نشریه نقد ادب معاصر عربی
پیاپی 24 (بهار و تابستان 1402)

Two theories of post-colonial and Caravanalism have close relationship in aspect of exploration of antipathies and linguistic resistance structures in literature text. While post-colonial theorists try to explore directions and components of Hegemonic domination of literature texts and make voice of in margin people as basis of literary criticism, Mikhail Bakhtin explains Caravanalism elements as a mechanism for discrediting of absolute power’ single voice discourse and appearance of a type of polyphony in authoritarian structure. Based on this theory, this research tries to explore components of Bakhtin’s Caravanalism theory include: Carnival celebrations, Irony, Grotesque and joke making machine in quintuple of Cities of Salt, written by Abdul Rahman Munif, which is a pseudo-historical narration of oil appearance process in Saudi Arabia peninsula and transformation of colonial approach (from classic to modern) and to examine its performance in offering of conflicting antithesis and discrediting of single voice discourse of power considering hypothesis of this theory.

The theoretical basis of this research is Mikhail Bakhtin's theory of carnivalism and its elements such as carnival celebrations, irony, grotesque and joke making machine which he has discussed in detail in his book “Rabelais and His World”. According to Bakhtin, carnival festivals, comic shows and their related traditions and religions had very important position in view of medieval human life. This event brought to the fore a world quite different from the real world, and highlighted the informal, secular, and non-political aspects of human relations. In other words, these carnival festivities, in which all members of the community participated, depicted life and the world outside the rigid formal framework. In this book, Bakhtin seeks to interpret laughter in medieval popular culture as a means of resisting and overcoming formal cultural ideas, symbols, and aspirations. According to his belief, carnival festivities created an opportunity for the oppressed medieval man to speak out against the monopoly of the dictators and to express his protest in the form of humor.

In Cities of Salt, Abdul Rahman Munif depicts the sudden transformation of the Arab countries. Imposed and selective modernization and the sudden injection of technological achievements and the sudden transformation of Bedouin areas into large cities have led to the confrontation of tradition and modernity and the fragmentation of society. At the level of political power, the vast oil wealth has transformed the nature of hegemony and changed the repressive apparatus from traditional from to modern form in a purposeful and organized manner using modern technology. In contrast of this monophony and the twin domination of colonialism/tyranny, the reader hears the carnivalized voice of the lower classes people, which - in carnival situations-invalidates the discourse of power. The authors of this study have examined the manifestations of this carnivalized voice in the following four components which are: carnival celebrations, irony, grotesque and joke making machine.
In the first part, carnival celebrations and their function in discrediting the monophonic discourse of colonialism / tyranny are examined. In these celebrations and ceremonies, the author creates situations in which the hierarchy of the power pyramid collapses and those in power (tyrants and colonialists) align themselves with ordinary people. This collapse of the pyramid of power causes to oppressed people express the harshest criticisms in the form of humor and jokes. In fact, at this feast, the common people have the opportunity to make inferior position with the superior position of the colonialists and tyrants by means of ridiculous behaviors and verbal jokes.
In the second part, the authors discuss the function of the irony concept in delegitimizing the discourse of domination. Ironically, and in general, conflicting dual confrontations emerge when discourse of power has a violent and repressive presence. In Cities of Salt, we see ironic situations more in episodes in which tyrants have a strong and repressive presence. In fact, in the shadow of the brutal and repressive presence of tyranny, which incurs the cost of confrontation and may even cost people their lives, the carnival laughter takes on an ironic color and the narrator and story characters express their protest against the current situation by a kind of hidden and ironic ridicule. In these spaces, the author discredits the harsh presence of tyrants by creating ironic situations and presenting scenes that are contradictory and hilarious to the status quo.
In the third section, the authors discuss the grotesque concept and its function in discrediting the monophonic discourse of absolute power. In Cities of Salt, we see the grotesque manifestation and its function in the de-authorization of characters in the description of authoritarian personalities. In describing such characters, Munif creates a grotesque atmosphere that both laughs and escapes, by pointing to the animalistic behaviors. These grotesque images are done with different mechanisms include: the desire of authoritarian personalities for sexual desires, presenting an animal image of those in power, and emphasizing on the earthly and tangible and even obscene qualities of daily life (urination and Stools, saliva and sputum, nasal discharge, etc.).
In the fourth section, the authors deal with the popular joke making Machin and its role in discrediting the discourse of colonialism and tyranny. In this section, the lower class people try to carry out a kind of harmless and cheap resistance by means of mechanisms such as putting funny and ridiculous titles on those in power, telling jokes about the colonialists, as well as making fun of them.

Conclusions of this research can be summarized into two theoretical and practical categories: firstly, caranavalism and its components can open new horizons to post-colonial studies, and also can be basis of reconstruction of domination directions and for centralization of language and culture of domination system; and secondly, Abdul Rahman Munif in quintuple of Cities of Salt, put protest discourse of in margin and lower people in contrast with official and rough discourse of domination/despotism by means of creation of carnival situation, Ironic images, Grotesque and joke, and discredited its created legitimacy in carnival situation.

