فهرست مطالب

نشریه بحوث فی اللغه العربیه
سال چهاردهم شماره 2 (پیاپی 27، پاییز و زمستان 1401)

  • تاریخ انتشار: 1401/08/29
  • تعداد عناوین: 12
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  • عیسی متقی زاده*، طاهره خان آبادی صفحات 1-18
    إن اللغه الفارسیه تختلف عن اللغه العربیه، من حیث البناء والقواعد؛ ولکن بینهما قرابه، من حیث المفردات شکلا او مضمونا او کلیهما. یبدو ان الاشتراک اللغوی یعد فرصه متاحه لمتعلمی اللغه العربیه من الناطقین بالفارسیه من ناحیه، کما هو یعد خطرا لهم من ناحیه اخری. یعد هذا الاشتراک فرصه کبیره للناطقین بالفارسیه؛ لانهم لا یضطرون إلی القیام باستقصاء معنی کل مفرده یسمعونها او یقروونها فی المعجم، مثل ما یعمل الاروبیون واهل اللغه الصینیه فی تعلم اللغه العربیه، بل الناطقون بالفارسیه لدیهم المخزون اللغوی الذی یغنیهم عن المراجعات المکرره للمعجم بواسطه هذه المفردات المشترکه. ولکن المتعلم قد یواجه المشکله فی هذه المرحله؛ لانه یظن انه قد فهم معنی المفرده؛ ولکن هذا الظن خاطی، ولهذه المفرده معنی آخر فی اللغه العربیه. علی هذا، یهدف هذا البحث إلی معرفه دور هذه المفردات فی عملیه تعلم اللغه العربیه مستعینا بدراسه الاخطاء التحریریه لمتعلمی اللغه العربیه من الناطقین بالفارسیه فی توظیف المفردات المتشابهه باستخدام اختبار فی مهاره الکتابه الاولی اعتمادا علی المنهجین المسحی (إجراء الاختبار) والتحلیلی (التحلیل التقابلی وتحلیل الاخطاء). فیشمل الحقل الدراسی اقسام اللغه العربیه فی مرحله البکالوریوس بجامعات إیران الحکومیه. وتتناول عینه الدراسه 94 متعلما فی فرع اللغه العربیه وآدابها فی مرحله البکالوریوس؛ اما حدود الدراسه لإجراء الاختبار فتشمل تسع جامعات: طهران، والعلامه الطباطبایی، والخوارزمی، والزهراء، وجیلان، وشیراز، وبوعلی سینا، والفردوسی، واراک. تظهر النتایج ان متعلمی اللغه العربیه من الناطقین بالفارسیه یعانون من الضعف فی تمییز المعنی للمفردات المتشابهه فی اللغتین فی کتاباتهم باللغه العربیه وتوظیفها؛ علی هذا، لهذه المفردات دور سلبی فی عملیه تعلم اللغه العربیه فی کثیر من الاحیان.
    کلیدواژگان: تعلم اللغه العربیه، مهاره التعبیر المکتوب، المفردات المتشابهه، تحلیل الاخطاء
  • حسین شمس آبادی*، طاهره میرزاده صفحات 19-30

    نظرا إلی ان الاعمال الادبیه لا تظهر کنص مکشوف، بل ترتبط دوما متواصله بعناصر تصویریه او لفظیه؛ فمن الواضح ان هذه العوامل، باعتبارها عواملإضافیه للنص الرییس، یمکن ان توثر علی القاری، فیما یتعلق بموضوع النص. تتم تسمیه هذه العناصر، والتی تختلف وفقا للفتره، والإصدارات،والمولفین، والجمهور والثقافات، من خلال نصوص جیرار جینیت التی کرس لها دراسه واسعه فی عمله بعنوان عتبات (7891). إن العنوان فی العملالادبی موضوع حدیث لم یتم إیلاء الاهتمام الکافی له حتی الآن، وفقا لاعمال محمد تیمور؛ وخاصه مجموعه من قصصه القصیره ما تراه العیو نله؛لذلک یتوخی هذا المقال إلی عتبه العنوان والإثبات ان انتقال المعنی فی الاعمال الادبیه لا ینحصر فی النص الرییس فحسب، بل فی عتبات الاثرالادبی، ویناقش کیف یظهر العنوان فی هذا العمل ویحدد الدور الذی یمکن ان یلعبه العنوان فی فهم وتفسیر النص واغراض الکاتب؛ وبالتالی،نکشف ان المولف اختار لعمله الادبی عنوانا مناسبا، وفقا لمحتواه وغرضه؛ وان عنوان الکتاب الذی تاثر جیدا بالصفات الجیده لعنوان لایق، صارقادرا علی الاندماج فی ذهن القاری.

    کلیدواژگان: المصاحبات النصیه، عتبه العنوان، جیرارد جینیت، محمد تیمور، ما تراه العیون
  • منی التمیمی* صفحات 31-40
    إن خصوصیه المنجز االدبی وتمظهراته تفرض سواال معرفیا حول ایهما اکثر تاثیرا فی صیاغه نسق إبداعی محدد، هل هو الحقل البییی المجتمعی امقراءات االدیب، بغض النظر عن اتساقها او عدم اتساقها مع البییه المجتمعیه؟ وایهما االقدر علی رسم المحددات المباشره وغیر المباشره فی حقل اإلنتاج االدبی؟ وایهما تمثل معرفه متعالیه ومعرفه محایثه للنص اإلبداعی؟وعلی هدی الرویه السابقه،سیتبنی البحث تحدید االطر المنهجیه وآلیاتالتطبیق فی قراءه طبیعه تکون المنجز اإلبداعی، وعلی وفق المفردات اآلتیه: اعتماد المقاربه البحثیه المرتکزه علی المرجعیات الفکریه والثقافیه،وتحدید اثرها فی تبییه المفاهیم المنهجیه، واالسیله الوارده فی البحث تحدد نمطا إجراییا یکون مقدمه لسلسله من العملیات الالحقه التی تستلزمإجراء استبانه للمبدعین، بوصفهم عینه الدراسه، لتوضیح وتحلیل طبیعه الظاهره التی یتبنی البحث قراءتها؛ ومن المجموع اإلجرایی المتقدم تتحدداستنتاجات البحث، بوصفه نوعا متخصصا من اإلجراء.
    کلیدواژگان: : المنجز اإلبداعی، مرجعیه قرائیه، مرجعیه مجتمعیه، الحقل البیئی المجتمعی
  • طیبه سیفی*، مهدی فاضلی، مهدی آبرون صفحات 41-56

