مجله زبان و ادبیات عربی
سال دوازدهم شماره 2 (پیاپی 23، پاییز و زمستان 1399)

Literary style reflects the individual characteristics such as taste, mood, personal, and literary convictions. One of the approaches of literary style is known as individual stylistic that is considers the relationship between text and feedback among the audience, explores the psychological, social and linguistic reasons and motivations that is effective in selecting and exposing linguistic structures in text. This research analyzed and described personal style in "Bilal Habashi" by "Ali Foda". The importance of this study lies in the study of the role of the internal and external factors of the poet's life in determining his literary style as well as its manifestation in his language structures. The study aimed to pave the way for other researchers of individual style. The results showed that Ali Foda in this poem imagines himself as suffering character Bilal Habashi. In this field, by relying on practical components in determining the individual style, he made poem heavy musical by using a lot of nasal consonants, selecting rhymes ending in the long vowels, and alignments that according to their internal states. Applying present verb indicates his dramatic revolutionary and reformist goals. His individual style is highlighted by adapting ideological vocabulary and interpretation that fits into the concept of sadness, frustration, rebellion, and resistance. His style is implicit and through beautiful metaphors in this poem, except one, the rest of implicit metaphors and sarcastic kennings stated.

Structuralism is amongst the most current and ancient narrative schools. The school was founded based on linguistics to understand the structure for explicating main story structures. According to Greimas, every story consists several actants and every actant has some action models. The novel Return to Haifa written by Ghassan Kanafani was published in 1969. It emphasizes the necessity of facing Palestinians with Israel for achieving their rights regarding their relationship that exists between Palestinians (both Palestinians of 1948 and those living in Arab countries). Ghassan Kanafani writes about Palestine in a realistic framework and comes close to it from different perspectives. He presents facts artistically, the example of which is description of the relationships between land and Palestinians. The novel narratives events between 1948 and 1967. Coherent and narrative aspects of the novel has helped to reread the perspectives of literary criticism theory. So, the actions of the novel were explored using Greimas’s model. The study showed the ability of the approach in exploring Return to Haifa. It also showed that actants are the most parts of the novel and it also concludes that actants of the novel are the most significant elements of the story that include abstract concepts, events, episodes, and personal and physical features of characters.

Artistic paradox is one of the most important elements of semantic deviation and one of the main issues of literary criticism. Paradox is the seemingly unreasonable and impossible combination of two opposing concepts with a truth within, which a curious mind can understand. In the descriptive-analytical study, paradox was discussed and its techniques were explored in the Ashiat Vadi al-Yabis (عشیات وادی الیابس), composed by Jordanian poet Mostafa Wahbi al-Tal, known as Arar. The aim was to see how the techniques have caused the marked images. It was shown that the poet has expressed some political, social and domestic concepts using a paradoxical language and has also used specific similes, metaphors and metonymies of paradoxical images to introduce new concepts, make specific points and create imagery creativities. Though paradox is not the only way of defamiliarizing in his poems, but is his best means. The most important factors helping the use of paradox in Arar's poems can be exact differentiations and imaginations as well as social and political status of society, the existence of false asceticism and piety, and hypocrisy. It was also shown that paradox has not only been used in the divan for aesthetic purposes but to show paradoxical concepts and as a result show the truth. That is, the poet has used paradoxical images and meanings to defamiliarize the things and to present artistically and beautifully his thoughts and artistic experiences.

Human personality is composed of three parts: id, ego, and superego. The relationship between these three parts creates the individual’s complex behaviors. The concept of “ego” represents a specific pattern of behavior and how one adapts and interacts with the environment. Sometimes, the “ego” suffers from a narcissistic personality disorder, resulting in the excessive increase of the person's attention and interest in himself. Therefore, he sees himself as a superior being and intensively focuses on his value in the eyes of others to the extent that this excessive narcissism leaves no room for loving others. Abu Firas al-Hamdani and Afzal al-Din Khaqani are two prominent Arab and Iranian poets whose poetry reveals manifestations of the narcissism phenomenon. This study aimed to explain the essential psychological features related to narcissism in the poetry of Abu Firas and Khaqani by relying on the descriptive-analytical method and referring to Christopher Lasch's model. According to Christopher Lasch's behavioral psychology, the standard features of narcissism in the poetry of Abu Firas and Khaqani are superiority complex (megalomania), devaluation of others, illusions of omnipotence, alienation from others, and complaint. Accordingly, these two poets present an exaggerated self-image in their poetry, ignore the values of others, and are very sensitive to criticism or failure. Abu Firas and Khaqani rarely communicate with others, and their communication is in line with meeting their personal needs. They consider themselves supermen who can do everything and attribute the positive events around them to themselves. These two poets are alienated from others, so they constantly complain about the people, the life, and the situation around them.