The novel is more influenced by the conditions of society than any other literary work, and it can reflect the social structure better than any other literary work. Accordingly, it has the greatest capacity to represent contemporary human life. Therefore, in this research, we have critiqued the sociological novel of Summer with Enemy by Shahla Al-Ojeili based on the idea of various types of capital by Pierre Bourdieu and relying on the analytical-descriptive method. Bourdieu's critical sociology, in addition to paying attention to the objective and structural dimension, considers the mental dimension of social life and takes a field-like view of the relations that govern social space. The sociological study of women's capital in the novel reveals the cultural inferiority of women in the light of the patriarchal system of men and reveals infidelity, which plays a significant role in destroying women's married life, as a negative social capital in their lives. And it shows that the most important themes of the novel's social capital are the sufferings of women's lives in the patriarchal context of society, which is strengthened by war and its consequences. The level of cultural capital in this novel is determined in direct connection with the war and especially the Syrian civil war. These funds are neither so frustrating as low-income women nor so promising that they can be considered an effective factor in various social and economic fields. A corner of the contemporary suffering of the Arab woman in the novel is seen during the lives of the characters in the novel, and shows the dominance of the patriarchal fabric and the common beliefs of the people of that society. The age variable in the main female characters of the story is a recognizing factor that, by dividing them into three different generations, depicts the needs and concerns of all three generations in the light of different economic, social and cultural conditions. The common social factor between these three generations that has changed the lives of all three is war. Grandma Lamis Karameh is the main character in the story, a woman whose life has been transformed by war and whose social and cultural effects have been devastating. Lamis's mother Najwa, who is ruined by the war of his life, and finally Lamis himself, who migrates to unknown aspirations with the loss of his mother and father as his most valuable social assets, and the war has left him with nothing but helplessness, homelessness and suffering. At the heart of these three generations of women, at the same time, we see the lives of Syrian women in the throes of patriarchal domination. Infidelity as a negative social capital has a significant role in destroying women's married life and the author has dealt with it from all social, psychological and cultural aspects and by addressing the pain of Carmen's life as a European woman whose life has been ruined by infidelity. Shows the common suffering of all women. The inferiority of women in the atmosphere of patriarchal domination is well portrayed in the life of the characters in this novel. Immigration in this novel is also one of the central themes of the life of the main character of the story, whose life has been overshadowed by war. The objective manifestation of religious beliefs is also quite evident as the embodied cultural capital in the lives of the characters of the novel. In general, it can be said that the most important theme of social capital in the novel "Summer with the Enemy" is the sufferings of women in the patriarchal context of society, which is strengthened by the war and its consequences. In this novel, the symbolic capital of love is seen in the lives of women in the novel. Due to its tragic and tangible content during the lives of the protagonists, especially in the field of women's problems and their social rights in Syria and during its wars, the novel "Summer with the Enemy" is a very good case for a qualitative assessment of the situation of women in this country. Is. According to Pierre Bourdieu's theory, which paid special attention to the capabilities of literature in depicting social situations; In this study, we intend to consider the capabilities of Pierre Bourdieu's theory in the field of social issues, which will be described in the following article, the frameworks governing the lives of female characters in the novel "Summer with the Enemy", especially the hero of the novel, as a reflection of Critique the social and cultural realities of Syrian society.

Khalil Havi has used various symbols and myths in his poem "Al-Sindbad Fi Rahetha al-Thamaneh" which the political and social conditions in his native Arabic and territories have been effective in creating such a poem. This article examines the function and application of symbols and myths through the descriptive-analytical method in this poem. In this poem Sindbad is as a contemporary man who the poet himself is behind the mask of him, expressing his own experience. In this poem, the giant is a symbol of destruction and rebellion. the poet, by presenting an image of the owl, complains about society with pretense and hypocrisy, and remembers enemies as crocodiles. He knows the sun as the symbol of freedom and honesty in the poem, and fire is used as a symbol of purification, positive powers, resurrection and rebirth. Khalil Havi mentions grape tree and wine as a symbol of Christ and eternal life. Lightning and the myth of Baal is a symbol of rising and fertility. In general, the function of symbols and myths in this work, written in line with the overall concept, and reveals shortcomings and inaccuracies, but they hope to overcome and eliminate them.Khalil Havi has used various symbols and myths in his poem "Al-Sindbad Fi Rahetha al-Thamaneh" which the political and social conditions in his native Arabic and territories have been effective in creating such a poem. This article examines the function and application of symbols and myths through the descriptive-analytical method in this poem. In this poem Sindbad is as a contemporary man who the poet himself is behind the mask of him, expressing his own experience. In this poem, the giant is a symbol of destruction and rebellion. the poet, by presenting an image of the owl, complains about society with pretense and hypocrisy, and remembers enemies as crocodiles. He knows the sun as the symbol of freedom and honesty in the poem, and fire is used as a symbol of purification, positive powers, resurrection and rebirth. Khalil Havi mentions grape tree and wine as a symbol of Christ and eternal life. Lightning and the myth of Baal is a symbol of rising and fertility. In general, the function of symbols and myths in this work, written in line with the overall concept, and reveals shortcomings and inaccuracies, but they hope to overcome and eliminate them.