    لقد عرف الشعر العربی تطورات عدیده فی مسار حرکته الإبداعیه منذ القدم حتی یومنا هذا؛ وکانت هذه التطورات نتیجه تغییر الظروف الاجتماعیه والسیاسیه والدینیه والاقتصادیه فی المجتمع العربی؛ اما فی العصر المعاصر، وخاصه فی عصر النهضه الادبیه، فإن اختراع الطباعه وانتشار ثقافه القراءه والکتابه ادی إلی انتشار الشعر عبر النص المکتوب علی عکس ما کان فی السابق وعند القدماء؛ وهذا الانتقال من الشفهی إلی المکتوب ادی إلی الإبداع عبر المکتوب وفی النص المکتوب عند معظم الشعراء. ولکن واجه الشعراء مشاکل عدیده فی مسارهم وفی انتقالهم من الشفهی إلی المکتوب، فاهتموا لحلها بالإبداع فی النص المکتوب. ومن هولاء المبدعین المعاصرین الذین حرصوا علی هذا النوع من الإبداع، هو الشاعر العراقی، بلند الحیدری، الذی کان شاعرا مبدعا فی اسالیبه الجدیده التی لا یجاریه فیها إلا شعراء قلایل من العراق. إن مکانته العالیه واسلوبه الإبداعی فی هذا المجال دفعنا إلی ان نقوم فی هذا البحث برصد التشکیل البصری وظواهره الطباعیه البیاض والسواد، وعلامات الترقیم ودلالاته فی اشعاره. ویهدف هذا البحث من خلال المنهج الوصفی التحلیلی إلی فتح رموز هذه الظواهر والکشف عن الاسباب التی دعت الشاعر إلی ان یلح بها. ومن خلال دراسه اشعار بلند الحیدری، وجدنا بکثافه استخدام ظاهره التشکیل البصری للسواد والبیاض وعلامات الترقیم فی شعره، ووصلنا إلی جمله من النتایج، اهمها هی ان الشاعر یستخدم هذه الظاهره؛ لانه یواجه احیانا عجز اللغه المالوفه عن إیصال فکرته واحاسیسه؛ وإضافه إلی هذا، انه یهدف إلی نظم القراءه والتحفیز علیها، کما یرید ان یمنح القاری فرصه للمشارکه فی التاویل وتفسیر کل ما یدور فی النص الشعری.

    کلیدواژگان: الشعر المعاصر، التشکیل البصری، البیاض والسواد، علامات الترقیم، بلند الحیدری
  • رجاء ابوعلی، قاسم عزیزیمراد* صفحات 57-68

    البنیه الشعریه، باعتبارها توظیفا جدیدا للغه، تهدف إلی تاسیس علاقات جدیده بین الکلمات، لتبتکر لغه جدیده تحتضن التنافر والاختلاف. من هذا المنطلق، فإن ادونیس فی النص الشعری بشکل عام، وفی قصیده حوار بشکل خاص، یفرغ الکلمه من دلالتها الراسخه فی المنظور المعجمی، ثم یشحنها بدلاله جدیده عبر تاسیس علاقات جدیده. بناء علی ذلک، یحاول الادیب جراء کل ذلک، ان ینتهک مرجعیه المخاطب، سعیا إلی استبدالها بمرجعیات نصیه اخری. من هنا، یاتی الانزیاح الدلالی الذی یمارس الادیب من خلاله تغییر المرجعیات المعرفیه السایده؛ وعلی ذلک، فإن النص الادبی باختراقه للمرجعیات، یتقارب من الخطییه، وفق المنظور المستعمل یومیا للدلاله. تسعی هذه المقاله إلی دراسه النص الادونیسی لتلقی الضوء علی ان قصیده حوار تشکل مدخلا اساسیا لتفجیر الدلاله وشحن المفرده بدلالات جدیده تکتسبها الکلمه من السیاق، ولیس من المنظور الوضعی المسبق. وتطرقت المقاله إلی دراسه هذا الموضوع حسب المنهج الوصفی التحلیلی، انطلاقا من النظریه الشکلیه، لتکون اللغه هی نقطه الانطلاق لدراسه النص. ومن النتایج التی توصل إلیها البحث هی ان القصیده تسعی إلی تاسیس نسق معرفی ینطلق من الحیره بمرکزیه السوال لترفض ثناییه الاختیار المتوقف علی"الخیر / الشر" المهیمنه علی وعی الإنسان العربی، فحاول الادیب ان یغیر بوره الرویه إلی الاشیاء من خلال اختراق نمطیه اللغه / المعرفه.

    کلیدواژگان: البنیه الشعریه، النظریه الشکلیه، ادونیس، قصیده حوار
  • هدیه قاسمی فرد، ناصر زارع* صفحات 69-82

    تسعی السیمیولوجیه باعتبارها إحدی الفروع الجدیده نسبیا للمعرفه البشریه، إلی فتح آفاق بین النص والقاری من خلال الاعتماد علی النص وفک رموز العلامات وکیفیه عملها. فقد لفتت نظریات السرد الحدیثه انظار الباحثین إلی دراسه مکونات الروایه، ومن ابرزها الشخصیه بوصفها جزءا لا یتجزا من العملیه السردیه؛ فهی الحجر الاساس الذی یحتل فکر الروایی عند قیامه بإنتاج عمله. بما ان الدراسه المنهجیه للعوامل المشارکه فی إنشاء او تفسیر العلامات او فی عملیه الدلاله واحده من اهم مکونات السیمیولوجیه، فإن هذا البحث، معتمدا علی المنهج الوصفی التحلیلی، یدرس علامات روایه لیطمین قلبی للکاتب ادهم شرقاوی، والتی ترکز علی تهدیه قلب الإنسان بسبب علاقته بالله. من اهم النتایج التی توصل إلیها البحث، ما یلی: ان اختیار اسم الشخصیه من قبل شرقاوی واع للغایه ویتماشی مع الخصایص الاخلاقیه والسلوکیه لشخصیات الروایه؛ وتکون بین مدلول هذه الاسماء وعنوان الروایه ثلاثه انواع من العلاقات، وهی واضحه وخفیه ومتناقضه، من حیث السیمیولوجیه الصرفیه، فإن الصفه المشبهه نظرا لخصایصها الخاصه فی التعبیر عن ثبوت سمه فی الاسم، اکثر بنیه صرفیه یوظفها شرقاوی؛ لان اکثر الشخصیات فی هذه الروایه بخصایصها وسلوکها تتجه نحو تحقیق الاطمینان القلبی، فإن الروایی یحاول التعبیر عن هذه السمه بواسطه الصفه المشبهه؛ واول وهله یظن ان اسماء الذکور اکثر فاعلیه من اسماء الإناث بسبب کثره تکرارها فی الروایه؛ لکن الدور الخاص لوعد باعتبارها إحدی الشخصیات النساییه الرییسه فی القصه یدحض هذا الادعاء.

