Journal of Arabic Language & Literatureis
Year:2019 | Volume:11 | Issue:1 (20)|Papers Count:19

1. Introduction In semiotics, it is attempted to analyze texts and search for hidden meanings. Structuralist semioticians place great emphasis on the relationship between elements and semiotic studies and focus on the role of the semiotic texture in meaning and content formation. Semiotics was used by Saussure as “ a science that deals with the examination of signs within social life” . Semiotics refer to the study of symbolic systems such as languages, symbols, codes, and signals. Language is an independent concept among symbolic systems; “ … and contents and meanings are constructed exclusively through an active process of interpretation. In the area of structuralism, connections should inevitably be made between signs and codes where they become meaningful” . The reflection of patriotism is a fundamental aspect manifested in Shawqi’ s poetry, having become an influential element at the content and language level of his poems. Given their semantic extensiveness, his poems can be examined through a variety of dimensions. His images and poetic meanings can be achieved using the science of semiotics. . . .

1. Introduction The main theme of La Nuit Sacré e is the life of a Moroccan women under the influence of patriarchy that is dominant over the Moroccan society. In this story, Ben Jelloun portrays the turbulent, frustrating life of a girl named Zahra whose femininity is not even acknowledged by her father. Having imposed his masculine identity on her, the father deprives the girl of her femininity. After twenty years spending a hellish life, the girl’ s father finally confesses to his sins at his deathbed, recognizing the femininity of the girl who had been covered with men’ s clothing until that very moment. Accordingly, the main subject of La Nuit Sacré e and the present study deals with exiting the limbo of being a man or a woman and stepping into a paradise-limbo atmosphere of femininity. Having been called Ahmed to that day, Zahra was raised as a man; she had never been seen as a women not only in the society, but also among her family members and even her mother. Her only taste of femininity was her feminine body that was hidden underneath men’ s clothing; and her emotions were considerably suppressed. She had to test and learn being a women, and her femininity was formed through such trials. Following her father’ s funeral, Zahra/Ahmed leaves her family home while she possessed nothing with respect to her feminine identity except for a few pieces of clothes and a name. She then attempts to nurture her femininity by living amid the society as a woman and recover her lost identity. Accordingly, La Nuit Sacré e is the story of Zahra’ s attempts to find and recover her lost gender; the present study is an examination of the heroine’ s metamorphosis process from masculinity to femininity. . . .

1. Introduction Narrative texts can be considered influential means which, along with their pedagogical and aesthetic functions, reproduce particular social orders. In this regard, we can think of textual strategies as techniques that are applied to reconstruct a discursive hegemony. In other words, the language and structure of a story can serve as an ideological device to protect the power relations in a certain society. Kalila va Dimna is among the oldest narrative texts in which the relationship between power, language and ideology can be easily perceived. Written around 3rd century BC, the original version of Kalila va Dimna contains some didactic fables. These fables were prepared to transfer Indian monarchs’ sociopolitical ideologies to their surrogates. The Arabic version of the book, translated from the Pahlavi by Ibn Al-Moquaffa, is, in effect, an adaptation of the original version and contains similar sociopolitical ideas which deserve in-depth analysis. Combining the key concepts of CDA (critical discourse analysis) with some concepts in narratology, this paper aims at examining the ideological aspects of narrative in a chapter of Arabic Kalila va Dimna. . . .

1. Introduction Simile is one the most beautiful artistic expressions and statements of rhetorical science that augments beauty of meaning with various implications. Eloquent simile would be considered the most elegant and frequent ever invoked in Nahj al-Balagh's sermons, which embraces about two third of the sermons’ similes. Since the syntax is the basis of speech, and similes are presented in a variety of structures, each of them has a special function and implication. The present study is aimed to investigate the style of the simile of Nah al-Balaghah on the syntactic layer. . . .