The term analytical psychology, which is one of the new terms in psychology, was first used by the famous European psychiatrist, Carl Jung. As a prominent psychologist, he looked deeply into the layers of the psyche and used this term to distinguish his theories and treatment method from the psychoanalytic theory of Sigmund Freud. With the passage of time, analytical psychology went beyond the field of psychology due to its efficiency and entered the field of literature, and the works of many poets and writers were criticized in order to know their views and thoughts, and a solid bridge of communication between literature and psychology was formed. As a result of the relationship between them, a new critique was created, the basis of which is the psychological critique of Jung's archetypes, and its origin is the collective unconscious learning of mankind, which has been stored in the unconscious mind of man for many years; Therefore, it is called archetypal criticism or mythic criticism, which is regarded as one of the new fields of literary criticism, and for the first time it was formed in Western literature, and with the passage of time, it was also noticed in the Middle East. The criticism of the archetype, which was first raised in 1934 based on Carl Jung theory of the unconsciousness self with the publication of archetype designs in poetry, by Maud Bodkin; It is one of the literary criticisms that, by using the theory of Carl Jung, criticized and psychologically analyzed the collective unconscious mind of mankind, and thus, new horizons in the way of criticizing literary works were presented to the researchers, and many patterns for the psyche of every human being, such as: Mask, shadow, anima, animus and self were defined. The mask is one of his important archetypes, which is very important for self-realization and personality development, and it actually refers to the external aspect of a person's personality, which is shown to the society, and is indicative of a kind of psychological desire; That is, the person wants to hide his individual nature from others, which is actually the person's external false personality, not his true personality; because the society and the difficult conditions governing it impose such a defense mechanism on the individual, which makes them feel safe and comfortable. Muhammad Afifi Matar, a contemporary Egyptian poet, is one of those poets who, considering the severe political and social suppression prevailing in the Arab society, inevitably took refuge in his collective unconscious and turned to this psychological technique to express his critical opinions. His critical poems arise from his concern about the deplorable state of society and opposition to the wrong policies of the rulers, and by exploring and studying his poems, one can understand its hidden aspects; because, on the one hand, his poems have a direct connection with the collective unconscious, and on the other hand, they have a significant effect on the awakening of the Arab society against the dictators and colonialists. Afifi Matar is one of the most diligent Arab poets, who has never backed down from advancing and realizing his goals, even during his exile, and considering that his poems have political content, he tried to put masks on his own face, and the face of the rulers, his country, and the free men. to show them as they are not, or introduce them as less or more than what they are, and deepen everyone's perspective towards them.

Due to the fact that this archetype originates from human nature and is one of the common features of many people, especially poets, it usually manifests itself in literary creations and finds a more objective expression in poetry.

Therefore, the present essay investigates the archetype of the mask and its manifestation in different forms and how its positive and negative consequences are manifested in the poems of the poet mentioned in his Divan Malameh Men al- Wajhe al-Ambizu –Ghelisi, so that in addition to discovering the beauty of this valuable work, it can reveal how adaptable this archetype is according to Carl Jung's opinions, and find out how this psychological technique has manifested itself in the poet's collective unconscious, according to Jung's opinions.

The result of the research shows that on the one hand, considering the political and social suppression conditions prevailing in the Arab society and the poet's effort to enlighten and raise awareness among the people, this psychological technique can be used extensively in a beautiful way in the form of negative masks to reveal the acts of oppressors and also in positive and negative ways, for other purposes, including the homeland, they have an outstanding crystallization, and it shows the adherence and commitment of the poet who, by using these masks, draws his responsibility and conscientiousness, and uses their mental strength to fulfill his social roles and responsibilities, and on the other hand, generally there is no practical solution to overcome the negative consequences of such masks; Rather, it is suficed to expressing the subject; But it is clear that the poet has fulfilled his responsibility to a certain extent in order to make the society understand and the youth aware of the oppression and suppression in the society and to awaken them to struggle with oppression and achieve freedom.

Critical analyze of speech is a new approach in speech analyze which study and discover the relations of hidden power and ideology beyond texts. Founders of speech believe that language as a social action has an important role in creating the identities, relations and social world and also has a close relation with power and ideology. The main apprehension of critical speech analyze is beyond it’s merely language expressing and studying how social inequality produce in language in other word critical speech analyze want to show the relation among language, power and ideology. For reaching this goal it tries to find the structures of speech which use for showing power in language.

In this study researches want to study social actors in Al- Tolyani novel work of “Shokri Al-Mabkhoot” who is Tunisian criticizer, literary man and writer by using qualitative studies and by using critical analyze of speech based on semantic model of Van Lioven.
The main question of this research is that how did Shokri Al- Mabkhoot use social actions for making clear the ideology and view points of themselves?
The researches which have been done based on Van Lioven model is as below:Lotfollah Yar Mohammadi and Vida seif (1378), in an article by name social actions in Palestinian and Israel quarrels by using speech structures of sociology – semantic which analyzed two groups of newspapers.
Abdolbaset Arab Yousef Abadi, Elyas bar Abadi and Tahere Mirzade (1396) in an article by name studying speech structures of Ghesas Surah based on Van Lioven models which analyzis this Surah.
Maryam Bakri (2016) in her thesis by name ‘Bagha Ol-Ehdas va Al-Shakhsiat fi ravayat ol-Tolyani Lashkari Al-Mabkhoot’ studying the novel characters and accidents.

Discussion and Resuts: 

The main apprehension of critical speech analyze is beyond it’s merely language expressing and studying how social inequality produce in language in other word critical speech analyze want to show the relation among language, power and ideology. For reaching this goal it tries to find the structures of speech which use for showing power in language. In this study researches want to study social actors in Al- Tolyani novel work of “Shokri Al-Mabkhoot” who is Tunisian criticizer, literary man and writer by using qualitative studies and by using critical analyze of speech based on semantic model of Van Lioven. Findings of this research shows that in his validity The view of Van Lioven is one of the approaches of speech analyze approach that tries to find the secret relations and searching among secrets layers of language by using sociology- meaning part of speeches and also by emphasizing the social speech actors Representation of novel actors are in direction of ideology and social thinking orientation of writer. He has shown the social actors with different methods like sociology points such as omission and declaration, disguise, activating, chagrin, naming, personification, grafting, inversion, valuing, symbolize, compressing, implying and abstracting. Findings of this research shows that in his validity The view of Van Lioven is one of the approaches of speech analyze approach that tries to find the secret relations and searching among secrets layers of language by using sociology- meaning part of speeches and also by emphasizing the social speech actors

Conciusion:

Findings of this research shows that in his validity, political and social text, caused challenge in power positions, political, religious and ideological powers and have revealed disparity, despotism, palpitation, aggressions and social abnormality of his contemporary society. in the text two damaged character of women and man show the sexual abnormality in western and eastern world – which are the bases of novel-, this problem was always denied and this denying policy is clear in this phrase . The novel wants to show two characters by name Abdul- Nasser and Zinat, they are active actors at first but at the end they leave of their aims and desires though ashamed and oppressed actors appear. Writer of this novel speaking about two speech of Tunes and Alnehza movement. Leaders of speech have different identification. Tunisian leaders have shown by clearest basics like mentioning but leaders of al-Nehza movement have shown in reticence and by using negative approach against fans of Islam try to prominent their negative acts and this is a way to take legitimacy of this actors. Writer show the actor character in sarcastic way to give Negative value, aversion of actors and emboss his acts and also being far from punishment. Many of different and oppositions like wealth and poverty, village and city, faith and betrayal, government and society, tradition and modernity, male and female, freedom and despotism, hope and hopeless, love and hate shows the position of society in case political, cultural, social, reaction and feasibility. Ideology and thoughts which effect on writer mind that are critical and objection language reflected ion text to emboss or marinate soft in the form of language with language and sociology. In this case structures based n speech have the most basic rule in giving and introducing the aim.

Grotesque, the artistic-literary discourse, makes technical arrangements for the creation of heterogeneous emotional mixtures and the creation of all-encompassing uncertainty, the decipherment of his long-awaited scenes, leading to the technical and content enrichment of the work. The grotesque is at the forefront of the battle with the certainty and it’s the herald of an unfinished world. In the light of the philosophical content of its worldview, it reveals the blunt face of the unattainable world in the form of a simultaneous representation of the two-dimensional contrasts. Bakhtinian grotesque approach focuses on the merry roots of popular literature, in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, It has undeniable benefits by enabling the recognition of the capabilities of the narrative text by objectifying their truth-seeking worldview and anti-dogma libertarianism.The novel “The Game of Forgetting”, by the Moroccan “Mohamed Barrada”, is a center of experimentalism on the arrangements of polyphonic literature, especially the grotesque, and has created significant prototypes in this field. Literary representation of grotesque characteristics the following grotesque manifestations: disharmony, abnormal corporeal centeredness, grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness were examined and analyzed in response to the prevailing spirit of one-sidedness and illusion of omniscience.Mohamed Barrada, a pioneering author whose novels are indebted to Bakhtin's discourse theory, recognizes the carnival-grotesque tradition in his laudatory critiques, He has adapted some of the preparations of grotesque realism to his masterpiece of narrative, and has paved the way for the benefit of the rich but veiled Moroccan popular culture.he engaged in literary modeling under the sub-categories of dialogism, For example, he has attempted to create scences focusing on Grotesque wonders, as well as the philosophical and ideological dimensions considered by Bakhtin, And his creative scenes and images each somehow pursue the goals of grotesque discourse. Barrada is also one of the Arab exprimentalist novelists, and Grotesque's discourse, intersects with the new exprimentalist novel, on the subject of border crossing and transgression, norm-breaking, non-dissemination of consideration, embracing with all possibilities and the rejection of pre-determined categories. The main question of this paper is how grotesque elements and images have been effective in inducing the ideas of truth-seeking and exposing grotesque discourse and adapting the concepts of pluralism and confronting the serious tone of the Domineering official culture. In pursuing the research question, we first identified the theoretical topics of grotesque and then examined the grotesque effects of “The Game of Forgetting” and analyzed the inductive concepts of its examples.

In analyzing grotesque examples, we have followed a descriptive-analytical method based on library data processing, and our focus has been on Bakhtin's grotesque approach, based on the merry roots of popular literature, and in the form of features: inconsistency of dual contrasts, exaggeration, corporeal centeredness, degrading, aggressive language, and absolute anomalies, and by applying the method of technical critique and carefully examining the necessary techniques of a particular literary genre, we have sought the literary representation of grotesque features in the form of grotesque manifestations, including: disharmony, abnormal corporeal centeredness, grotesque atmosphere, erotic abnormalities, profanity and billingsgate, and the theme of madness.

Examining the examples of each of the grotesque features of “The Game of Forgetting”, we find:1. Expressing contradictions in the behavior and movements of the characters or the state of phenomena and being in a situation inconsistent with their position, in Barrada’s work, is a solution to create a heterogeneous and challenging mixture of emotions to discuss the idea of a fluid and possible world by rejecting necessary principles It is undisputedness and completeness.2. In the abnormal corporeal centeredness and extreme attention to the lower parts of the limbs, as the ways of communication with the earth and the material world, the principle of degradation is considered by the author to question the pretense of excellence and sanctity and deliberately highlighted distinctions and replaces the idea of equality and universal anti-class freedom.3. In Barrada’s grotesque atmospheres, the induction of negative, harassing, and anxious emotional states, In addition to creating a heterogeneous emotional duality and laying the groundwork for grotesque indecisiveness and indecision, somehow aims to normalize our view of the second half of life, the death, which is followed by a new birth. Sometimes this is done in the realm of sacred matters, such as the example of the Mushatfah.4. Erotic abnormalities are the culmination of the construction of emotional dichotomies and are tied to killing in order to intensify them. Another purpose - according to the narrator's groundworks in order to to raise the examples - is to set aside considerations in this area and expose it as a real part of life that requires a logical design to find a solution like other phenomena and should be known. That secrecy, as claimed by chaste purposes, is not the solution.5. The vilifications in language of grotesque, by connecting the object to the lower extremities, acquires a destructive-reconstructive nature and so-called carnivalous, and with the help of the capabilities of the inferior culture, unlike the official repressive culture, creates creativity and behind the profanity, the liberating truth of freedom, Has lies. The deliberate choice of blasphemous concepts indicates a deliberate massification of the mass of ideas and images distorts the whole truth considered to be complete.