    کلیدواژگان: السیمیولوجیا، الشخصیه، روایه لیطمئن قلبی، ادهم شرقاوی
  • احمد امیدوار* صفحات 83-98
    تعتبر جماعه داعش التکفیریه الإرهابیه من الظواهر المعاصره التی تهدد العالم، وخاصه منطقه غرب آسیا؛ وابرز ما یمیز هذه المجموعه هو العنف. استخدام العلامه والرمز فی جمیع المجالات مثل الاعلام والثیاب إلخ من میزات هذه الجماعه. توجد هذه العلامات علی نطاق واسع فی مجال الدعایه الشعریه لداعش؛ وقد استخدمت احلام النصر، المعروفه بشاعره داعش، العدید من العلامات والرموز فی دیوانها الشعری المسمی باوار الحق. یمکن من خلال تحلیل هذه العلامات، التعرف علی ایدیولوجیا داعش. یهدف هذا المقال إلی دراسه اشعار احلام النصر، بناء علی نظریه بیرس فی السیمیاییه. وقداظهرت نتایج المقال انها استخدمت الانواع الثلاثه من العلامات: الرمز، والایقونه والإشاره فی قصایدها. یشتمل الرمز علی القاب خلیفه داعش واسماء الاعداء ومدینه الموصل، وهی تهدف بذکر هذه العلامات إلی زیاده شرعیه وقبول ابی بکر البغدادی وتکفیر الاعداء ووحده المسلمین. الایقونه فی هذه الاشعار هی استخدام اسماء الاعداء مثل آل سلول والروافض وإلخ، وایضا استخدام الاسماء الدینیه والتاریخیه لعناصر داعش ومعرکه القادسیه واللون الاسود والابیض. الغرض من هذه الایقونات هو التعبیر عن تقوی وشجاعه مقاتلی داعش وکفر وهزیمه الاعداء ورفض الافکار والمعتقدات الاخری؛ لقد قل استخدام علامه الإشاره فی اشعارها وتشتمل علی الخلافه والبیعه، وهذا یشیر إلی هدف داعش لاستعاده اسلوب حکم القرون الاولی للإسلام وزیاده الدعم الشعبی للخلیفه. القاسم المشترک لمعظم هذه العلامات هو الصراع وقسمه العالم إلی عناصر داعش المتدینین والاعداء الکفار. تستخدم احلام النصر غالبا الرموز التاریخیه والدینیه؛ فهذه دلیل علی الفکر السلفی لداعش.
    کلیدواژگان: السیمیائیه، بیرس، داعش، احلام النصر، اوار الحق
  • مالک عبدی* صفحات 99-120

    إن الحدیث عن ابن الرومی بشخصیته النادره وعناصرها المتشابکه، شیء یصعب علی الدارسین، ولا سیما إذا اردنا ان نمعن النظر فی جوانب شعره الإبداعیه والدلالیه. فإن نظره فاحصه فی شعر ابن الرومی تهدینا إلی مواضع الاستخدام الوظیفی الذی یتمتع به الشاعر فی سرد حقایق فکرته، وتوعیه المخاطبین بما یوحی به شعره من رموز دلالیه. فإن موضوع هذه الدراسه یدور حول إحدی مراثیه التی طبقت شهرته الآفاق، بما فیها من دمج وتولیف بین العناصر الاسلوبیه المکونه للنص الإبداعی، والعواطف المشحونه بالتوتر والارتباک اللذین جعلا الشاعر یفیض لوعه علی فقد حبیبه. تقوم هذه الدراسه علی اساس المنهج الوصفی التحلیلی، لنری من خلاله کیف تبینت إستراتیجیات الشاعر السردیه فی التوفیق بین الحزن المستفیض والمقومات الاسلوبیه التی اعتمدها للتدلیل علی تلک الحرقه المتابده. النتایج تقول لنا إن الشاعر کان ذا توفیق فی تصویر هذا الحزن عبر الإمکانیات التعبیریه التی اتیحت له فی حقول الصرف والموسیقی والترکیب؛ إذ تمکن من خلالها ان یختصر الطریق إلی الفهم ویجعل المعنی العصی جرعه مستساغه لدی المخاطب یرتشفها بسهوله؛ فقد کان للإبداعات الصرفیه إسهام کبیر فی تفظیع المواقف، بحیث لا یقاسی کنهه إلا من فقد نجله، کما ان للإشارات والتلمیحات الموسیقیه دورا ممیزا فی تسییر نظام القصیده ببطء، بحیث یحاذی حس الشاعر، والابنیه الترکیبیه التی رکن إلیها ابن الرومی تم تشییدها، بحیث تتوایم فیها البنیه النصیه تماما مع ثوره الحزن التی تستحوذ علی نفسیه الشاعر؛ وبالجمله فإن الشاعر کلما اشتد جزعه، وجدنا المسار الاسلوبی المبرمج لدیه یطاوعه تماما فی مشواره الرثایی المفجع، من حیث شده الذبذبات العاطفیه ومدی تاقلمها مع المرکبه الدلالیه التی اختیرت لها.

    کلیدواژگان: ابن الرومی، المرثیه الدالیه، الاسلوبیه، الآلیات الصرفیه والموسیقیه، التراکیب
  • علی عندلیب، سید حیدر فرع شیرازی*، محمدجواد پورعابد، ناصر زارع صفحات 121-136

    إن المفارقه اداه بید المولف یومی إلی اغراض مختلفه بوسیط لغوی متکامل مستخدما اسالیب ممتعه متقنه فی اللغه والفن، حتی یجعل المتلقی یفهم مغزی الکلام، دون استخدامه مباشرا ولیتنحی عن الاستجابات السالبه التی یحتملها؛ ومن جانب آخر، یستطیع المستخدم ان یحول دون فهم المتلقی ویجعله ضحیه المفارقه باستخدام بعید عن الصور الذهنیه التی یفرضها المتلقی ویحتملها. وبما ان المفارقه تحتاج إلی عملیه التلقی فی کلا الموقفین، فالمتلقی یستعمل آلیه التاویل، إما علی ما یوول او علی ان التاویل غیر ناجح لقصد المولف. فمهما کانت المفارقه آلیه بید المولف فالتاویل یصاحب المتلقی، واستقباله یحتم امر المفارقه ناجحه. وهذه المقاله دراسه تحلیلیه تتناول قصیده نزف الحبیب شقایق النعمان، للشاعر المعاصر، محمود درویش، لتعتنی بالمفارقه، علی انها بحاجه ماسه إلی القراءه والتاویل والتفسیر، مما یجعل المتلقی عالما بانعکاسات اللغه، ومما یامله الجمهور المراقبون. فالمفارقه بکلا نوعیها تحتاج إلی تفاسیر وتاویلات من مستقبلها إن کان ضحیه المفارقه او مراقبها، فهذه التاویلات تجعل الکلام اکثر تانقا وشفافیه والاغراض اوقع کفاءه وتدفقا، وهی تحتاج إلی مهارات عملیه وخبرات لغویه وبلاغیه وقراءات متعدده وفهم سیمولوجی هرمنوطیقی، واخیرا تحتاج إلی مهارات تفسیریه تاویلیه لتوصل المتلقی إلی محتوی المفارقه، کما فعلنا فی قصیده محمود درویش والممنا بتلک المهارات، وقد توثر کثیر من العوامل النفسیه والاجتماعیه واللغویه فی تاویلات المتلقی فتجعله غیر ناظر بما یقصده المولف.

