نشریه ادب عربی
سال شانزدهم شماره 3 (پیاپی 41، پاییز 1403)

The colonial powers defined, defined, and narrated the nature of the colonial countries, that is, “the other,” according to their cognitive system and in service of their colonial goals. The novel "Shouq Al-Darwish" narrates how the colonizer rose to be the final giver of meanings, purposes, and legitimacy, and this resulted in falsifying the historical path of the indigenous groups. The novel was full of religious symbols that fit the historical background of the events, a struggle between the Islamic Mahdist trend and the Orthodox Christian trend in Sudan. In this research, we aim, with a descriptive-analytical approach, to identify how the novel provides an insightful reading of part of the history of the Mahdist Revolution, through which the balance of central hegemony is tipped in favor of reality, in light of the colonial attempts that rendered the indigenous peoples inert and referred to only as categories that must be erased. Its cultures. The conditions of the colonial countries were represented in vague, primitive images, separating them from their culture and making them imagine that breaking with it would lead them to modernity. This novel describes how the East lived under the preoccupation of anxiety, fragility, and confusion regarding its authorities, as it had no choice but to follow the Western other, especially in the main character, “Bakhit Mendil,” as he found himself in specific frameworks that did not allow him global integration and did not allow him to develop his own identity. Among the mechanisms that the novel came up with to present this image is to represent the religious-historical interrelationship from an important angle. This is because history is described as a final, fixed substance that cannot be touched upon. However, the novel, as a text based on imagination, made history the subject of questioning and cast a shadow of doubt on the history that The "Mahdist Revolution" was described as a bloody and subversive movement

The main purpose of satire is to show problems and strive to correct them. The writer’s intention is not only to make others laugh, but behind this laughter lies deep thinking, contemplation, and screaming that awakens a person from heedlessness. Jalal Amer was one of the satirical writers who lived during the era of Hosni Mubarak in Egypt and wrote satirical works to express some issues using satire. Amer has been called the prince of satirists in Egypt, which shows his skill in writing satire and his great influence on the audience. By descriptive-analytical approach, this research deals with the book The Palace of Speech by Jalal Amer and aims to clarify the techniques used by this satirical writer to show the hidden corners of the Egyptian government and society and what people suffer from. The writer employed many methods, such as satire, surprise, sarcastic definition, simile, analogy, looking from an unusual point of view, and contrast, and he implicitly clarified his purpose to the reader. Among the contents that Amer addressed in his prose, we can point out his criticism of some issues, such as the rulers and officials not giving up power, denouncing the National and Brotherhood parties, the showy and fraudulent elections, the issue of inheritance, false achievements, mocking the candidates, and the three authorities’ lack of interest in their duties, as these matters are considered a reflection of the Egyptian reality, the life of this people, and the problems that people faced in that period

Cognitive metaphor is considered one of the modern topics in linguistics, and its theorists, George Lakoff and Mark Johnson, took it from its linguistic framework to the conceptual cognitive field, so that it is considered present in aspects of “mental thinking” in all areas of ordinary life. Lakoff and Johnson believe that metaphor is not for decoration or embellishment Or a linguistic phenomenon related to the language of poetry, but rather an intellectual phenomenon that is related to our conceptual system, inherent in the ordinary life that we live, because we hardly realize it most of the time, and that an important part of our emotions, behavior, and experiences is metaphorical in nature. One of the most important buildings of this theory is the concept of “conceptual schemes,” which is a mental phenomenon that enables many intellectual experiences and basic concepts to be understood, such as trust in God, feelings of sin, shame, submission, and reassurance, and then tangible experiences through metaphor. The Sahifa al-Sajjadiyah played an important role in employing metaphor, due to its openness to an infinite process, which produces a diverse interpretive chain. Hence, the interpretation of the metaphor varies according to the cognitive contents from which the reader starts, so supplications play a central role through latent interaction. The article was subjected to some reading. Conceptual diagrams of ontological metaphors and their analysis in Sahifa al-Sajjadiyya in light of Lakoff and Johnson’s theory to clarify the implicit and aesthetic connotations, which explain to the recipient how he obtains religious experiences, relying this on the descriptive analytical approach, from which it is deduced that the Qur’anic concepts in the culture of imams are metaphorical, and material experiences are like containment. Balance and others constitute the core of the concepts adopted by the Imam, revealing the extent to which his moral philosophy is embodied. This is because transferring abstractions from the realm of non-existence to the realm of existence and being is easier to understand, and closer to realization, as it gives society an awareness of what Imam Al-Sajadi is heading in doctrine and culture, in addition to Expanding understanding