Thus Barrada, of an exemplary spirit of intolerance and rejection, seeks to recall the excluded elements and to combine heterogeneous elements and that allows another view of a world with a more orderly structure under the concept of relativity. And by projecting any indisputable ideas and dogmatic actions, and believing in the boundaries crossing and coexistence of phenomena, heralds high decisive values such as freedom, happiness, justice, accepting others, rejection of dogmatism and reconcile all the parts of the world again.Keywords: Grotesque, The Game of Forgetting, Degradation, Corporeal Centeredness, Billingsgate.

With the intersection of literature and the environment in the late twentieth century, the way the environment is reflected in literary works in the form of the ecosystem, to the extent that the most prominent issue in the fields of society, politics and literature, became the issue of the environment.Contemporary writers have also had a different chance of reflecting on this issue, and each of them has looked at this issue from their own point of view and has tried to express their concerns in this regard. The special view of the contemporary Jordanian poet Haidar Mahmoud on the environment has made his poetry a mirror of the whole view of nature and the environment Haidar Mahmoud has been inspired by nature and its elements in thought and imagination, content and style. The forthcoming research, considering the special importance of the environment in the contemporary era, with a descriptive-analytical approach, reads and analyzes the poetry collection of Haidar Mahmoud "Al-A'mal Al-Sha'riya" in order to observe the reflection of nature and its elements in the poet's poems. The approach of this research indicates that Haidar Mahmoud's biological and cultural experience has a major impact on the formation of his poetic discourse and the interaction of the emotional and cognitive atmosphere of his poetry. Haidar Mahmoud, in harmony with the changes and concerns of contemporary humanity, has a wide interest in nature and nature has been formed with its main elements and in a continuous relationship with his poetic imaginations and thoughts. In addition, by establishing a stable and fundamental relationship between nature and man, the poet has shown a special literary attitude in the form of some de-familiarization in connection with nature.Haidar Mahmoud has resorted to various methods to draw the audience's attention to the environment and the need to protect it. By asking frequent questions in his poems, he has been able to attract the reader's attention to the text, so much so that the audience for Reaching the answers to those questions follows the text of the poem to the end. The poet has also resorted to referential letters in order to greatly increase the audience's curiosity to follow the text in the audience to a great extent. Another way that Haidar Mahmoud has tried to make the audience try is to use Neda's style in such a way that by addressing some people, the necessity of paying attention to the ecosystem has been reminded.Haidar Mahmoud has also used an array of exaggerations in order to create more sensitivity in his audience. He considers all the previous years as autumn so that in this way he can make the need to pay attention to the ecosystem one of the concerns of the audience. The use of dark and opaque colors and their high frequency in comparison with green, which is the color of blossoming and tan, is one of the poet's tricks in motivating the audience to the need to pay attention to the environment. Haidar Mahmoud has been able to create new concerns about the environment in the audience by taking a psychic view of nature and ecological elements. The use of adverbs such as "whole day" and past participles indicates the constant and continuous invasion of some human beings into the body of nature, which the poet has been able to reflect in a clear way. Haidar Mahmoud has also been able to introduce the earth to the audience as a kind of living thing by using the array of people, to the extent that he has emphasized this in order to achieve such a purpose by using similar letters. Haidar Mahmoud's imagination, thought and poetic style have been greatly influenced by various elements of nature, so much so that his human attitude towards nature is due to the abundance of nature. The elements of nature in Haidar Mahmoud's poetry are found on two types of vital elements (water, soil, sun, sea, atmosphere, river, mud, etc.) and insignificant elements (volcano, desert, rock, etc.) that indicate their pervasiveness. His view is of nature. . In fact, nature is an integral part of Haidar Mahmoud's poetry and this has increased the frequency of nature elements in the poet's poetry to a considerable extent. The use of these elements, which is in line with the poet's specific concern and thought, which is the defense of the environment and the need to encourage the audience to preserve nature and the environment, sometimes gives the text a poetic and romantic aspect to the extent that this imagination has overcome the poetic poetic schemas. ; Hence, access to the poet's central thought is possible only by delving into the text of the poem. A nostalgic look at nature, especially in poems that express the poet's longing for home and exile, can be seen in abundance.

