مجله اللغه العربیه و آدابها
سال دهم شماره 21 (صیف 2014)

Stylistics as a distinctive linguistic method, on which based many linguistic studies, does not rely on only forms of words and phrases, but investigates the depth of hidden meanings and when it deals with language of text technically, it passes from simpler stage to deeper stage. These are attained by highlighting distinctive linguistic appearances and trying to connect appearances and their meanings through which can be found hidden meaning of text. The sermon “Jihad” due to having distinctive linguistic characteristics which are harmonious with context of the sermon, is one of the new sermons for semantic - stylistic studies. By using of statistical stylistic method, in this paper it is attempted to clarify hidden meanings behind lexical and stylistic appearances, and they are divided into three levels: lexical, vocalic and morphological levels. The most important results of the study are: in lexical level words and phrases are based on three semantic areas: 1. invitation to Jihad, 2. not to uprise Kufans for Jihad, 3. to reproach Kufans by Imam; in vocalic level most of voices are middle and long ones and they are harmonious with context of the sermon which is appropriate to clarification, and repetition of some voices is fit to context; and in morphological level words have found semantic function, and at the beginning of the sermon they imply on exalting value of Jihad and finally on indignation of Imam (AS) towards Kufans.

Love toward Imam Ali has a great background in our history such that it has trespassed religious and tribal boundaries. And there is neither territorial nor temporal restriction in this fact. People have loved him in both past and present time, as his followers, whether Muslim - Shia and Sunni - or non-Muslim, have also expressed profound love to him. Having realized their cultural roots, a large number of Arab scholars turned to studying Imam Ali''s character, for supporting Islam, their Arabic identity, and participation in the world civilization. In this regard, the Christian literary contributed significantly through reflecting on his works and character to such level that they have got so devoutly attracted to him that they composed eulogies in his favor. The present paper first expresses the importance of love in Islam and Christianity, and then delves into expressing love toward Imam Ali as mirrored in the works of famous Christian poets like George Shakkur, Joseph al-Hashem, Nasri Salhab, Boulos Salama, and so on. In this way, beams of the light of their love toward Imam Ali are projected, so that we realize the manifestations of love toward Imam Ali based on their ideas and thoughts in this background.

The present study seeks to explore female symbolism in the poems of Samih Al-Qasim (1958-1968) based on his five poetry collections. These collections include Figures of The Sun (1958), Songs of The Path (1964), My Blood on My Hand (1967), and Smokes of The Volcanoes (1968) which are among the first poems of Samih Al-Qasim. In the poems of the above period which are based on codes, the relationship between women, the earth, and the ability of the poet in linking these two elements are evident. This study addresses the most prominent examples of women in Samih Al-Qasim poetry during this period and discusses the roles of lover, mother, and seeker of martyrdom. It also emphasizes the role of the lover as the symbol of country, and the role of mother as the symbol of the pillar of family. Also this study explores the poems of 1958-1968, since this period involves the manifestation of the presence of women and the beginning of the resistant role in the next periods. The importance of this study is evident in the formation of the female resistant role and also in her transformation from codes to myths. This is considerably obvious in the poems of Samih Al-Qasim as one of the most salient examples of the poetry of resistance.

Lending and borrowing are commonly used in both Persian and Arabic literature. This technique was of utmost use in Samani period in Arabic literature and in Ghaznavid and Abbasi Periods in Persian literature. Al-Mutanabbi, among the Arabic poets, is the one whose poems can be compared with those of Persian poets, in general, and Manoochehri in particular. Since their most beautiful imageries are mirrored in their panegyrics, the study of their panegyric verses sets a good ground for the analysis of their images. Al-Mutanabbi uses rational images and expresses his internal feelings through images to reach lofty and glorious meanings and in this way inspires feeling to meanings. On the contrary, Manoochehri does not involve himself in reasoning and what really matters to him is nothing but feeling and sense. Hence, unlike al-Mutanabbi -who takes his images from metaphor- Manoochehri sticks to simile. The two poets create their images out of their experiences. Unlike al-Mutanabbi who is always ambitious and through struggling seeking domination and superiority, Manoochehri prefers a comfortable peaceful life away from any tension and stress.

One of the ways of defamiliarization is using paradox. Poet converts routine and slang language into literary one by this technique. Beauty images which paradox make and its effect depend on impressions, emotion and ideas of its user. During all ages of Persian Literature, these kinds of imaginations and has been created by different poets, however, Sanayi Ghaznavi is the one who applied broadly such imaginations and concepts in his poems and has used Paradox that no one can reach him. In Arabic literature paradox is also seen in Ibn al-Arabi poems which are resulted from the combination of mysticism and literature and Evolution of literature from simplicity to complexity which are the most important factors in paradox development in Arabic Language. In this study, paradox is analytically and descriptively analyzed in Sanayi and Ibn al-Arabi poetries in two levels of linguistic and semantic. The results of study show that paradox in Sanayi poetries is more than Ibn al-Arabi, and also its frequency is more seen in semantic and imagination forms than in Ibn al-Arabi poems.

The hiring symbol in the modern poem is said as a common feature among the majority of poets on the varying levels of code where the simple to the profound. Thus although the code or coding in literature in general characteristic stylistic and one of the elements of the literary text the substantive since ancient times, but we see it has the diversity and depth controlled the language of the modern poem and their structures and forms and their structures different. On this track recorded Technology icon significant presence and active in poetry poets Palestine General and hair (Lutfi Zaghlul) private; because of its ability to guide ideas and deepen the artistic vision and enrich the text and enriched conceived dimension expressive of the dimensions of his experience in the struggle against the Zionist occupier. reading of quiet and informed consent in the experience, «Lutfi Zaghlul» poetic and represented yet ten collections of poetry reveal quite clearly the depth and credibility of this experience, as guide us to the suffering of the rustic poet, from its early beginnings, the concerns of his people and his nation''s issues to some extent and issues. This search through the analytical approach Altosfa going to answer questions and interact with the put forth: First: “what is the symbol” and its effectiveness in the poetic text Palestinian? Second: What are the symbols in the recalled poetic text «Zagluli» and the extent of their impact in the generation of semantic suggestive that serve the Palestinian cause?

Anima is the appearance of the nature of the Feminist in herited in the unconscious of the man, in school of Young. It affects his passion and his tendency to women and nature. This study attempts to study Anima and its features on Buland al-Haidari’s poems who was assisted by collective unconscious and initial models to restore people to their ideal and old life. This research concludes that this social poet, during being influenced by his Anima, is subjected by his contradictory character, sometimes loves his Anima and sometimes hates it. But generally he is influenced by his negative Anima more than his positive Anima and it’s because of either his bad relationship with his mother or his apprehensive society.

Sayyid Qutb، a contemporary Egyptian litterateur and critic، is known more for his Islamic (Qoranic) works than his literary ones. He began his literary life by composing poems and appeared in the world of Arabic poetry through publishing his odes in literary journals. His odes entitled «al-Shati al-Majhul»، then، were compiled. But his status as a litterateur is subordinated to his status as a Qoranic interpreter and an Islamic expert. This paper aims to shed light upon most significant features of Sayyid Qutb''s poetry. It is worth mentioning that while his poetry seems still new، it has not been investigated academically. To this end، in the present paper، his poetry is investigated، using an analytical-descriptive research method in order to uncover some of the poetical features.