    کلیدواژگان: التاویل، التلقی، نزف الحبیب شقائق النعمان، محمود درویش، المفارقه
  • صادق عسکری*، پرستو سنجی صفحات 137-152
    یتکون النص الشعری الحدیث من التعبیرات التی تعکس مشاعر الشاعر المعاصر، وفق الموثرات السیاسیه والاجتماعیه التی عاشها. والقاری المعاصر بحاجه إلی معرفه العلاقات الداخلیه فی النص الشعری لفهم تلک المشاعر والتعبیرات، وذلک بمساعده آلیات تبین هذه العلاقات؛ منها الاتساق المعجمی من خلال علاقات داخلیه متشابهه او مختلفه کالتکرار والتضام، والذی یدل علی علاقه نسقیه متمایزه کالتضاد، والجزییه، والکلیه، والعموم والخصوص، والترتیب والمجاوره. وبما ان التضاد یودی دورا هاما فی التماسک النصی ویخلق عالما متشابکا من العلاقات التی تحتضنها اللغه ولاسیما اللغه الشعریه؛ فقد قمنا بمعالجه هذه التقنیه التعبیریه فی دیوان رسایل الحنین إلی الیاسمین لغاده السمان، وتناولنا کیفیه استخدام هذه الظاهره فی الدیوان المذکور، محاولین استخراج المعانی الکامنه فیها، معتمدین علی المنهج الوصفی التحلیلی. تشیر النتایج إلی ان ظاهره التضاد باقسامها اللفظیه، والمعنویه والتصویریه فی شعر غاده السمان قد جعل نصها الشعری نصا منسجما، مما یدل علی اهتمام الشاعره باختیار المفردات المناسبه التی تعبر عن مشاعرها؛ وتعکس متناقضات حیاتها؛ بین الحنین إلی الوطن والعیش فی الغربه، والحب والکره، والموت والولاده، والصدق والکذب، والبکاء والضحک، والغرب والشرق، کما تنادی بجراه بالتساوی بین المراه والرجل.
    کلیدواژگان: النصی، التضام، التضاد، دیوان رسائل الحنین إلی الیاسمین، غاده السمان
  • حسین الیاسی*، زینب قاسمی اصل، حبیب کشاورز صفحات 153-170
    السیمیاییه منهج جدید یسهم إسهاما کبیرا فی فهم النص وخبایاه بعد تجاوز الظاهر العلاماتی للنص؛ وتتسم الدراسه السیمیاییه بالحرص الشدید علی فهم النص وفهم العلامه الادبیه، وهی علاقه جدلیه مع النص للنفاذ إلی الکنه النصی، وایضا تعطی الفرصه لکشف اعمق عما یحتویه النص الادبی؛ وتتاتی اهمیه الدراسه السیمیاییه من دورها فی استنطاق النص واستجلاء الحقیقیه النصیه، ومما لا یخفی علی الجمهور هو ان النص فی صورته الظاهراتیه ایقونه من العلامات، والمنشیء یغطی المعانی والمقاصد بغلالات من الغموض والإبهام، من دون ان یقدمها علی طبق من الذهب للمتلقی، مما یجعل السیمیاییه تحظی بهذه المکانه السامیه عند المشتغلین بتحلیل النصوص، نظرا لدورها الکبیر فی فهم النص وفهم مقاصده وإزاله المسافه بین النص وبین المتلقی. منهج عصام واصل السیمیایی منهج متکامل فی الدراسه السیمیاییه تبناه الناقد، عصام واصل، من المناهج والمدارس السیمیاییه المختلفه واسقطه علی مجموعه من القصاید فی کتاباته النقدیه، وهذا المنهج خلیط واعی بین طروحات رواد السیماییه فی الخطاب الغربی وما جاء فی الخطاب النقدی العربی المعاصر. یحاول هذا البحث دراسه قصیده طایر یقبل من مذبحه من دیوان سید الوحشتین؛ والمنهج المتتبع فی هذه الورقه التی تعکف علی قصیده علی جعفر العلاق بالفحص والتحلیل، هو منهج عصام واصل السیمیایی؛ وتاتی اهمیه البحث من دور السیمیاییه فی فهم النص وبلوغ الوعی الحقیقی عن هذه القصیده الثوریه من جهه، ومن جهه اخری تنطلق عن الصله العمیقه بین شعر العلاق ومنظوره الرویوی والواقع المعیش، مما یستوقفنا للوقوف عنده بالفحص والتحلیل. هذه القصیده من اشهر قصاید العلاق، وهی تطفح بالإشارات والشفرات الجمالیه والروافد المختلفه، وتتمتع بالعمق السیمیایی، وتقودنا إلی الوعی الثقافی والحضاری لعلی جعفر العلاق. تشیر النتایج إلی ان الجمل البدییه والاختتامیه تتمتع بالخاصیه السیمیاییه البارزه ویستخدم العلاق فی هذا النص الشعری المکونات الخطابیه المختلفه للتعبیر عن الحاله الماساویه للعراق تحت الاحتلال الامریکی، وفی المستوی العمیق من الدراسه تبین ان هذه القصیده عارمه بالرافد التراثی، واستخدم الشاعر فی منظومته الشعریه المنسجمه المتکامله، مجموعه من الرموز المختلفه المرتبه بالحضاره الآشوریه والرموز الخاصه ببلاد الرافدین، للتعبیر عن ماساه الواقع العراقی، ونری المسار الصوری المتنامی فی التعبیر عن سلبیه الواقع العراقی او فاعلیه المرحله الزمنیه قبل الاحتلال والمربع السیمیایی المتکون من الالفاظ والصور الشعریه والتراکمات الخطابیه لا یخرج عن إطار التشاکل فی الحاله السلبیه او التشاکل الدلالی المرتبط بالمرحله الزمنیه قبل العاصفه الامریکیه او المفارقه والضدیه بین المرحلتین المختلفتین وفق النص الشعری.
    کلیدواژگان: علی جعفر العلاق، قصیده طائر یقبل من مذبحه، السیمیائیه، عصام واصل
  • محمدحسن امرائی* صفحات 171-192

    الاسلوبیه منهج یرکز علی العناصر الاساسیه والداخلیه للعمل الفنی من اجل الکشف عن معاییر الاختراع والابتکار فیه. إن البحث عن اسلوب العمل الادبی طریقه لفهم الآراء والرویه الکونیه والثراء الادبی لذاک العمل، حیث یعبر عن کیفیه تفاعل الکاتب مع الإمکانات اللغویه التی تظهر علی مستویات مختلفه. فی المجال ذاته، إن الشیخ صالح بن عبد الوهاب، الشهیر بابن العرندس، احد اعیان الشیعه ومن علمایهم فی الفقه والاصول والمنطق، له مدایح ومراث فریده لاهل البیت (%)، ولا سیما الإمام الحسین (8)، تنم عن تفانیه فی ولایهم ومناویته لاعدایهم. ومن اشهر قصایده فی هذا المجال، راییته الشهیره (105بیتا) التی اشتهر انها ما قرات فی حفل إلا وحضره الإمام الزمان یبکی مع الباکین، علی مصاب جده الحسین (8). فی هذا المقال، تتم مراجعه هذه "الراییه" علی المستویات الفکریه والصوتیه والنحویه والدلالیه، وفقا للمنهج الاسلوبی الذی یرکز علی دراسه النص الادبی، معتمدا علی التفسیر والتحلیل. تشیر نتایج هذا البحث إلی ان ظاهره الجناس من اجمل آلیات الموسیقی والمحسنات اللفظیه التی اسرف فیها الشاعر جدا، حیث تمخضت عنها سمات اسلوبیه ودلالیه رایعه. سیطرت الجمل الاسمیه الخبریه السردیه علی معظم ابیات القصیده کظاهره اسلوبیه لافته للنظر؛ واما علی المستوی الادبی، فلقد صور الشاعر بعض الجمادات تبکی علی الحسین، وتذرف الدموع وتتحرک حتی کانه وضعها امامنا کجسم حی تنبعث فیه موجات متدفقه من الحراک والدینامیکیه.

