نرگس انصاری

Investigating and analyzing the cultural components in the Arabic translation of Muhammad Alauddin Mansour from the Persian novel Soraya in Aghma by Ismail Fasih based on the theory of the translator's presence, based on the strategies of defamiliarization and de-estrangement, is the goal of this research by applying the descriptive-analytical method. has taken into account. In this article, the authors have first extracted the cultural elements and then matched them with the Arabic translation of the current novel in order to determine the audience's tendency towards the two strategies proposed by Venoti. The obtained results show that the translator has preserved the cultural values ​​of the source text and due to the dominance of the defamiliarization method over the defamiliarization method in this translation, a fluent and comprehensive text has not been presented because the terms and interpretations without receiving the existing cultural load word for word or it has been transferred with a close equivalent to the source text, which is ultimately caused by the translator not knowing the culture and the source text correctly.

Critical discourse analysis analyzes and explains texts with a systematic approach. One of the basic propositions of critical analysis is to pay attention to the human actors, which is constructed and represented in the context of discourse. " Van Leeuwen", one of the critical discourse theorists, presents a inventory of sociosemantic about the way of representation of social actors, This network consists of two main components: elimination and statement, and each of them has several sub-components. Through them, can understand the ideology, and the hidden intentions of the discourse owners. In the present research, The special discourse of Imam Ali in the sermon of Shaqshaqiya is analyzed based on the descriptive-analytical method from the perspective of Van Leeuwen's model, considering the special importance of this sermon and the importance of the actors participating in this sermon, And as a result of the analysis of discourse-oriented constructions from the total components of Exclusion and Inclusion, it is understood that the Imam does not want to mention the names of people, especially the usurping caliphs and members of the six-member council, they have been represented as active actors to realize their desires in a collective action and reaction through Personalization, or have been mentioned in a Collectivation format such as "Al-Shuri", "Al-Jama'a", "Al-Nazair".The non-use of the element of Honorification indicates that no legitimate right has been given to them in the Imam's discourse. Imam is an actor who has assigned a high frequency of passivation. By examining the difference between the explicit and implicit components, it was found that the discourse of the Imam refers to explicit categories.

With the increasing activity of feminists, literature joined the feminist struggle as well. According to feminist critics, men with a patriarchal view present a different image of woman in novels, and unlike female writers, they emphasize certain roles of woman based on this. The presence of woman in literary works is different and its appearance can be seen in the selection and arrangement of the literary elements of the text. The current research is based on the selection of two contemporary Kuwaiti writers namely Khola Alqazwini with his novel (Motallaqa Men Vaqe Alhayaat) and Saud Alsanausi with his novel (Saq Albamboo). It aims to be descriptive and analytical based on the basics of woman’s studies, showing how the image of woman is represented in the works of two authors with regard to elements such as content, subject, plot and angel of view. Based on the findings of this research, although the authors have used the presence of women in two novels, they are different from each other in terms of being at the center of events. They act differently in terms of positive and negative influence on the course of the events of the story and as a result their presence leads to the pleasant and unpleasant ending of events. Kholas image is a balanced image of a woman who finally grows into a balanced personality and role in life but in Alsanausis novel, each of the woman is involved in their own issues.

In drawing a woman's facewith the spread of feminist ideas in literature, male and female writers represented the issues related to women in their works and used literature to express the realities and shortcomings, draw the readers' attention, and present their solutions and views. In the opinion of feminist critics, the issue of women, being in the text or on the sidelines and the way they are looked at, became a serious issue and considering that the authors use the elements of the story in a special way in order to move the world of the work towards their intended purpose. By examining and analyzing the elements used by the author, the message and purpose of the work can be reached. Male and female writers, according to their gender, experiences and purpose of writing novels, have written stories with a different point of view regarding the position, personality and harms of women in society. The present study, with the view that male and female ideologies cause differences in their works, tries to investigate the difference between male and female views on women's issues; Therefore, two works with a social theme have been selected from the same geographical region so that regardless of the cultural, environmental, historical and political differences, due to sharing the aforementioned conditions, only the discussion of the impact of gender on storytelling and the way of using story elements can be investigated. ; Therefore, two Kuwaiti authors, Khola Al-Qazwini, were selected with the novel "Mutalaqa min Waqi'e al-Hayya" and Saud Al-Sanausi with the novel "Saq Al-Bamboo". Most of the researches in the discussion of women's issues have been written separately, among male or female authors; This research seeks to investigate the representation of the image of women in the literary works of male and female authors by considering the factor of gender in order to clarify the differences caused by the gender of the authors. The review view and other elements will be discussed in another research:

How are the elements of the story used in the two works?The impact of the views and ideologies of the two authors on the elements of the story, what image of women does it represent in these two novels?

