Arabic Literature
Year:2021 | Volume:13 | Issue:2|Papers Count:8

Text linguistics is one of the most important studies that survey the text from the perspective of the criteria of text research. It has an important role in recognizing text from non-text. One of the most important criteria is cohesion which will be examined in three levels. These levels are grammer, vocabulary, and phonetics. Reference has the main presence in the text among cohesion tools such as ellipsis, subsituation, and conjunction. De BeauGerande believes it to be the most prominent criterion in the realization of context because it refers to the existing semantic relationship in the text that convert the text into a developed and interconnected unit. Reference in the text is made through pronouns, determinatives, Wh-clauses, simultaneity tools, and articles. Since the use of these items and their influence on the cohesion of the text is less noticed, this research surveys the references in the poem “ Azab al-Hallaj” by Abdolvahhab al-Bayati. The results indicate that references have a significant role in the cohesion of the poem and its six sections with each other. Situasional references link the text to the external context and make the reader receive the meaning and link it with its references, while textual references have the important role of the cohesion of the poem and creating correlation between its different parts. In addition, Albayati uses a variety of reference tools such as pronouns, determinatives, Wh-clauses, simultaneity tools, and articles. Pronoun references are among the most frequent items which make the text coherent. Although the transposition of the roles between the two main characters makes it hard to detect the antecedent, it creates an excellent and coherent context.

In order to benefit from other arts, poetic discourse has practiced experimental aspects for a long time. That is why poets have taken advantage of modern techniques in their poetry to enrich and enhance it. Cinematography is one of the arts that poets went after. The mechanisms of cinematography that poets used are image linking tools that are serialized in the montage process, such as mixing, repetition, and omission. With these tools, some modern poetic images relate to each other. This is considered as one of the most accurate ways of expressing a modern vision that combines emotional strings in the poem. One of the most important books in this field is Washm al-Aqarib, a divan by Woroud al-Moussawi. The poet links the poetic lines in her book through these cinematic mechanisms, in order to distinguish the poems with cinematic narration. Due to the importance of the issue, this research studies the mechanisms of cinematic linking in Washm al-Aqarib. Among the most important tenets of this research are the synthesis of repetitive shots, scene synthesis by means of the idea repeated at the beginning of each section, mixing contrasting and similar shots, and omission. One of the most important findings of the research is that employing the technique of cinematography in this book has enhanced its poetic style, and that the poet has approached the images that are related to each other through the techniques of blending and erasing, which constitute an important part of montage. Through these mechanisms, the poet has been able to link poetic images and contrasting scenes.

Frequent tribal wars are a fact that cannot be denied or overlooked, and the effects of these wars on human society as a whole, and women in particular, should be taken into consideration. Pre-Islamic society was itself an oppressor of women in different ways, including disastrous tribal wars that brought for woman only misfortunes. Since wars were, and still are, harmful to all aspects of human life, and women’ s in particular, identifying the effects of those old wars on women is necessary. Thus, this article reviews the status of women in pre-Islamic wars and literary books on women in three stages, before the war, during the war, and after the war. It studies the impact of these wars on women’ s living, psychological, and rational conditions. Tribal wars were a curse on women, and while wars would last, the women’ s woes would be more and more. The pre-Islamic woman, like any other human being, instinctly did not like wars, and she knew that she was the first victim and the main target in wars. She was the one to suffer, to become a widow, and to lose loved ones. Women’ s motivations for inciting wars were taking revenge, high values, gaining booty. Yet what they really faced was different for during the war they would have fear of captivity and would have to feed war horses and treat the wounded, and after the war they would escape, become captives, face an unknown destiny, be assaulted, become widows, and mourn their loved ones.

With the emergence of poetic modernity, contemporary Arabic poetry moved from its own narrow framework to new open spaces. In fact, modernity unleashed poetry and made it benefit from other arts. One of the most important features of poetic modernity is the combination of poetry and narration. This combination, as one of the results of modernity in thought and awareness, enriches poetry in terms of aesthetics and connotations, breaks the monotony of poetry, expands its circle, and the narration with its techniques and elements makes the poetic text vibrate with movement and makes it deeper and open. The Iraqi poet Maad al-Jubouri is one of the most prominent poets who used narration and its energies in their poetry. We see the narrative hegemony over the poet’ s poetic space in all his works and the narrative and poetic overlap reached the degree of poetic sensitivity in him. This research attempts to study the presence of the narration in the poetry of Jubouri by studying his “ Where the River Returns. ” The article argues that the narration has an intense presence in the poem and the poet uses it creatively and with a keen awareness of its effectiveness and thus makes the poetic text pulsate with movement and vitality which enables him to master the poetic connotations. The state of dynamism and vitality and the overlap of poetry with narration are the poet’ s means to create an integrated and coherent poetic ground that contributes to the success of communication and the process of reception.