1. Introduction The fundamental indices of stream of consciousness in Arabic literature stretch back to a long time ago and appear to have been originated from a number of classic texts including “ Hayy ibn Yaqdhan” by Avicenna, “ Hayy ibn Yaqdhan” by Ibn Tufail, “ Resalat Al-Ghufran” by Al-Maʿ arri, and “ Tawaba’ a o Zavaba’ a” by Ibn Shuhaid Andelosi. They have continued to date in novels written by Taha Hussain, Taqfiq Hakim, and Najib Mahfouz as well as stories by Gibran Khalil Gibran, poems by the poets of the Tammuz School, and fictional poems by Adonis, particularly in his “ Qasayad Kolliyah” . The main purpose of the study was to examine inquiries and research on reading poetic manifestations of stream of consciousness in Arabic literature along with the lack of research-based papers on the subject. In fact, research on stream of consciousness in the Arabic literature did not seek to detect and retrieve the signs of the stream within the contexts of philosophy and psychology in most instances; these inquiries solely sufficed with contrasting a certain number of formal indices of the stream with texts of contemporary stories. Accordingly, it was considered necessary to conduct this study due to the absence of an academic or general inquiry on retrieving the signs of stream of consciousness in Arabic contemporary poetry, particularly Adonis’ “ Qasidah Kolliyah” . . . .

Extended Abstract 1. Introduction Comparative literature is an academic field dealing with the study of literature and cultural expression across linguistic, national, and disciplinary boundaries. Comparative literature performs a role similar to that of the study of international relations, but works with languages and artistic traditions, so as to understand cultures from the inside. While most frequently practiced with works of different languages, comparative literature may also be performed on works of the same language if the works originate from different nations or cultures among which that language is spoken. The characteristically intercultural and transnational field of comparative literature concerns itself with the relation between literature, broadly defined, and other spheres of human activity, including history, politics, philosophy, art, and science. . . .

1. Introduction The conceptual blending/integration theory originates from research programs by Gilles Fauconnier and Mark Turner. This theory is the result of expanding the theoretical framework of mental spaces. The core point put forth by Fauconnier and Turner involves how the construction of meaning does not take place solely through combining former meanings or creating mappings among them; yet, meaning construction has an emergent structure shaped by the combination and integration of a set of elements that cannot specifically be observed within any inputs. Accordingly, the purpose of the present inquiry is to demonstrate how the blending theory is capable of introducing accuracy into conceptual metonymy analysis, particularly the intellectual type, whilst explaining the contrast between conventional and cognitive interpreters’ understandings of metonymy. This study seeks to provide answers to the following questions. . .

1. Introduction The elements present in poems written by poets are the reason behind their distinction from regular, everyday language; however, each poet would make use of these elements in a way that is proportionate to their own inner emotions, different from others. As a result, each poet has a unique style which is shaped by connections among the poet’ s personal set of poetic features. The present study is an attempt to provide answers to the following question: To what extent has Khalil Hawi been able to incorporate his thoughts into his poetry? What are the instances in his poetry where his emotions are manifested more significantly than the phonetics? This study is based upon a hypothesis according to which the poet has successfully incorporated his emotions which are mostly full of sadness and frustration into the majority of musical elements of his poetry; these thoughts and ideas can be found in the external music with respect to his selection of rhymes. Even in the side music, the type of rhymes and their last letters along with their sounds express these thoughts. Given the vertical repetitions and other factors in the internal music of his poetry, his anxious soul is put on display; the same is true in the spiritual music as well. . . .

Introduction Synesthesia, which literally means the combination of senses, is originally a psychological term. This term is used to describe a neurological condition in which two senses or more are fused and perception related to one sense is stimulated by another, i. e. the synesthetic for example, perceives sounds as inherently colored or tactile. Later, this term referred to as “ fusion of the senses” came up. Synesthesia as a kind of metaphor has existed in all eras and languages. Of this artistic device, some examples have survived in early texts and have remained after generations. Examples of it are mentioned in the Iliad and the Odyssey that are among the oldest extant works of Western literature. One can find many uses of the device in classical Arabic and Persian poetry, especially in mystical poetry. For example, notable examples can be found in the poems of Mowlavi and Ibn al-Fariḍ . These old examples lead us to conclusion that synesthesia, as a literary device, is rooted in the far past. In addition, there are a few stereotypical examples of synesthesia used by people in everyday speech. However, for over a century, this term has been used as an artistic device in modern rhetoric. It is in the new era that the conscious and intentional use of it as an artistic device to express emotions and convey poetic message, has spread. Abd al-W ahhā b al-Bayā tī (1926-1965), contemporary Iraqi poet, is one of those who used this artistic device in his poems. . . .