In recent years, women poets, by recognizing their feminine identity, have been able to establish emerging literary developments by creating currents in the field of language and cognition. They have also tried, by using feminine language and creative techniques in making their works, to influence the feelings, thoughts, personal and social concerns of a woman. Moreover, they have tried to work with men in various literary fields such as poetry, prose, novels, etc., free literature from the domination of masculine language and speech, and transform this ancient masculine tradition. There are well-known and famous poets in contemporary Iran and Oman, each of whom has played a significant role in shaping women's literature. Saida bint khater Al-Farsi is the pioneer of Omani women's poetry, who deals with women and her identity in her poems. Tahereh Saffarzadeh is an Iranian woman poet who has played a significant role in the literature of the Islamic Revolution. In this study, using poetic examples and charts, Feminine language in the poetry of two poets in a comparative way, on two lexical levels (Vocabulary - Compositions - Verbs and Phrases) and syntactic (question sentences, surprise sentences, emphatic sentences). Differences and similarities of feminine language were revealed in two different cultures. Al-Farsi, for example, uses feminine words to express sensory-emotional themes to fill the romantic dimension of her poem, while feminine language in Saffarzadeh's poem is a tool to convey message and thought. Both poets use feminine language to express social purposes such as feminism, the defense of women's rights, patriotism, naturalism, and so on

Metaphor has been frequently used in the Holy Quran. One of the reasons is undoubtedly playing an essential function in expressing the intended meanings of the Qur'an. In this respect, translating metaphors of the Qur'an is more sensitive and complicated than it seems at first glance. It is necessary to pay attention to the function of metaphor because neglecting this critical feature when translating the Qur'an will significantly reduce its equal effect on the target language readership. Accordingly, the aim of this study was to prove, in a practical way, this function in translating metaphors of Qur'an into target language. For this purpose, relying on the descriptive-analytical method and by referring to written sources, types of functions mentioned in Muslim rhetorician's works for the Qur'an metaphors have been considered, then, we have mentioned the Qur'an textual arrangement as an important factor in determining functions of metaphors. Then, in the central part of the research, Specifically, we have analyzed Verse 29 of Surah Al-Hijr in terms of metaphorical functions as well as in terms of issues related to translative Equivalence, and have compared the efforts of "Khorramshahi," "Fooladvand," "Ayati" and "Meybodi" in their translation of this verse, In terms of metaphorical function. In the end, the result indicates that the reproduction of the intended Qur'anic phrase, through literal translation, reflects the objectification function of the metaphor in its entirety in Persian and Meybodi's mistranslation of the intended phrase is evidence of this fact that he was unaware of its metaphorical function.

Language is a collection of voices inspiring various emotions and affections and are sketches of colors and fragrances. Undoubtedly, language is not a set of uneven and irregular voices, but an interconnected and systematic network of layers and links. Therefore, each piece of speech or text is organized through the cooperation and unity of all the different language levels. The purpose of this study is to analyze and evaluate the inspiring voices in the poems of Badr Shaker al-Sayyab. One of the essential topics to be addressed in his poems is the discussion of voices and inspirers. Jikur, is one of the talented poets who has employed voices to accompany the reader with himself. Thus, the authors sought to base the present study on the famous French linguist Morris Gramon’s theory to investigate the reading of and analyze the inspiring voices in the poems of mournful Iraqi poet Badr Shaker al-Sayyab. In this way, the signs and musical attributes of Badr Shaker al-Sayyab poems, especially vowels and consonants, are examined using a descriptive-analytical method. Reading and analyzing Badr Shaker al-Sayyab’s poems based on Gramon’s inspiring voices theory indicate that corresponding to the themes of the odes and profound influence of mournful spirit in the poet’s thoughts and language, highly frequent vowels and readings of his poems repeat these negative, dark, and tragic meaning. In other words, the results of this study indicate that inspiring voices in the poems of Badr Shaker al-Sayyab describe the physical and psychological failure of the people of his land, and phonetically, he illustrates repetitive themes of doubt, hesitation, frustration, sadness, and pessimism.

