فصلنامه لسان مبین (پژوهش ادب عرب)
پیاپی 58 (شتا 1403)

The new Arabic novel cannot reach its creative climax, and it cannot maintain its continuity except by inventing new mechanisms that carry rhetorical connotations and discourses in all its dimensions. Miraculousness is one of the eminent experimental and literary phenomena that preoccupied the thought of critics and scholars. In this type, there is a penetration and breaking of everything that is realistic and familiar and the creation of another world that causes confusion and astonishment in the mind of the reader. The contemporary Jordanian novel tried to build a modern text novel and was able to transcend the narrative traditions and enter a new experience in a way that presents a narrative technique represented in the miraculous and the exotic. We have chosen the novel “Novels of Warraq” by ، Barjas, Jalāl, which won the Booker Prize in 2021 AD, as a model for this study, for reasons including the lack of university studies in it. In the search for manifestations of the miracles in “Dafātir al-warrāq” we relied on the most appropriate approach, which is the descriptive-analytical approach, and then on the structural approach in analyzing the narrative text. In the end, we reached the most important results, the most important of which is that this novel can be considered one of the examples of miraculous literature according to Todorf’s theory.

The word yam was used in the Holy Qur’an seven times and it came in the honorable verses that refer to the story of Moses, peace be upon him and his people and it was mentioned in dictionaries that it is deeper than the sea. Based on that, this study attempts to search for the origins of this word in the Arabic, Syriac, Hebrew and Aramaic languages using a descriptive, analytical and comparative approach, and in view of the science of rooting and cognitive linguistics, and studying the possibility of derivation for this term. In it the word yam and it was found that most of the interpretations explained the word sea or the Nile exclusively. In the end, this research concluded that yam does not belong to an Arabic language family, although it is called sea in general in Arabic, Hebrew and Syriac, but rather it is an imported word that Hebrew loaned from Aramaic And then Arabic from Hebrew, Accordingly, it was used in the revealed book of God whenever the surah was about the people of Israel and the story of Moses and Pharaoh. In fact, God Almighty came with this term in the Qur’an and meant the “Red Sea” based on the Qur’anic context and the remaining Islamic religious monuments that prove that the sea that parted is the Red Sea.

Focalization is considered as a modern narrative technique and a basic feature of the perspective of a narrative, which means reducing the narrator's field of vision and limiting his information, as well as choosing a channel for conveying news from the narrator to the audience in the story, rather than the act of narrating from It should be done through a focal point that defines and limits the scope of vision.This technique, which was proposed by Girar Jinit, tries to narrow the range of reception through the theoretical documents of the narrative news to the narrator or fictional character of the receiver herself.Based on analytical-descriptive method, this research tries to investigate the effects of focalization in Jalal Burgess's novel "Defater al-Waraq" (bookseller's notebooks).Among the results of the present research, we can mention the use of three types of narrative focus (internal, external and zero focus) as well as multi-focus in order to encourage the reader to read by creating questions and ambiguity in his mind and also increasing the audience's information about the inner world of the novel's characters.

Impressionism, a pivotal artistic movement that originated among painters in the late 19th century, has since permeated the realms of poetry and prose with its distinctive methods and philosophies. Its objective is to capture the essence of objects, evoke mental impressions, and convey the sensory impact of the external world on the writer. Badr Shakir Al-Sayyab (1926-1964), an innovative Iraqi poet of the modern era, crafted poetic narratives that are particularly amenable to contemporary critical scrutiny, notably from the perspective of impressionism. This study aims to identify the principal elements and expressions of impressionism within Al-Sayyab's "Al-Mumis Al-'Amya'" (The Blind Prostitute) and to explore how these elements relate to the narrative's broader themes and implications. Employing Susan Ferguson's theoretical framework, this descriptive-analytical investigation delves into the impressionist components and their manifestations in the aforementioned poetic tale. The research reveals that Al-Sayyab, in line with Ferguson's theory, utilizes ambiguous storytelling techniques, such as elliptical syntax and the metaphorical use of setting, to mirror the characters' thoughts and emotions, thereby critiquing the prevailing issues and crises within Iraqi society. Furthermore, the poet underscores a discourse of religious and revolutionary fervor, articulated through his impressionistic language, as a means to advocate for the liberation of Iraqi society from its challenges.

According to the relationship between meaning and context, the speaker must choose words in a way that fits the requirements of the context and the meaning he intends to convey to the recipient through the message (text). One of the most important theories emerging from the core of this modern science is the theory of the dialogical necessity of Grice. In this theory, Grice specifies that interlocutors must adhere to the principles of cooperation, which include the four principles of quantity, quality, communication, and the manner or context of expression and shape the dialogue process. Based on the descriptive-analytical approach and relying on Grice's theory, this research tries to examine the principles of cooperation based on the four rules in the second scene of the play “Al-Hussein Thaera” by the Egyptian writer Abd al-Rahman al-Sharqawi, and in the end it concludes that the parties to the conversation are more Among other principles of cooperation, they have violated the first and second principles, followed by the third principle and then the fourth principle. It was also found that the violation of these principles was done to pay attention to a meaning that was more necessary than the usual and expected answer and was in accordance with the way of expressing the conversation. In this scene of the show, the interlocutors have sometimes relied on an indirect way to find fault with each other.

The pragmatic theory represents a group of theories that have enjoyed academic prosperity in the fields of literature and linguistics, and language and its actions have been the subject of their analytical tests. In fiction or poetic literature, studies and research have been carried out to a large extent on many literary works, and the Arab academic field has been affected by this theory “pragmatic theory” and Arab academic forums encouraged it, and this theory is not far from the past of deep Arabic textual analysis, which takes the language Space for script analysis. Based on the foregoing, this study has taken the pragmatic theory approach to analyze the level of discourse and its tools in the Diwan of "The Horses and Ashes" by the poet “Hessa Al-Badi”, using the mechanisms of the curriculum to which the study has devoted several elements, which are as follows "Semantics" and "Speech Verbs", “Direct and Indirect Actions”. The analytical study aims to analyze the poetic discourse through actions, the social, psychological and political conditions that revolve around the discourse, and the degree of compatibility of these conditions with the writer’s sentiments in general.The study was able to record a wide presence of semantic verbs in the Diwan “Hessa Al-Badi”. These verbs refer to comprehensive and general events that are in harmony with the general reader, as the verbs direct to the reader Its comprehensive discourse, which greatly helps in building communicative perceptions between the poet and her addressee.