1. Introduction Myth is the evolved thinking activity of the primitive man. It is a set of interesting stories and anecdotes from the most ancient eras, full of miracles and surprises in which reality is intertwined with imagination. The word “ mythology” has been repeated 9 times in Quran, in verses such as Infaal: 31. An’ aam: 25, etc. The myth of Angha is an example of cultural exchange between civilizations; in different nations, it is known as Simurgh, Samandal, Banu, etc. The present study is an attempt to analyze the symbols of Angha and Simurgh in Meydani’ s Majm’ a al-Amthal and Ferdowsi’ s Shahnameh, respectively, in order to uncover the mutual dreams of both Persian and Arabic nations; their non-existence does not prevent one from recognizing the mental realities believed by mankind. In comparative mythology, special attention is paid to psychological and linguistic approaches. Certain researchers have stated that there are no mutual aspect between Simurgh and Angha. However, this study was conducted based upon the following hypotheses: 1. The origins of the symbols of Simurgh and Angha are in the ancient Persian culture and Semitic languages, respectively; 2. Mixed images and the transformation phenomenon are the causes behind the emergence of their good and evil forces; 3. Both symbols can be justified in scientific terms; 4. Collective and mutual archetypes, nature, and religious beliefs resulted in a number of shared features between the two; 5. And the environment and culture of each ethnicity are the reasons behind their differences. . . .

1. Introduction Narratology is based on narration with structural analysis and description of the rules and by analyzing the totality of texts and divide it into smaller units; they are going to achieve narrative grammar. This scope of human knowledge has advanced to the extent that nowadays it is studied as a scientific branch. This research focuses on analyzing speech and thought presentation in the story by means of stylistic approach proposed by Leech and Short. They are known to have five levels of discourse: 1-Indirect Speech/Indirect thought. 2-Indirect Speech/Indirect thought. 3-Free Indirect Speech/Free Indirect Thought. 4-Direct Speech/Direct Thought. 5-Free Direct Speech/Free Direct Thought. The method of this study is descriptive-analytic with narrative cognitive approach. Tantura novel by Radwa Ashour, due to the complexity and specific narrative techniques is the suitable option for studies of narration's tense. The research findings show: the Egyptian author, Radwa Ashoura, has tried to present the whole story from the point of view of the protagonist. The novel uses a variety of direct, indirect, free and indirect free speech and narrative reporting to express the belief in resistance and instill a Palestinian sense of war. . . .

1. Introduction The present inquiry is an attempt to examine critical-structural theorems through the views of Ibn Khaldun, the philosohoer, historiographer, and the theoretician of civil sciences. As a prominent critic, he has put forth a number of theories with respect to literary criticism. In his book, Muqaddimah (Prolegomena), he points out certain criticism criteria not as a philosopher, but as a critic; his comments and opinions can be explored in brief across these criteria. Ibn Khaldun has addressed, expressed and interpreted a number of critical and rhetorical criteria which demonstrated his inspiration from former philosophers of Andalusia. Critical criteria in his book, Muqaddimah, include the poetic queen, words and meanings, style, poetic style, prose, and the Holy Quran; accordingly, the following question can be posed: What are the criteria set by Ibn Khaldun in his critical theories? Given the hypothesis of the study, Ibn Khaldun has been able to formulate new theories and present new ideas in areas of defining poetry, explaining the concept of words and meanings, and differences between poetic devices, natural words, and artificial words, similar to the old critics. Subsequently, the purpose of this study is to examine Ibn Khaldun’ s literary approaches and opinions in order to explain critical-structural theories through his point of view. As a part of the Arabic literature history, it appears necessary to address the critical perspective of this well-known author in the area of literary criticism....

1. Introduction Imam Ali’ s beautiful, pleasant words include letters, instructions, sermons, parables, and advices formed through a variety of numerous events during his momentous lifetime; the volume of his words has been more extensive to be written down or remembered. Some of his words were not written down due to various reasons such as war or the absence of recording conditions, subsequently removed from the course of history. Nevertheless, all that is accessible today are valuable information that require examinations from different perspectives. . . .