RAYS OF CRITICISM IN ARABIC AND PERSIAN
Year:2017 | Volume:7 | Issue:27 |Papers Count:6

As articles and other scientific products are growing at an accelerating process in Iran and the world, there is an urgent need for standards to evaluate and compare scientific publications. This will be achieved through scientific assessment, Science that benefits from information analysis. The academic Quarterly of Rays of Criticism in Arabic and Persian is considered as one of the most important journals in the field of Arabic language and literature in Iran which has been published in 27 volumes. This Quarterly has published 179 articles from 345 writers with distinguished university degrees and 44 universities and educational institutions. The subject of 45 articles, which means 25.13 percent ison Persian literature and this contradicts the purpose of the Quarterly, which relied on Persian literature to identify it to Arab countries. This study focused on a statistical and analytical study of the number of authors of articles and their degrees and the extent of cooperation between them and the centers and institutions which cooperate in the quarterly. In this study, descriptive statistics method has been used. It means, Average, frequency and percentage are calculated, then the results are presented in charts and graphs. The research instrument is a statistical survey using SPSS version 16. The following results are obtained: 50 articles were written individually, 129 articles were written jointly, Which 91 of these joint articles were written by the authors from the same university and 38 articles written by the authors from different universities. HadiNazari has the most articles with 7 papers. Half of the articles are devoted to criticism and analysis of texts.34 articles were written by the editorial board with an average of 18.9, which is acceptable.

Saussure believed the world is composed of elements which are not independent of each other but gain meaning within the ‘system’, a system through which elements gain their values and believed that there was a verbal linguistic and spiritual link between the word mentioned in the text and the words that were placed on the vertical line and those were not appeared, and called it the vertical and substitutional axis of the text So that ignoring it will result in ignoring the desirable meaning. So based on Saussure's point of view, literary text like any other non-literary text finds special emphasis on the selection axis. Based on this idea, this paper intends to analyze and interpret Saussure's thought by relying on the substitutional axis and choice of al-Imran and attempts to disclose the criterion of the selection of some inflectional words and its preference for other inflectional words. The obtained results show that inflectional chosen words are entirely based on the totality of the Surah, that is, unity in the sense that there is a strong connection between the inflectional chosen word and the totality of the Surah.Moreover, extraction of hidden meanings in the text as well as the discovery of works and miracle signs depends on this axis.

The issue of blaming and forging is not unique to any homeland or literature, and its footprint is evident in the literature of every nation from the beginning to modern civilization. Therefore, the subject of narration and denial in poetry and literature has been examined at various times and in the modern era many challenges have arisen. Ibn Khallikan is the first to raise the issue of doubt in Nahj al-Balagha and its relation to Imam Ali (AS). Then many followers met him. In this regard, this essay aims to answer questions about the origin and the proportion of forgery in Nahj al-Balagha and the main reasons for rejecting it. According to Ibn Khallikan, his doubts about Nahj al-Balagha can be summed up in two points in the gathering of Nahj al-Balagha between Sharif Razi and Sharif Morteza, and in the correctness of Nahj al-Balagha' s relation to Imam Ali (AS). This article attempts to use the descriptive-analytical method to answer the above-mentioned doubts based on narrative and religious reasons, and the narratives and ways of tolerance of hadith. Among the results of this research is that Sharif Razi is the collector of Nahj al-Balagha, not Sharif Morteza, as well as the ultimate theory in Nahj al-Balagha, and that Sharif Razi is the propeller of this work, not its collector, is in vain.

Alienation in the modern age is a significant phenomenon, that seeks political, social, ethical being is on human; thus, affected by such circumstances the literary nature, takes suspicious and loses its soothing effect; so in the present age alienation dominate poet’s work. This article will identify and evaluate all types of alienation in the poetry of Ali Fouda (1946 - 1982 AD) the contemporary Palestinian poet. The final results investigating his poems were the representation of different kinds of alienation including: social, political, ethical, psychological alienation, alienation from friends, time, location, literature and emotion. To overcome this feelings, various mechanisms, such as the use of terms indicating poverty and alienation, using the element of dialogue to resort to manifestations of nature, including animals and plants, addressing the mother to express her passion for the past and humility and softness in some cases, violence and harsh, in some cases. It is worth noting that these results were to examine Ali Fouda Divan and extracting samples of its poetry, based on the description.

This research deals with Abutamaam’s look at colors and what is related to them. This paper divides colors into light and dark colors including white, black, red, pink, green, mixed colors and secondary colors in the poems of his odes (Qasidahs) to indicate their significations. It is clear that Abutammaam used colors to show his feelings and to color his poems with various verbal indicators. He uses colors in his poems for a lot of purposes like pun, metaphor, and other kinds of figurative language. Colors are used for verbal beauty and to add new meanings. Moreover, all three types of semiotic signifiers including intellectual, natural and positional, can be found in his poems so that they play an important role in revealing secondary and hidden meanings; and showing the complex and ambiguous significations. Finally, it became known that Abutamaam is a creative poet and artist who has been able to mix various colors to achieve new colors which include new semantic indications. This mixture displays the state of the mind of the poem too. This artistic process is presented in a dignified style.

This article is an attempt to study the element of the time of the novel Zakera al-Jassad written by AhlemMosteghanemi based on the time of narrative and the time of narration, relying on linguistic functions.This research seeks to explain how the time sequence of the events of the novel changes in the direction of the circular line, as well as its relevance to the discourse representing contemporary history of Algeria and the parallelism of the discourse of narrative techniques with the sequence of events of the novel.The research concludes that despite the lack of order in the time sequence of events there is a correlation between narrative techniques and time arrangements of events; how the element of time has regarded the discourse of the author of the novel. It has included current themes of the contemporary history of Algeria which depict the contemporary history of Algeria, because AhlemMosteghanemi has clearly described the ideologies of contemporary history in Algeria. Thus the author of the novel, relying on the techniques of stream of consciousness and linguistic functions has changed time sequence of events in the direction of the circular line in order to transfer the feeling of the arrangement of the time sequence of events to reader. The author wants the reader to feel the time sequence of events and interpret them in the course of secret discourse within the element of time. The author also wants the reader to set the sequence of the events timeline within himself.