The present study analyzes the mystical poems of Mikhail Nu'ayma. Influenced by familiarity with the philosophical ideas and mysticism of India, Buddhism, Greek, Platonism, and, most importantly, Islamic mysticism, he was able to create valuable works in this field. The most prominent mystical ideas such as the unity of existence, deep connection with nature, mystical death thinking, a manifestation of God's essence in existence, love, etc. are among his poetic themes. In the analysis of the mentioned poems, a new semiotic-semantic approach is considered, which started from Saussure's semiotics and entered the field of narration by GRIMES. Semiotics is a science that studies the signs in a special system and in addition to language can be used in all dimensions and levels of human life. The semantic semantics of discourse is a new method in literary criticism that has received less attention in Arabic literature than other critiques. Semantics is of particular importance in the study and analysis of texts as well as in how meaning is produced and received. This perspective interacts with semiotics, linguistics, discourse analysis, phenomenology, anthropology, cultural studies, and semantics.Selected poems by Mikhail Nu'ayma, with their mystical theme and having the nature of Shushi, action mechanisms, tense space, and many literary potentials, can be studied with a sign-semantic approach. Semantic-semantic analysis of these poems, while explaining discourse processes such as sensory-perceptual, cognitive, emotional, and aesthetic processes, shows what factors have influenced the poet's mind in the process of meaning expression and how discourse has been found its semantic side.The semiotic study of the mystical poems Mikha'il Nu'ayma is done according to several dimensions of discourse, which are:1- Theoretical foundations of discourse, ie language, always faces gaps that the finder fills with his interactive activity. What we read and hear is only one side of the coin, and it is the finder who finds the coin on the other side and participates in the actions of completing the discourse.2- Cognitive dimension of discourse No linguistic production can claim to create or present complete cognition. Cognition occurs when we become aware of something. Cognition has a subject that is in the communication cycle and is transferred from one factor to another. A poem introduces two cognitive types as follows:1- Technical cognition: cognition that has a logical path and has an argumentative aspect and can be called action cognition.2- Mythological recognition: which determines the conditions of our presence or our species in front of a subject. This type of cognition can be called Shushi. It is in this kind of cognition that we get excited, surprised, or impressed. The cognition of a myth is believable rather than knowledge-creating.3- Sensory-perceptual dimension of discourseSensory-perceptual activity is an activity that is rooted in the sensory-perceptual flow and owes its existence to it. The stronger the feeling and perception, the more transformative and dynamic the discourse activity. Because the real meaning is hidden from view during the escape from reality, the non-emotional relationship between the signifier and the signified can not be responsible for semantic productions alone, and the only way to reach meaning is to achieve the sensory-perceptual foundations of the sign of meaning.4- The emotional dimension of discourse in the sense that what regulates the emotional process of discourse is a tense atmosphere. The tense atmosphere engages with the poet's emotion and lays the foundation for the creation of value. Emotions are like perfumes that are spread throughout the speech and affect the atmosphere of discourse with its mild or pungent odor. The more stressful the space, the deeper the emotion, and conversely, the more superficial the tension, the less emotion there is, and the discourse moves toward mechanization. The emotional dimension examines the conditions for the formation and production of the emotional system and how meaning is created through it. In general, the emotional world is a world that is opposed to narrative logic. A world that is no longer based on action but on Susa, in which the first letter is played.Elements such as effective verbs are involved in the emotional process of discourse. Effective verbs are verbs that do not directly have an active role but affect action verbs. These verbs are: to want, to stand, to know, to be able to, to believe.5- The aesthetic dimension of discourseThe beauty of discourse is partly influenced by its discontinuity. If the discourse follows a natural and unobtrusive routine, its beauty is damaged and it becomes a mechanical discourse. There are many linguistic features such as selection, separation, differentiation, etc. that cause prominence and discontinuity.An examination of a selection of poems by Mikhail Nu'ayma, in the form of a semantic-semantic model, shows how meaning is expressed in sensory-perceptual, emotional, and aesthetic processes.The poet shows his emotions by composing poems that refer to the unity of existence, death, an optimistic view of existence, and so on.

The knowledge of semantics deals with meaning and its study, and in general, the purpose of this science is to discover the relationship between word and meaning. Among these, context theories and semantic fields are the main and applied theories in this science; Texture theory changes the meaning of words in different situations and the birth of meaning in a variety of applications. This theory is divided into four types: linguistic, emotional, situational and cultural. The theory of semantic fields also deals with a set of words that are semantically related to each other and are in the category of a general and comprehensive title; Like the word "color" which includes all maps such as: red, blue, white, etc. By analyzing the application of these two theories, it is possible to analyze literary works and gain a deep understanding of the intentions and concepts considered by the authors. The present study intends to analyze the poem "Fi Al-Suq Al-Qadim" by Badr Shakir Al-Sayyab from the perspective of these two theories and through them to reach the semantic layers and concepts hidden in this poem. Therefore, the questions that we will answer in this article are:How can the combination of two theories of context and semantic fields lead to the opening of the meanings hidden in the poem "In the Old Market"?What are the concepts derived from the processing of context theory and semantic fields in the poem?The difference between this article and the research that has been done so far is that this research combines two theories to extract meaning and study the concepts in the poem in order to achieve a comprehensive analysis of the poet's menus and emotions. Examining the words one by one and their relationship with each other in the form of lexical links, as well as analyzing their meanings in different combinations in the sentence, will help to objectify the concepts hidden in the depth of the text.

In this article, an attempt is made to examine the concepts desired by the poet as well as the mechanisms of their reflection through semantic fields and context theory. It is worth mentioning that in the analysis of this poem, the relationship between words is first studied in the framework of semantic field theory, then the relationship between the same words and the reason for their use is discussed through the context and general space of the poem. The concepts that are examined in this article from the perspective of context theory and semantic fields are: the emergence of pervasive grief, hatred of aggression and mental confusion, mental loss and confusion of thought, eagerness to return home, fascination and respect. Homeland, the constant feeling of homesickness.

The findings of the study of the poem "In the Old Market" show that by applying the two theories of context and semantic fields, it is possible to read different literary works and obtain hidden layers of their meanings. Together with each other and by expanding the analysis of a literary text and presenting other aspects of the hidden meanings, these two theories provide a new manifestation of the discovery of the content of literary texts, and this makes It can be considered an approach to enjoy more reading a text. By examining the propositions and words analyzed by semantic contexts and fields, the presence and emergence of new concepts was realized; The use of words with different semantic domains and their classification based on the type of emotion, mood and also based on the language and structure of the text, leads to concepts such as bewilderment, homelessness, incompatibility with groups of people and life in between. They and the occurrence of unlimited grief resulting from these matters, because the words and their use due to the linguistic context of the text, indicate the inflexible personality and the poet's dependence on the former homeland; However, in the midst of all the misery and hardship, an window of enlightenment and hope has appeared, and that is the desire to return to the homeland again, and this is due to the fascination with the motherland and the creation of belonging from the same interest that the thought of returning. It is full of color in its institution; Therefore, from all the above statements, it was concluded that the holes of light and illumination should be sought in the heart of darkness, and the two terms "belonging" and "possibility of resurrection" cause hope to survive in the midst of spiritual hardships and bad conditions. It is external.