    کلیدواژگان: الاسلوبیه، الشعر العربی القدیم، ابن العرندس، الرثاء، الإمام الحسین)
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  • Esa Motagizadeh *, Tahereh Khanabadi Pages 1-18
    Persian and Arabic languages are different in terms of linguistic and grammatical structure, but they have commonalities regarding vocabulary. It could be a great opportunity for Persian speakers because in most cases, they do not have to check the dictionary to find the meaning of the Arabic word, like what European and Chinese Arabic learners do. However, a Persian speaker might think that the meaning of the Arabic word is the same as the one used in the Persian language though it is not always true because the meaning of the common word is different in Persian and Arabic. The present study investigated the errors of Persian speakers’ Arabic writing when using these vocabularies in an attempt to identify the role of common vocabularies in the process of learning and teaching Arabic by Persian speakers. This study was conducted using writing skill test 1. The statistical population of this research was Arabic departments of the country’s state universities. Furthermore, the statistical sample included 94 undergraduate Arabic language and literature students. The scope of the test was the 9 universities of Arak, Tehran, Kharazmi, Al-Zahra, Allame Tabatabai, Shiraz, Gilan, Mashhad, and Hamedan. The results of the research indicated that Persian speakers who learn Arabic are weak in recognizing the difference in the meaning of these words and their use in writing in Arabic. Hence, these words mostly have a negative role in the process of learning Arabic.
    Keywords: Learning Arabic, Writing Skill, Common Vocabularies, Error Analysis
  • Hosein Shamsabadi *, Tahereh Mirzadeh Pages 19-30

    Since literary works do not appear as open sources and are always accompanied by graphic or verbal elements, it is clear that these factors, as supplementary influences in the original text, may affect the reader's acceptance of the original text’s subject. These elements, which vary by eras, versions, authors, audiences, and cultures, have been named by Gerard Genette (2008) as the Thresholds, and the title. Given that "title" or "threshold of the title" is a subject that has not been given prior treatment in the work of Muhammad Taymūr, particularly his short stories collection Ma’Tarah Al-Ayoun, the current research deals with the threshold of title and demonstrates that the transfer of meaning in literary works is not limited to the original text, but is also directed by the threshold of literary influence. How the title appears in a could determine the role it can play in understanding and interpreting the author's text and goals. As a result, the author would choose the title in the work in question to suit its content and purpose. The title of work, well influenced by the good qualities of a decent title, could fit into the reader’s mind.

    Keywords: Paratextuality, Title, Gerard Genet, Mohammad Taymūr, MaTarah Al-Ayoun
  • Muna Jabir AL-TAMEME * Pages 31-40
    The research vision was determined in choosing the intellectual-cultural approach and using it in reading the experience of literary creativity. Because the intellectual and cognitive references affect the considerations of the creative understanding of expression patterns governed by preconceived visions that formed the cognitive reference for them, the most important of which is how the creator established his awareness and the references he employed and drew from them to form his specialized and transformative vision at the same time.The civilized system on which the Arab environment was built derives its power from religious, cognitive, and cultural spaces and patterns that extend with coherent roots in civilized and human activities characterized by influential and effective achievements that led to the emergence of schools. Each aspect of schools has its own distinct lines by which they are known, but this differentiation did not prevent the structural connection between the various fields of knowledge to be identified in the ranges of civilizational formation so that this relational interaction resulted in specialized aspects known as the Arab creative achievement, which is considered a testament to the impact of the environment on the creative phenomenon and its formation.However, the specificity of the literary achievement and its manifestations pose cognitive questions: Is it the environmental-community field or the literary readings regardless of their consistency or inconsistency with the societal environment? Which manifestation is best able to draw direct and indirect determinants in the field of literary production? Which one represents transcendental knowledge and immanent knowledge of the creative text?This study adopts the identification of methodological frameworks and application mechanisms in reading the nature of the creative achievement. The specific theorizing vision of the nature of the research approach is based on intellectual and cultural references and their impact on the development of methodological concepts.The questions contained in the research define a procedural pattern that is an introduction to a series of subsequent operations that require a questionnaire for the creators (as the study sample) to clarify and analyze the nature of the phenomenon that the research adopts to read. The research was organized into four sections: 1) the methodological limits of the research, 2) defining the concepts of reading and community reference, 3) the practical aspect, and 4) conclusions and recommendations.The results of the study showed that the reading effect was clear in determining the creative writing experience of poets, writers, and novelists. The aesthetic dimension coincides with the societal importance in the formulation of contemporary poetic and prose experiences, emphasizing the importance of the reading act as an important reference, which was demonstrated by the third sequence of percentage weight. The creative awareness does not consist of a single system far from other systems, but rather intertwines between them in a specific hierarchy, as shown in the third sequence of percentage weight. Also, the writer cannot completely separate the references without a forced separation far from the true vision of the writer, which is what was produced by the percentage weight of the fourth sequence. The reading reference often prevails, despite its overlap with other references, but this reference may already overlap significantly with the societal reference.The results of the statistical research are capable of achieving a disciplined scientific vision of the nature of critical approaches related to the nature of literary creativity and the nature of its formation in the awareness of the creator and achieving it as a cultural and cognitive structure. Adopting disciplined cognitive foundations in dealing with creative texts, especially in the monetary system, and establishing specialized research centers that adopt preparation for the formulation of an Arab critical theory consistent with the Arab knowledge, civilization, and creativity structures are recommended.
    Keywords: Creative accomplishment, Reading reference, community reference
  • Tayebeh Seyfi *, Mehdi Fazeli, Mahdi Abron Pages 41-56

    The Arabic poetry has been continuously changing from the past up to now. For example, it has been partly revolutionized in the terms of form. One of the recognizable elements in terms of the form change is writing the poem on the paper unusually and using writing symbols instead of the text. This kind of poem releases the poet from the bonds of the past and gives complete freedom to him; yet, the contemporary poet, when expressing his opinions and thoughts, faces some problems that cause him not to be able to speak explicitly with complete freedom, thereof, the content of the contemporary poem is not explicit like the past. Different elements such as the environment, time, political circumstances, etc. have been involved in the content of the poem. These changes led to more connection of the reader with the poet and poem in a way that the reader has been transformed into an inseparable part of the contemporary poem. In other words, the reader has the main role of understanding the untold issues of the poet. The present descriptive-analytical study aims to investigate the visual form of the poems of contemporary Iraqi poet, Boland Al-Heydari, in terms of blackness and whiteness, writing symbols, and the reasons for using them. He especially emphasizes this kind of innovation in his own poem and there are few poets in Iraq who can compete with him in creating this kind of innovation. Biaz (whiteness and empty space) that is phrased to the poet’s silence and Savad (full and black space) which is phrased to the poet’s voice and shout, are called as the main and meaningful elements of the contemporary poem in which the poet puts some spaces in widespread parts of his poem with some special purposes and motives. In the present study, the cases of using these elements in the poem have been grouped to understand the poet’s purposes from whiteness, blackness, and writing symbols. The poet sometimes prevails the blackness (of the text) to the whiteness (of the paper) and sometimes decreases it which is numerously found in Boland Al-Heydari’s poems a lot. He cannot say all of his words because of being stuck in some problems like what was mentioned. Thus, he tries to make the reader accompany him by presenting some cues regarding blackness along with creating an interactional and associated connection with the contact to take him to understand the untold concerns. The untold issues that have been mentioned only in the absolute whiteness lead to meaning production and even diverse multi-meaning from readers’ point of view. Boland Al-Heydari has used whiteness for expressing his own status. He has used the wonder whiteness to show his amazement and accompany the reader in this wonder. He has also used the location whiteness for the silence. In sum, he represents the whiteness and blackness game in his poem well. Writing symbols have a special position in the texts to simplify reading and writing. But, writing signs in the poem have different definitions. Writing symbols in Boland Al-Heydari’s poems are recognized as the signs to simplify the comprehension of the poem, but the poet wants to determine a certain affair in the poem. Boland Al-Heydari uses writing symbols in their unusual place in some of his poems, for example, the poet has used three dots at the beginning of the line to make the reader understand the subject and comprehend the poet’s intention. This, in addition to improving the interaction and connection of the contact with the poet, also increases the beauty of the poem. The notable point is that the poet looks for transforming his acoustic echo in the form of shape and wants to show his problems climax in that form (i.e. writing symbols). As a result, Boland Al-Heydari has used this form or the outward shape for more contemplation and thinking of the reader and his participation in the poem. He has used such shapes and writing symbols for infusing his word, which the usual language is not able to infuse. In fact, the poet is hidden behind the white curtains of his poem and he wants to surprise the readers using the blackness he has presented in the poem. This technique in Bolad Al-Heydari’s poems has been the basis of his poetry books and his poems are full of outspread writing symbols and whiteness and blackness. Therefore, Boland can be considered as one of the fighter poets. Had he not used such techniques, he would have been forgotten. Such outward shapes made him immortal in his poems.