Mohammad Maghout, a contemporary Syrian poet, is one of the very pioneers of blank verse poetry in Arabic literature. Opposition and contradiction can be traced as a stylistic and dynamic feature of his many poems, making them not boring or dull. Marked lexicon and poetic forms, rendered in a subtle way make the readers amazing and sensitive. As a result of this dual contrast Mohammad Maghout stays outstanding in the realm of Arabic poetry, leading to his contradictory personality. He says “This is my nature, the essence I’m unable to change.” This dual conceptuality is depicted in the way the poet has experienced in real life, hence, a contradiction in his identity and universe. In this study, it was tried to examine this unique duality of Mohammad Maghout poetry in a descriptive and analytic approach. Through pinpointing his three main works (Sadness in the Moonlight, A Room with Millions of Walls, and Happiness Is Not My Profession), it was concluded that Mohammad Maghout has resorted to dual conceptuality to show his political and ideological issues. So, he has tried to tackle the readers’ minds and lead them to environmental aesthetic of his poems. This unprecedented frequent use of contradictions defines a new style in Arabic poetry that is unique to Mohammad Maghout.

Gérard Genette considers hypertextuality as a type of transtextuality. Hypertextuality focuses on adaptation and is divided into two categories: imitation and transformation. In this approach, the hypertext as the affective element and the hypertext as the practical elements are very important. The hypertext by imitating or transforming the pretext makes the original text preserved or changed. The transformation means changing something differently, while imitation is saying something similar. Transformation leads to transposition, which is a severe change in the hype. Saadawi, who belongs to the new generation of novelists, makes significant changes in the speed of hypertext by placing Frankenstein in a new literary space and a different environment. Studying the change in the speed of the novel in the hypertext shows Saadawi's creativity in deepening the narrative is a clear example of transposition of narrative duration and pause. Substitution in form and meaning makes significant changes in the text and narrative speed or duration is one of the changes. Studying narrative speed in hypertext is implying changes in narrative speed by transposition. Duration or speed results from comparing the speed of the story to the speed of the event. Ahmed Saadawi’s Frankenstein in Baghdad was inspired by Mary Shelley’s Frankenstein. This descriptive-analytic and comparative study analyzed the transformation in the narrative speed of the two novels and changes in positive and negative speed according to transposition. The results show that changing poetic style, dynamic description, implicit ellipsis, and inner speech in hypertext leads to transposition in narrative duration. In such a way mental action in the hypertext, unlike the hypertext, causes vertical movement in the text and progress in the mental world of the characters.

Semiotics is among the new approaches which the critics and researchers have used to analyze and interpret literary texts. It is a medium through which the signs get meaning in the text. Kazem al-Samawi (1919-2010) is one of the most well-known Iraqi contemporary poets, a part of whose work is replete with signs, symbols, and myths. “Malhamah al-Hijra al-Thalasah” is a poem in which he has transferred his intended meaning to the audiences through a collection of signs. The method of this qualitative research is that it uses descriptive-analytical tools to take use of manuscripts and other library resources in the analysis of Al-Samawi’s sonnet to examine its most important linguistic codes, express the relationships of these codes with the poet's life, and interpret the function of them in the harmony of the poems. The purpose of this research was to help the readers of al-Samawi’s poetry become more familiar with the hidden layers of his work and thought. The results showed that both the personality and the inclinations of the poet have been clearly reflected in the poem through the signs. In the same way, a handful of aesthetic and intertextual sings take function in the harmony of the poem, and these features considerably add to the values of it. Results also showed that al-Samawi’s poem mainly root in the experiences of his long years of life in exile, when he was conscious enough to use such codes in his poetry for exciting the readers’ sense of challenge and resistance. It is evident that al-Samawi is able to express his intention and purposefully communicate with the reader through these sings and symbols.