The symmetry of pronunciation and meaning is one of the techniques that the Paris school of semiotics addressed, and by Joseph Curtis, a French theorist, in the aspects of illustrating the hidden and inner parts of speech and poetry texts, which make words the way to reach meaning.  Therefore, among the reasons for choosing Diwan's «Harf Men Ma'a, Qhessatah Hobben Tawila» by Adeeb Kamal Ad_Deen, an Iraqi letter poet, for Curtis's pronunciation theory, in this research, is the depth of meaning hidden behind his words, which is the texture of his tone. The application of the semiotics of this divan was done by using descriptive analytical approach. which were considered the three divisions presented by Curtis «time, place, and characters», to the topics of poetic discourse and divisions. Pronunciation and pronunciation, and its superficial and deep level should be determined. The results indicated that most of the poems of Adib Kamal Ad_Deen have the combined power of discourse, which can have that deep level of meaning even with the presence of one letter and one or two lines in each part of the poem. Despite the brevity and brevity of the words, full of tenderness and simplicity, in order to reach those depths of meaning and strong meaning, but are full of beautiful interpretations. Also, this research found that the selected verses, as analytical examples, have those advanced attributes that Curtis considered in the vocabulary section, these semantic necessities were revealed during the intersection of the verses

Conceptual metaphor is a fundamental factor for expressing abstract concepts, as it consciously or unconsciously reveals its place in the common language mechanism of our daily lives. Since it includes various types of image data resulting from the power of recognition through objectification and provides an understanding of one field based on another for humans. The Holy Qur'an is full of beautiful conceptual metaphors, the main purpose of which is to explain something unknown and imagine something beyond the power of our minds, and this is the reason for the innovation of Quranic metaphors despite the cessation of revelation. This article, using the descriptive-analytical method, aims to investigate the three types of conceptual metaphors in Surah Insan from the Holy Quran: directional, ontological, and structural. The research results indicate that the concept of life is shown in the structure of travel and the concept of time is shown in the form of place, but knowledge is the basis for a visual approach in structural metaphor. In the ontological metaphor, non-human structures such as the Day of Resurrection and time acquire human characteristics. As for metaphor, a visual attribute is considered the divine essence, and the abstract concept of mercy is a vessel containing a specific volume. In addition, the concept of indifference is expressed by the spatial direction behind; the upper direction expresses high status and honor; maximum importance is expressed by the central direction; and obedience and subduing are expressed by the lower spatial direction

Didascalia is an element of the drama structure that includes the author's instructions in the form of a scene description and is second in importance after the main text as a secondary text. This concept is one of the common concepts in the field of theater, and its many functions have made it compatible with theatrical events. These functions help the actor in playing the roles by being able to plan and clarify the titles, characters, behavioral and verbal actions as well as time and place. By focusing on these functions, the Omani poet Saif al-Rahbi has given his poems the ability to examine them with a dramatic view. This research, with a descriptive-analytical approach, while admiring Al-Rahbi's poetry and the uniqueness of his style in his compositions, aims to reveal the main purpose of the poet in using scene descriptions. In this regard, this research has paid attention to five of the most prominent functions that play an important role in the formation of didascalia structure, that is, nominal, melodic, spatial, temporal, and scenography functions. However the result of the research indicates that the poet's attention to the characteristics of performing arts is derived from his attitude towards how to express and search for a broad vision that covers all scenes, for him, poetry is a mixture of different arts. Narrative language dominates Al-Rahbi's poetic structure, therefore, he portrays his daily observations, exile, and criticism of class conflict through didascalia to renew and avoid stereotyped methods

This beautiful magical world; Its language, its personalities, its crises, its context, its events, and the fertile imagination and amazing beauty of its affairs and techniques. One of the most prominent manifestations of the development of creative writing in the present era is the diversity of novel writing styles and their intersection with different artistic genres and visual arts. The experience of transforming the text of fictional art into visual art, i.e. cinema, is one of the pioneering experiences regarding the bilateral relationship between literature and art, as some filmmakers quoted novels of high value in writing screenplays, and used the narrative structure in films. This increases the aesthetics of cinema on the one hand, and also presents the novel to the viewer, the visual arts. Achieving this artistic experience can only be achieved according to artistic requirements, which is considered a highly creative work. In this research, we discussed the novel “The Beginning and the End” by Naguib Mahfouz and how to turn it into a movie with the same title, by director Salah Abu Seif, through a comparative view of them. The novel deals with accelerating events that keep pace with social life in an era in Egyptian history. We also discussed the mechanisms of transforming a novel into a film, through the descriptive and analytical approach. The results showed that the novel is dramatic par excellence, as Naguib Mahfouz relied on visual techniques in his novel, and that its conversion into the film was done according to specific mechanisms of deletion, addition, reduction, etc. The director intended to dress the film as a sequence of events, with some changes in the representation of events, especially in the first chapters, for visual dramatic reasons, and to maintain the parallel between the novel and the film in some scenes