During the period of modernity, Arabic poetry acquired a kind of objectivity that saved it from pure lyricism, drawing inspiration for its techniques from the core of dramatic and narrative art, in which the degree of intensity increases as a result of the dialogic characteristics and the predominance of tension and the various linguistic levels and conflicts. With it, the dialogical theory of Bakhtin was divided, which constituted a decisive turning point for the creation of a new vision of the world that shook the foundations of the monist and hegemonic vision of self-direction. The polyphony phenomenon, as a main branch of it, reinforced the plurality of perspectives and visions and heralded the conflicting opinions and positions and ideological dialogue in a vast democratic space, so that every voice and consciousness could freely express itself in light of bilateral dialogues and acceptance of the other. In this research, we focus on the technical components of the phenomenons such as the multiplicity of ideologies represented in the multiplicity of personalities, the heteroglosia and plural language patterns, parodies, interfering genders, and intertextuality. We conclude that the multiplicity of voices is taking place in modernist literature in full swing. Whether it is poetry or prose, the point is the plurality of discourseas the writer strives sincerely to use the dialogue spaces to provide a visionary democracy that is honest and not false, and that the dominant ego is broken into conflicting subjects in free and heated dialogues that savepoetry from subjectivity.

The subject of this article is the image of art between old and new rhetoric and, in particular, metaphor according to Jaber Asfour’ s view. The artistic expression of nature and characteristics and the course of its evolution and its fundamental study through its relationship with other sciences and the role that these sciences have in the realization of this concept is the most important project that Jaber Asfour brought in some of his compilations, including “ artistic image in Arabic Criticism and rhetoric” which is one of the deepest studies in this field. In this research we discover the hidden dimensions of artistic imagery in Jaber Asfour’ s view based on metaphor. In order to achieve this goal, we refer to Jaber Asfoor’ s book as the main source and then refer to other relevant books, such as Secrets of Al-Balaghah and Alla'il al-Ajaz, to criticize and analyze it. The results show that Jaber Asfour’ s view on metaphor is a comprehensive view. According to the discourses of formation of artistic forms, Jaber has provided a profound study of them and concluded that the old critics did not focus on the emotional aspects of objects or the emotional content of words, but maintained the rational reconciliation of their constituent elements. In other words, their way of thinking about similitude was based on rational and verbal terms. So, Jaber Asfour concludes that such a vision has led to a distortion in the concept of poetry, and rhetorically avoids explaining the great abilities of analogies and metaphors. He believes that Abd al-Qahir did not pay attention to personifications for religious tendencies. In our research, we have mentioned examples of rhetorical theory that undermine this claim, or at least makes us to look at it with doubt and certainty.

Discourse analysis is a description of the linguistic units of literary texts in a clear and systematic way. The study of the internal structure of discourse is based on real words and interpretations, and is studied from four angles: phonetic, morphological, syntactic, and semantic. “ Leave and Fight in your hands” is one of the poems of Gouida. We have chosen this poem because it is addressed to US President, while many scholars have mistakenly attributed it to the Arab revolutions, and because it is about confronting W. Bush. There are unique linguistic features in it; thus the study of its lexical angles in light of the theory of communication is considered the best tool for its analysis. Therefore, the present study examines the most obvious levels of discourse analysis in the light of communication theory. The most important finding of this research is that Gouida has successfully achieved the goals of communication theory in his poem because it has been able to convey its discourse well to the specific recipient (George Bush) and the general (Arab nations). On the phonemic level, the study shows the predominance of loud and intense voices on the vocal space of the poem due to its revolutionary nature. It also revealed that the repetition of letters, vocabulary and sentences match the essence of the poem. Thus, Gouida created a direct emotional effect that helped to persuade the recipient, and contributed to the escalation of the discourse’ s power. On the morphological level, the results of the analysis show the use of nouns in abundance in order to convince the recipient. On the grammatical level, the poet employed the method of introduction and delay, and paralleled the grammatical methods in abundance to focus on the imperialist face of America by influencing the recipient. On the grammatical level, the poet employed the method of introduction and delay, and paralleled the grammatical methods in abundance to focus on the imperialist face of America by influencing the recipient. On the semantic level, we see the expansion of the linguistic lexicon and the fields of semantics and their structures, as its main objective is to present facts related to the occupation of Iraq by a tyrannical president.

Stylistics is one of the literary sciences that researchers and linguists are interested in in the present era because it focuses on analyzing texts and poetry mostly on three levels, which are phonetic, structural and semantic. The stylistic study on the phonemic level sheds light on the literary text from two sides, which are the external rhythm and the internal rhythm of the text or poem. On the structural level, the tenses of verbs are studied as counting the number of repetitions of past and present tenses. On this level, the researcher studies the structures of verbs, nouns, and imperatives, and the meaning learned from them. On the semantic level, the rhetorical dimensions of a literary text are studied in terms of figure of speech, such as studying and counting similes, metaphors and other rhetorical terms in poetry or in the literary text. Al-Shanfarā ’ s “ Lā miyyā t al-Arab. ” Muslim poets, both Arabs and non-Arabs, imitated it in terms of appearance, meaning, and form. That is why there are many “ Lā miyyā ts” in Islamic nations, including Arabs, non-Arabs, Turks, and Indians. The Iranian Azerbaijanis did not neglect this matter, and they followed the example of other poets. One of these poets is Homam al-Din Muhammad ibn Ala’ i al-Tabrizi, known as Homam-e Tabrizi. He composed his Lā miyyā to express his love and praise for Sharaf al-Din Harun, the minister, and describe his virtues. This article seeks to provide a stylistic analysis of Lā miyyā of Homam-e Tabrizi on the phonetic, semantic and structural levels. One of the most important findings of this article is that Homam-e Tabrizi has benefited from the possibility of changing the meter pattern represented in “ Zihaf. ” There is a strong focus on internal rhythm in the poem in which rhymes are condensed and the poet, on the semantic level, employs the rhetorical images that float on his poetry.