Magical realism is a combination of reality, myth, and history that entered the world of literature from the magical world of Latin American peoples. The concern for the excluded from society and the downtrodden in reality mixed, with imagination, is the common principle of all writers of magical realism. Saudi writer and novelist, Abdul Rahman Munif, wrote the novel Al-Ashjar va Ightiyal Marzouq under the influence of magical realism to tell the life story of Mansour Abdul Salam and Elias Nakhla as excluded people from society. Munif considers the expulsion of Mansour and Elias from society a product of the backwardness of the Arab community and the persecution of government officials. In the novel Munif allowed Mansour and Elias to take control of the novel and discuss their private lives and the challenges of the Arab world with literature that blends reality and imagination. This study aimed to analyze, using a descriptive-analytical method, the critical atmosphere of contemporary Arabic novels, and such a research is necessary because investigating new methods in novel writing and the effectiveness of these methods on the evolution of Arabic novels requires ongoing discussion. The results show that Munif has wisely and deliberately created a dark imaginary world that should be viewed from two perspectives. First, there is no place for light, human rights, and pluralism in the novel, and individuals are persecuted regardless of religious affiliation or social class. Second, there are solid individual motives for rebelling against all the inings that limit humans in this novel.

Dialogical principle is a theory proposed by Mikhail Bakhtin in the twentieth century. He believed that language has a social feature, and dialogue is one of its prominent features; because the polyphonies in a text will only be achieved through dialogue. Although Bakhtin believed that poetry lacked the Dialogical principle, Abdul Wahab Bayati, from among modernist Arab poets, succeeded to make a Sufi character in his poems and revive dialogue and polyphony in his poems. The questions posed were how this polyphony is going to be shown in the poetry of Abdolvahab Bayati while the Bakhtin’s theory believes in a monologue in the poetry. Secondly, in using the Sufi character, what techniques does he use to bring his words closer to the logic of Sufi speech? The masking technique can turn the text into a conversational and polyphonic text and revive intertextuality. Therefore, it is necessary to examine the aspects of logic of speech from Bakhtin's theory of the dialogical principle. This article is based on Bakhtin's theory of Dialogical principle. It shows through a descriptive-analytical method that Bayati uses such techniques as persuasion, double-voiced and rhetorical propositions (questioning, commanding, and addressing) while reviving different voices and showing that the logic of speech in the technique of persuasion, where the shifting roles (between the speaker and the audience) takes place, or it becomes difficult to identify the instance, is very close to Sufi language and breaks like Sufi’s logic of speech.    The dialogue logic is a theory proposed by Mikhail Bakhtin in the twentieth century. He believed that language has a social feature and dialogue is one of its prominent features; because the polyphonies in a text will only be achieved through dialogue. Although Bakhtin believed that poetry lacked the logic of dialogue, Abdul Wahab Bayati, from among modernist Arab poets, succeeded to invites a Sufi character in his poems and revives dialogue and polyphony in his poems. Now the research question is that how this polyphony is to be shown in the poetry of Abdolvahab Bayati while the Bakhtin theory believes in monologue in the poetry? Secondly, in using Sufi character, what techniques does he use to bring his words closer to the logic of Sufi speech? The mask technique has the capacity to turn the text into a conversational and polyphonic text and to revive intertextuality in text. Therefore, it is necessary to examine the aspects of speech logic from Bakhtin's theory of dialogue logic. This article is based on Bakhtin's theory of dialogue logic and shows it in a descriptive-analytical that Bayati uses the technique of persuasion and techniques such as double-voiced' rhetorical propositions (question, command and call), while reviving different voices and showing that the logic of speech in the technique of persuasion, where the shifting of the roles (between the speaker and the audience) takes place or it becomes difficult to identify the instance, is very close to Sufi language and breaks like Sufi speech logic