The relationship between fiction and cinema has occupied an important place in most books written about cinema. Theoretical ideas and practical perspectives and researches in the fields of convergence and divergence between these two categories have become the basis for many researches and studies around which different opinions and contradictory arguments have emerged.
In fact, today's literature, and especially novels and short stories, has unwittingly embarked on a path that shows a tremendous desire to become a filmmaker, and the works created in the field of fiction are similar to the works that are exemplary. We can clearly examine and determine the highlights in the field of cinema in some countries (Kheiri, 1989: 62). Watching any image or set of images (fixed or moving) makes us think. This thought does not necessarily mean the interpretation of the image or images, but since its source is the material existence of images, it is considered a moment from the horizon of its semantic implications (Ahmadi 1397: 24). It should be said that "thought is reconstructed visually" (Ibid: 25).
The interaction between the novel and the cinema is obvious and clear, and each of them needs the other, the cinema uses the previous narrative and opens new horizons. Cinema can provide important services for fiction that has been dusted off on library shelves and catered to a wide audience with diverse cultures. Matching a novel to a movie is more like renovating a house that we have to demolish from the inside before turning it into a beautiful house again.
In this article, the intertextual study and adaptation of the film "Al-Lis wa Al-Kilab" directed by "Kamal Al-Sheikh" from the novel of the same name by "Najib Mahfouz" has been done. The purpose of this article is to study the transition of "Al-Lass wa Al-Kalab" (1962) from one sign system to another sign system through intertextual study and by resorting to interdisciplinary translation. And study how it is represented in the multidisciplinary structure of cinema.

Because literature and cinema are two languages, which is characterized by "written" literature and cinema by "image", and because we live in an age where everyone wants to know a lot in the shortest possible time, and easily learn, In such circumstances, watching a film made from a literary work may be something of value by reading that work, but in a shorter time and more quickly (Kheiri, 1989: 37). On the other hand, the language of cinema is an all-encompassing language that has a universal aspect and provides the possibility of communication between human beings of any culture and race and in any temporal and spatial situation (Ibid: 37).
Even the simplest images are interpreted differently in different cultures. Reading a picture is a thought-provoking phenomenon. The eye chooses what it wants to see. An image is considered mental or imaginative before it is read physically. We also read the film in this sense. The purpose of visual semiotics is to discover the rules of this reading (Ahmadi 1397: 20).
The connection between semiotics and translation is strengthened by Jacobsen's semiotic approach to translation. In The Linguistic Aspects of Translation, Jacobsen introduces three types of translation: linguistic translation, interlinguistic translation, and inter-sign translation.
Given these views, it must be acknowledged that when we want to see a film adapted from a literary work, we should not consider that work as a model for judging the film; Rather, we must consider it an independent and pristine work composed of pictorial elements, not literary ones; And it was an impression that the filmmaker took from it.
These novels and films seem to be a collection of ideas and thoughts that the reader and the viewer cannot judge their content. Because Najib Mahfouz did not declare through the elements of the novel who is guilty and who is the victim. However, he has tried to suffice with the existence of a window through which decisions can be made about the character of Noor, who, in an attempt to justify his deviation, is claimed to have fallen victim to a society.

What was said was an intertextual study of the similarities and differences between the novel and the film Al-Lass wa Al-Kalab, relying on the inter-sign translation between the language system of the novel and cinema. Transferring the novel from its written text to the visual text, moving away from the rules and some of its characteristics, to pour into another artistic form. A close reading of Najib Mahfouz's novel, written after the 1952 Egyptian revolution, shows that Najib Mahfouz used this experience to critique the political and social situation of his time. Novel art techniques are very similar to cinematic technology and differ in the way they are presented; The novel is in the word, and the cinema is done with the camera. The novel Thieves and Dogs is a novel similar in its dramatic composition to movies; With a hero who tries to change his destiny in a tragic struggle. However, as observed in the present study, this film did not present the novel as it is and changed some of its layouts by using the flashback method, removing and repeating some of the characters. In these two visual and written works, an attempt was made to study the representation of the text of the novel in the sign system of cinema and to provide a reading of the content of the two works and the symbols of apple, music, tableau, Sheikh Junidi and woman as the most important conceptual signs of the two texts.

Tariq Bakari (1988) is an activist in the field of fiction in Morocco, whose main literary activities are social novels, in each of which, social issues and problems are dealt with intelligently. The novel " Al-Qatil al-Ashqar " is one of her outstanding works in which the author has meticulously portrayed the bitter truths of a social environment full of corruption and restraint and the burden of her society.. In this work, she tries to show the influence of two important family environments and the social environment in the formation of her fictional characters, who are in fact a picture of the real characters of the social environment. Obviously, in any story, the "characters" play a major role in recounting the events and their sequence; For this reason, paying attention to the actions and behavior of the characters opens the reader's mind to a door of ideas hidden in the writer's mind. Hence, with the help of the basics of psychology, it is better to understand the hidden and deep layers of the characters and the causes of their behavior; Therefore, one of the most important areas of psychological analysis of characters is the analysis and critique of literary texts, especially fiction and novels. Because, in this approach, based on different theories of psychology and its greats, it is possible to analyze the various and even contradictory behaviors of the characters and people in the story. In this regard, the psychological theory of "interaction behavior analysis" is one of these important and practical theories that can be used to evaluate the psychological aspects of the characters, especially in the story. This theory is often used to analyze and analyze human behavior. This study, for the first time, examines and analyzes the novel " Al-Qatil al-Ashqar " from the perspective of an interdisciplinary study method from the perspective of a coherent psychology. This is important in that the characters and their interactions form a major part of Eric Byrne's theory as well as the atmosphere of the present story. In addition, by examining the present novel based on the views of Eric Byrne, one can understand the psychological dimension of the characters and the reasons for some of their actions and in contrast to other people; Therefore, addressing such issues can be an effective step in understanding the subtleties and details of literary works in general and the present novel in part. The purpose of this article is to pay close attention to the formation of interrelationships and the structural pathology of sensual states (parent, adult, child) in the story of " Al-Qatil al-Ashqar " and to answer the following questions:-According to the theory of "reciprocal behavior" analysis, the behavior of the characters in this story is rooted in which mental and educational states?
- The chain of relations between the characters in the interaction with each other is based on which mental states?
-To what extent is the analysis of "reciprocal behavior" successful in identifying the psychological aspects of the characters in the story?