    Keywords: Visual Composition, Black, White Symmetry, Punctuation Marks, Boland al-Heydari
  • Raja Abuali, Ghasem Azizi Morad * Pages 57-68

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

    Keywords: Literary Structure, Formality Method, Adonis, the Poem ‘a Dialogue’
  • Hediyeh Ghasemifard, Naser Zare * Pages 69-82
    Introduction

    Since novels help novelists express their feelings and thoughts, they have attracted the scholars’ and critics’ attention. At the same time, due to the privileged position of semiotics among linguistic and critical studies, semiotics has also received researchers’ attention because it reveals the significance of this form of narrative. Excavating characters in novels is one of the crucial topics in semiotic studies since each character is selected by the author for a specific purpose. To continue the course of a narrative, different tasks are selected for that character. Therefore, choosing characters’ names and actions is the sign of particular signification.In the novel “In Order That My Heart Be at Ease” by Adham Sharqāwī, a contemporary Palestinian writer, there is a good background for studying characters because each character bears historical, cultural, and social information. For this reason, examining the personality in the context of semiotics helps clarify the author’s intentions and the hidden golas of the text. This article tried to answer the following two questions:How are the characters in the novel “In Order That My Heart Be at Ease” revealed as a sign?What is the nature of the relationship connecting the signified characters’ names with their characteristics, as well as the title of the mentioned novel?

    Methodology

    This study was done by using a descriptive-analytical method and relying on the semiotic criteria of personality. Based on the characters’ psychological, social, and ideological dimensions, the authors of this research examined the characters of the mentioned novel both in terms of the signifier and signified and a set of criteria, according to which the relationship between the signified names of the maijor and minor characters and their characteristics and the signified relationship between the characters’ names and the title of the novel was analysed. Then, using morphological semiotics, the authors studied the morphological structures of the characters’ names and their frequencies by using the statistical data both quantitatively and qualitatively in two descriptive tables.

    Discussion

    Examination of the signified characters’ names in the novel of “In Order That My Heart Be at Ease” and their association with the characters’ characteristics and behaviors showed that the name of Karīm signifying all kinds of goodness, honor, and virtues comprehensively (Ibn Manzūr, 2007, p. 3861) was appropriate for that character having valuable attributes. Another name for the maijor character of the novel was Wa’d, which was taken from the promise corresponding to her moral and behavioral characteristics; she deceived Karīm with many promises and eventually married another man.In this novel, there were some minor characters, such as Āminah’s aunt, whose name was taken from security. Choosing the name of Āminah for the character of Aunt Āminah, who, despite her cancer, was full of peace of heart and satisfaction with her destiny determined by God Almighty, was the best and most conscious choice among the other names. Another minor character of this novel was Hishām, who was an atheist. Hishām’s name was derived from breaking, well corresponding to his character for being a mixture of question and doubt. The name of Māher meaning skilled was a good match with the related character’s personality traits because he skillfully used religious and historical documents to convince Heshām. Ahmad was another character, who was blind. His name was derived from praise. Perhaps choosing Ahmad’s name, which conveyed more praiseworthy meanings, was due to his unbroken character with blindness as with the help of a good wife, he overcame his problems and achieved peace. Rayhān was another character, who was deprived of childbearing and thus, her husband separated from her and then, she was employed in an orphanage. Rayhān literally means basil, which is a “fragrant plant” (Naṣr al-Ḥittī, 2003, Vol. 1, p. 84). It seemed that using the name of Rayhān with its pleasant smell was a good choice for the relevant character, who, with the spread of her kindness among the oppressed children and orphans, evoked the same smell of basil. Muhammad, who was very interested in poetry, was a classmate and friend of Karīm. His name was derived from praise. The choice of Muhammad’s name was commensurate with Muhammad’s poetic nature and good morals.Another issue studied in this research was the relationship between the signified characters and the title of the novel, which could be examined in the three obvious, hidden, and contradictory relationships due to the existence of a cause-and-effect relationship, subjective presuppositions, and lack of an obvious relationship, respectively. The names of Karīm, Āminah, Muhammad, and Ahmad, which implied positive meanings, were clearly related to the title of the novel and referred to self-confidence. Rayhān and Māhir did not have a cause-and-effect relationship as the title of the novel, but since the fragrant scent of basil was soothing and gaining solace required skills, the names of these two characters showed a hidden relationship with the title of the novel. The names of Wa’d and Hishām had negative connotations and were inversely related to the title. Personality dimensions are represented by psychological, social, and ideological dimensions (see Ghaṭāsha and Rāṭī, n.d., p. 127). These dimensions are related to feelings and emotions, individuals’ social positions, and characters’ intellectual views, respectively. Each character in this novel was a sign and his or her signified characteristics could be examined according to his or her personality dimensions. The signified character of Wa’d was the seductive beauties of the world and Karīm’s character meant attachment to these beauties. Āminah’s lack of belonging to the world and her pure submission to God indicated the most important meanings in her personality. The characters of Māhir and Hishām were associated with the rational and logical dimension and lack of understanding of the facts due to incomplete justifications, respectively. Accepting difficult living conditions and flexibility signified the characters of Rayhān and Ahmed, respectively. Muhammad’s character reflected the true beauty of the world.Another topic studied in this research was the morphological semiotics of the characters’ names. Of the 8 characters used in this novel, 5 were male and 3 were female. These numbers might seem to indicate the dominance of male characters in the novel, but the female character of Wa’d as the maijor character of the story could reject this claim. What was most evident in the morphological analysis of the characters' names was sharqāwī’s tendency towards using derivatives and adjectives. In terms of frequency, the characters of Karīm, Wa’d, Hishām, and Māhir were at their peaks.

