey the struggles of the people and encourage them to liberate their land. Also, the use of such arranged artifacts as the style, and the genre of music has been created in accordance with the atmosphere of the ruling.

From the very beginning, cinema has embraced all the literary discourses including the poetry discourse, and, more interestingly, this is a two-way influence. Contemporary poetry has, therefore, exceeded frontiers of arts such as drawing, cinema art and its techniques including camera, scenario and especially montage. So, the montage ode is originated from the art and poetry together. And, because the montage plays a significant role in developing the structure of the modern ode, we tried here to focus on the montage style in the contemporary ode which is based on the cinema montage and its rules. Montage means the technical cutting and connecting the scenes and attaching sequential images to each other or irrelevant views together to express a definite concept and idea so that the modern poet cuts and attaches the figures of a part of a poem and connects the continuous figures to express a special idea just like a montage movie. And, in this way, the reader's rank is upgraded to a real spectator. One of these modern poets is Adnan Al-sayegh whose constructs his poems like a movie showing the bad accidents happens in his homeland, and portrays scenes of deep tragedy for his audience.     This descriptive-analytic study tries to investigate the extent of employing cinematic techniques, especially montage technique and the implementation of this technique on some of Al-sayegh’s ode. The findings of this research shows the role of cinematic assembly in transforming the poetic image into an attractive and spectacular image and that shows the poet’s skill and his accord to this technique. Through this style, the poet has been able to inspire his ideas and themes to the audience. Also, cinematic montage has a significant role in strengthening the meaning of narrative in poetry, and the promotion of the ode from the superficiality of styles to the ideal style.

The absolute object is known in syntax works as just the absolute object in its usual term, that is to say, the infinitive-single words, which are appointed and also have the same root with the verb, with emphasis or numerical functions, or the expression of the type or substituting the verb. But, apparently, the Jaars and Majrūrs (Preposition Phrases) which can perform such functions and play the role of absolute object have been neglected so far. This is because the Arabic syntax is both diacritic-and-singular oriented, and in determining the role of Jaars and Majrūrs, it often enough to consider a verb or a pseudo-verb factor. While apart from Jaars and Majrūrs which take the role of predicate, adjective, and present tense, it's possible to define grammatical functions for many other Jaars and Majrūrs. The present article uses a descriptive-analytical method relying on some Quranic and non-Quranic examples and tries to highlight that there are two absolute objects: one is the dominant form which is the singular-appointed infinitive that is famous in syntactic norms as absolute object; and the other form which is used rarely, consists of letter (ba) and (kaf) added to co-rooted Majrūr infinitive with verb, considering specific conditions and criteria.

Imam al-Hasan (peace be upon him) is one of the prominent personalities in Islamic history. This person has contributed greatly to waving the flag of Islam, and has had a great presence in Islamic activities. With sermons full of rhetoric, beauty and dignity, he has driven the Shiite Islamic trend toward the head of government. Textual consistency, with its manifestations and elements, clearly contributes to the presentation of the style of texts and its aesthetic aspects. Based on this, this research seeks to examine the manifestations and manifestations of syntactic coherence in the masterpieces of Imam Hassan (PBUH) sermons, and reveal the mechanisms and techniques behind it based on the descriptive-analytic approach. The study examines the mechanisms of grammatical coherence in the sermons of Imam (peace be upon him) to remove the effectiveness of communicating the message that is guaranteed by the Imam and the burden of carrying it with a strong chest and a firm will that does not find despair and lack of path. The research finally concluded that the mechanisms of textual coherence of the links, references and textual displacements of submission, delay, repetition, emphasis, use of emotions, discipleships, deletions, substitutions, and gameplay were all hand in hand to realize the message that the Imam had intended to convey to the people at that time and without such eloquence.