In the present article ، the descriptive-analytical method and based on the theoretical foundations of "Eric Byrne's analysis of reciprocal behavior" has been studied and analyzed by the novel "The Killer of Ashqar". Research materials of this research are provided by referring to libraries, related dissertations, reputable domestic and foreign journals as well as reputable domestic and foreign websites.

The results show that the characters of the novel " Al-Qatil al-Ashqar " in the form of cases and except in a few cases, are influenced by the dimension of "parent" and therefore, based on mental states, anxiety, conflict and fear. They treat each other. Of course, each of these factors causes itself to change and move from one area to another. In addition, the study of the characters and the analysis of the existential states of "I" in them, as well as the analysis of their mutual behavior, show that the more psychologically close the characters are, the more they are in a complementary relationship with each other. And the farther apart they are, the farther apart they are. In general, it can be said that the author seeks to express and create states of anxiety and tie it to some of the moral anomalies of society, and since in the society in question, most behaviors are not based on rational behavior but on norms. The ruler of the society takes place, therefore, the dominance of the parental spirits over the characters of the story prevails.

Cognitive psychologists believe that the process of cognition in the mind is based on a schema that determines the way the mind works, like a network consisting of awareness and knowledge, and these schemas are the result of our experiences with the outside world, and we express them in language. We transfer ourselves and are considered one of the most important concepts in the science of semantics. These schemas were first proposed by Johnson. According to Johnson's theory, image schemas appear in three main axes: volume, movement and power.
Image schemas, which is the subject of the present research, are actually one of the most important topics in cognitive linguistics. Cognitive psychologists believe that the process of cognition in the mind is based on a schema, and like a network created from the structures of awareness and knowledge, it determines the way the mind works. This schema is the context that needed to give meaning to experience, personal event, situation or linguistic element. Mark Johnson was the first person to use this term in linguistics. He believed that human body movements and their sensory connection with the outside world follow repetitive patterns called visual schemas. in semantics, a word or sentence can be examined from different aspects. This science claims that in analyzing the meaning of these words or sentences, attention should be paid to conceptualization. Conceptual metaphor is also one of the important topics in the science of cognitive semantics, and because of the deep relationship that this theory has with human knowledge and his daily experiences, it has been the focus of linguists. This metaphor actually establishes a connection between two objective and abstract domains, the objective domain is the origin domain, and the abstract domain is the destination domain, which is expressed based on the elements in the origin domain. Nizar Qabbani was born on 30 April 1998, in Damascus; he started writing poetry at the age of 16. He was mostly known for his love poems and women were the main subject of his poems, but due to the defeat and retreat of the Arabs, the poet gave up writing love poems and turned to writing political poems. This research aims to investigate the use of image schemas according to Johnson's theory in three main axes: volume, movement and power in Nizar Qabbani's poems.

The research method in this article is descriptive-analytical, which examines the poet's poems based on Johnson's theory.

Schemas are the result of our experiences with the outside world, which we transfer to our language, the subject of schemas is associated with physical experience, and corporatization has a direct effect on the conceptual structure of humans. In fact, image schemas have a meaningful and materialized structure that results the movements of the human body in three-dimensional space are perceptual interactions and how to deal with objects. Power schemas appear when there is a resistance force and an obstacle against the movement, the abstract plan of dealing with problems and obstacles is to provide states and qualities for phenomena that do not have physical obstacles in one's mind. Whenever there is talk of prohibition, there is talk of the power schema, in these verses there is also the first type of power schema, because the existence of an authoritarian government in the society of that time was considered as a barrier that prevented people from doing many things and continuing their path. He stopped them in such a way that he deprived them of a good night's sleep. Volumetric schemas have been created from the assumption between mental phenomena and human experiences of being in environments such as rooms, beds, etc. this type of schema makes it possible to visualize containers by simulating the placement of objects inside each other. Nizar Qabbani cannot do anything because of the prohibitions that his cruel society has created for him, and as he stated in these verses, (as if I have been in a closed space), here the poet is considered as an object that is placed in a closed space. Movement schema is the result of human experience of his own movement and with other objects. This movement has a starting point called origin and an end point called destination. What is placed between these two points is called the path. Based on this, the movement from point (a) to point (b) must pass through all the points that are on the path from (a) to (b), and another point is that the paths have directions. In addition, each path is associated with the passage of a certain amount of time.

The results obtained in the analysis section indicate that the use of visual schemas helps the audience to understand the meaning and concept of the poem, and in this way they can better understand and understand the meaning of the poet or the author of the text. Nizar Qabbani has written most of his poems in a political manner and in the direction of social justice and freedom from the oppression of oppressors and to remove the homeland from the hands of foreigners, and he emphasizes this issue in many places in his writings. According to the examination of the mentioned examples, it can be clearly seen that a significant amount of schemes is used in Nizar Qabbani's poems and among the schemes created by Johnson (power, volume and movement); the power scheme has the largest share in the poems. Yes, it is of the first type, i.e. a barrier created in the path of movement prevents the continuation of the path, and only one case of the third type is seen in this research. After this scheme, the volumetric scheme and then the movement scheme are placed in the next stages in Nizar's poems.