    Conclusion

    The characters’ names in the novel “In Order That My Heart Be at Ease” had been chosen carefully and there was an acceptable match between the signified characters’ names and their behavioral and moral characteristics and between the signified characters’ names and the title of the novel. The signified characters' names and the title of the novel could be examined in the three overt, covert, and contradictory ways. All the characters in this novel played a major role in the reader’s relationship with the text because they made semiotic systems that had cultural, social, and religious implications. By portraying Karīm’s failure in his love for a girl named Wa’d, Sharqāwī tried to lead Man towards detachment from the apparent beauties of the world. The other signified characters in this novel contradicted the those of Karīm and Wa’d because these characters, unlike Karīm, often reached a kind of calmness. The morphological semiotics indicated frequency of an adjective structure in the choice of characters’ names due to the special characteristics of that structure, which allowd the proof and continuity of the characteristics desired by the author to be in his characters. The frequency of male characters in this novel was more than that of female characters. However, the special role of  Wa’d in the novel indicated a kind of equality in the choice of gender. In terms of repeating the characters’ names, it was clear that the characters, who played a major role in advancing the events, had to be repeated more than the other characters. Karīm and Wa’d were two maijor characters and hence, their names were expected to be repeated more than those of the other characters. Hishām and Māhir were among the characters whose names were repeated more than the other minor characters because the scientific-religious debate between them provided a solid and reliable basis for this novel, which was peace of heart.

    Keywords: Semiology, character, the novel Until my Heart Calms Down, Adham Sharqāwī
  • Ahmad Omidvar * Pages 83-98
    The takfiri-terrorist group ISIL is one of the contemporary phenomena that threatens the world, especially the West Asian region. The most prominent feature of this group is violence. Symbolism in all areas such as flags, cover Etc. is also an important feature of ISIL.These signs are also widely used in the field of their poetic propaganda. Ahlam Nasr, known as the poet of ISIL, has used many signs in his poems. The analysis of these signs can well introduce the ideas and basis of ISIL's actions. The purpose of this study is to examine the poems of Ahlam Nasr based on Pierce's theory of semiotics. He uses an icon and index in his poems.Symbolic signs include the titles of the leader of ISIL, the names of their enemies and the city of Mosul. With these signs, he seeks to increase the legitimacy and acceptance of Abu Bakr al-Baghdadi. The excommunication of the enemies and the unity of the Muslims. Signs are expressions of piety and bravery of ISIL fighters, infidelity and defeat of enemies and rejection of other ideas and beliefs. Restoring the rule of the early centuries of Islam and increasing the popular support of the Caliph. The common denominator of most of these signs is the element of violence and conflict and the division of the world into religious ISIS and infidel enemies. And uses a religion that reflects the Salafi ideology of ISILT
    Keywords: Semiotics, Pierce, ISIS, Ahlam Nasr, Avar al-Haq
  • Malek Abdi * Pages 99-120

    Talking about Ibn Al-Roumi with his rare unique personality with intertwined elements is something that is difficult for readers and researchers, especially if we want to delve into the creative aspects of his poetry that has emerged through the stylistic plans he has followed. A close look at Ibn Al-Rumi’s poetry guides us to the functional use and generative approach that the poet has enjoyed in recounting the facts of his ideas and raising the addressee’s awareness of what his poetry suggests of semantic symbols that are rarely represented in front of the onlookers with a quick-reading look. The subject of this study revolved around one of his most famous elegies, the fame of which delved into horizons, including the amalgamation and synthesis of the stylistic elements that made up the creative text and the emotions charged with tension and preoccupation, which made the poet overflow with grief over the loss of a lover, who had torn his heart apart. This study was based on a descriptive-stylistic approach in order to see how the poet's vision and narrative strategy reconciled extensive sadness with the stylistic components he adopted to demonstrate that perpetual heartburn. The results show that the poet was largely successful in depicting this sadness through the expressive possibilities available to him in the fields of composition, morphology, and music, through which he was able to shorten the path to understanding and make the meaningless sticks a palatable dose for the addressee to sip easily. Acoustic creations have made a great contribution to making the compositions excessively lame, which only the poet losing his son can suffer. The morphological indications also had a distinctive role in the slow running of the poem’s system so as to align it with the poet’s sense and the structural systems, on which Ibn Al-Rumi relied, were built so that the textual structure perfectly matched the revolution of sadness that griped the poet’s psyche. In summary, the more anxious and impatient the poet became, the deeper we found the programmed stylistic path in his poem to be completely complied with him in his tragic journey in terms of the intensity of high-frequency emotional vibrations and the extent to which it adapted to the mercury that had been tested.

    Keywords: Ibn Al-Roumi, Dali Elegy, Stylistics, morphological, musical mechanisms, structures
  • Ali Andalib, Sayyed Heaidar Fare Shirazi *, MuhammadJavad Pourabed, Naser Zare Pages 121-136

    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.

    Keywords: Interpretation, Comprehension, Shaqaeq Al-Nomaan, Mahmoud Darwish, Irony
  • Sadeq Askari *, Parastoo Sanji Pages 137-152
    The contemporary poetry has benefited the arrays and interpretations that express the poet's feelings according to the political and social indicators that are experienced. Therefore, the reader needs to recognize similar and different in-text communications, such as repetition and association. The purpose of association is to provide a kind of methodical and special connection between words. Some examples are contradiction, part to whole, whole to part, general to specific, specific to general, logical course, and substitution.Contradiction as a lexical link expresses a kind of internal connection between the components of a text so that by stating the meaning of a word or a sentence, its opposite meaning immediately comes to mind. The reason for using this artistic tool in contemporary poetry is the existence of contradictions in the surrounding areas and events that have taken place, including wars and natural disasters, which contain different contradictions like death and life, defeat and victory, sadness and happiness, crying and laughing, etc.Ghada al-Samman, one of the Syrian female poets, has significantly used this artistic phenomenon in her poems because of the existence of contradictions in the individual, social, and political lives, her different opinions in the field of women's freedom and equal rights for men and women in a patriarchal society, and the existence of fanatical and traditional wives.A descriptive-analytical method was used in the present study to examine the contradiction technique employed in "the Collection of Nostalgia Letters to Yasmin” by Ghada al-Samman. The results show the following:- Contradiction in Ghada Al-Samman’s poetry reflects issues such as missing the homeland, love and hate, death and another birth, false friendship with enemies, a fake war with friends, crying and laughing, Western culture and Eastern culture, and many other beautiful concepts.- Contradiction in nouns has created a contradictory structure in the poetic text. In other words, the use of contrasting nouns has been effective to increase the cohesion of the text.- Contradiction in verbs has created dynamism in the poetic text as well as the emergence of contradictory concepts resulting in increasing the semantic link of the text. This implies a kind of intellectual dynamics  originating from the poet’s indirect expression.- Various contradictions in sentence composition express a kind of balance between the words of a phrase. These contrasting combinations has added unpredictable concepts to the texture and has created an unexpected perspective for the text reader.- Contradiction in images has given the text new and innovative concepts with two arrays of simile and animation through the creation of vivid and artistic images. This phenomenon as a dynamic tool has complemented the unspoken concepts.
    Keywords: text cohesion, lexical cohesion, Contradiction, Nostalgia Letters to Yasmin, Ghada al-Samman
  • Hossein Elyasi *, Zeinab Ghasemi, Habib Keeshavatz Pages 153-170
    Semiotics is one of the new critical approaches whose task is to study the sign system of the text or discourse and the anatomy of the text and discourse at the level of symbols and signs. In fact, it is a critical attempt delving into the textual abyss to reach the textual truth, which is the meaning and the textual embodiment after overcoming the apparent sign of the text or discourse. This study aims to investigate the poem ‘A Bird Accepted a Massacre’ by Ali Jaafar Al-Alaq, from the Diwan of Sayyid Al-Wahshetin (2006). The analysis is done using Issam’s integrated theory for reaching full awareness of this poem by relying on the semiotic method and in the various sub-axes. This poem overflows with signs, symbols, and semiotic characteristics, from the title to the last word. Ali Jaafar Al-Alaq, besides employing civilization and civilizational and cultural references and data in his poetry is very keen on linguistic selection and employing the vocabulary in his poetry stemming from awareness and knowledge of the function of language and vocabulary.In fact, the poet establishes the relations and bonds between his poetic text and between the recipient and the poem. It enjoys a delicate poetic awareness and has many semiotic energies from the title as the richness of the text to the text. The poet in this poem is very keen on poetic expression of the predicament and abysmal Iraqi reality as a result of the brutal aggression. What draws attention, as revealed by the semiotic act, is the semantic relationship between the title and the poetic text in the relationship, as we notice in the poem. This title with semantic charge and abundant semiotic energies, which is a shorthand for the connotations inherent in the text and semiotic awareness, reveals that the poet, by formulating this title, expresses the states of labor, the exit from the whirlpool and the massacre, the moment of joy and openness, and the perpetuation of life in the land of Iraq after defeating the factors of occupation and siege. The conclusions in this poem with the semiotic property and the organizational structure of the sentences and the textual structures of this poem serve the purposes of the text and enhance the connotations emanating from the symbols and connotations.When studying the global structure of the poetic text, we see the three sides at the level of textual factors between the sender, the assistant, and the opposition. The rhetorical groupings consisting of various words and signs associated with the textual representatives and the semantic field associated with death and life through the exploitation of suggestive words and according to the semiotic square of Grimas were observed. The results of the study also showed the relationship based on the formation of the negative level and the negative state of the land as a result of war and aggression.
    Keywords: Essam Wasel, Ali Jaafar Al-Alaq, A Bird Accepted a Massacre, Al-Samaimiya
  • MohamadHassan Amraie * Pages 171-192
    Introduction

    Some of the Arabic poems sought in the mourning of the Master of the Martyrs (peace be upon him) have taken on an eternal color, including the “seer” of Sheikh Saleh bin Al-Arandas. He is considered one of those who confined his poetry to the people of the house in praise, lamentation, and mourning, including his famous seer who became famous in Islamic history because of what received special attention from Imam Al-Mahdi (may God bless him and grant him peace). He did not recite in a gathering unless attended by the presence of the greatest remnant of God. Given the importance of this poem, and in order to understand more of the hidden meanings behind the text of the poem, to clarify the ideas presented in it, and then to reveal its stylistic phenomena, the present study investigates the text of the poem, relying on the stylistic approach and its different levels to produce the meanings of the intellectual and suggestive poem and to indicate its important stylistic indicators.

    Ibn Al-Arandas and its Raeea:

    Sheikh Saleh bin Abdul-Wahhab bin Al-Arandas Al-Hilli, nicknamed Ibn Al-Arandas, was one of the great scholars, poets, and scholars of the Shiites in the ninth century AH. He died about 840 in Al-Hilla Al-Fayhaa, and was buried there, and has a grave to be visited. Scholars such as Abd al-Hussein al-Amini in Al-Ghadeer, Seyyed Mohsen al-Amin in Shiite Notions, al-Samawi in Al-Tali’a, Jawad Shubar in Adab al-Tuff, and Al-Tarihi in Al-Muktab praised him for his mastery in the sciences of jurisprudence and principles, his piety and his sincere love for Ahl al-Bayt (AS). Also, they mentioned some of the poems of this great poet. His poetry tells about his skill in Arabic literature and his victory over language, morphology, grammar, and rhetoric. He has sad praises and elegies for Ahl al-Bayt (AS), especially the martyr Hussain (peace be upon him). Among the most famous of them is his famous seer in lamenting al-Hussain (AS), with this beginning:طوایا نظامی فی الزمان لها نشر   یعطرها من طیب ذکراکم نشر  This poem is full of emotions, soft feelings, and verbal and moral improvements prevailing in that era, with the support of faith and Qur’anic themes, in honor of the position of Ahl al-Bayt, especially Abu Abdullah al-Hussain (peace be upon him). The poem recounts the painful events that took place in Tuff, as well as the crimes of Yazid and his soldiers reprimanding them and talking about the sacrifices of Imam Hussein (AS) and his companions. This poem comes from a sad heart filled with sincere sad feelings spreading throughout the poem.

    Stylistics and the Stylistic Approach:

    Stylistics is one of the new topics that researchers have paid close attention to in recent years. Stylistics was at first concerned only with classical rhetoric. Today, however, it is also associated with several branches of science such as new criticism, literary history, linguistics, cognitive science, media, language education, and explores the characteristics of the text. The most important features of stylistics are the discovery of linguistic relationships in the text and the discovery of the special phenomena that produce valuable features of the text. In addition, in style, some try to find out the relationship of some traits to the personality of the author by studying the words of his poetry. Stylistics has different methods that examine each literary text from a certain angle. One such linguistic style is the structuralist style.Structuralism is one of the schools that today in the field of criticism and analysis of literary issues has presented and welcomed new literary perspectives and ideas. Structuralists believe that no single component makes sense and that each component of the work must be taken into account in relation to other elements and ultimately to the system as a coherent whole. It is worth noting that in stylistics, cases are studied that show a prominent style in the text (poetry or prose) and lead to the highlighting of the discourse and giving it a special form. The stylistic researcher touches on several levels in his analysis and focuses on them to achieve accurate and objective results. From this perspective, according to the point of view of stylistic researchers, a stylistic study of texts requires an approach that is considered one of the most effective methods of text analysis on three levels: linguistic, literary, and intellectual. It is throughcooperation and interdependence between these distinct linguistic levels that the  stylistic study of a text is organized.In this way, while investigating the components of the text, we analyze the structure of the work to find the stylistic elements contained in it. Based on the principles of stylistics at the intellectual level, we investigate the main idea of ​​the text and try to draw the recipients to what the author of the text wants to say, and what his interests are. On the literary level, attempts are made to investigate the techniques involved in the text, including rhetorical issues such as simile, metaphor, and idiosyncratic and semantic issues. As for the study of the linguistic level of the text, it includes three parts: phonetic, lexical, and grammatical, in which the stylistic researcher examines the music of the literary work and how to choose words, from the point of view of the simplicity or the structure of words, their repetition, and the type of selection according to the substitution axis, and the analysis of sentences in terms of shortness, length, and nominalism.

    Keywords: Stylistics, Ancient Arabic poetry, Ibn Al-Arandas, Alraayiya, Imam Hussein (AS)