Based on the results of this research, the subject of the two novels is the investigation of a social problem that Al-Qazvini has narrated in the scope of "Family" and with a view far from extremes, he depicts the contribution of men and women in the stability of the family for them and at the same time. He considers the role of women to be the main one, but in the wider scope of "society", Sanousi has addressed the poverty and economic well-being of the society, and women are also affected by the conditions as a part of the society. Qazvini, perhaps due to her being a woman and her special view on the important issues of marriage and motherhood, has set her goal to express the importance of the family and couple's relationships and has tried to make her reader understand this important institution with a fair view, but Sanousi's view is beyond and Most of all, it is focused on economic issues and class conflict in the society and has a more police view of the issues, as a result of the author's point of view, in the novel "Mutlaqa Man Waqat Al-Hayya", men and women jointly contribute to creating knots and untying the story. But in "Saq Al-Bamboo", most of the knots are created by the women of the story, and finally, with the action of a man, the knots are untied and the story reaches peace and tranquility. Therefore, the women in the two works have a central presence in the story and influence the course of events. They are different from each other and the presence of women in the novel by the female author leads to a happy ending (the remarriage of Leila and Mustafa together) and in the novel by the male author to an unpleasant ending (Hosieh's despair and disillusionment with his father's family and his return to the Philippines). In order to express their desired concepts, both authors chose their same-sex narrator in the first person to narrate the events and difficulties of the main character's life, but Al-Qazvini also introduces an omniscient narrator in order to express more dimensions of the character's life and emotions. This type of perspective is one of the signs of women's writing and it also provides the context for the active participation of men.Social changes related to the position of women, on the one hand, by reflecting in the content, have created new images of them in literary writings, and on the other hand, the impact of the authors' way of looking at the subject has been reflected in the structure and form of the works. Khola's image is a balanced image of a woman who, while playing the roles of wife and mother, can also be successful in society; in her work, women are at the center of events and are effective in changing their lives and others. But as a result of Sanausi, women are either passive and submissive to the society and the demands of others, or they have emotional and personality crises while having the power to change.

It has been about a decade that the apparently Islamic government of Iraq and Syria known as “ISIS” has played a role in Iraq. By forming a government, ISIS has tried to reconstruct the society and promote its own special discourse. Since the rise of any movement and phenomenon is manifested in literary realism, which represents social truth and life, the effect of ISIS on literary fiction in Iraq, the target point of this movement’s activism, is considerable. The main purpose of this study is to identify the discourse elements of ISIS, define Nodal point, floating signifier, empty signifier, foregrounding and marginalization and determine the articulation of its discourse in “the Bird Tattoo” novel by “Dunya Mikhail” based on analytical-descriptive method and with reference to discourse analysis model by Laclau and Mouffe. This method has an immense capacity to define social-political phenomena. The results show that ISIS political basis which grounds in accepting “self” (foregrounding) and rejecting “other” (marginalizing Christians, Jews and Iraqi Yazidis) marginalizes every person, group or organization which is not in line with its ideology and accuses them of disobeying and rioting. ISIS is an ideological organization based on Takfiri thought and beliefs, and to fight this organization, besides face-to-face war, it’s thought system should be confronted. To realize central signifier of ISIS discourse, which is establishing “Islamic Caliphate”, floating signifier (Jihad, Takfir of “other”, Sharia and Hejira) helps its articulation so that the empty signifier of this discourse (establishing justice and equality, building dignity and dominating the world), which is also its metaphoric and mythicizing aspect, realizes

Stylistics is a form of analysis which is primarily concerned with the field of literature. It approaches a literary text from different aspects, one of which is syntactic analysis. The study of the syntactic structures can shed light on the links between the thoughts. Each person, depending on their mental characteristics and the subject at hand, makes use of a number of different syntactic features. The present feature seeks to shed light on syntactic forms resilience poetry, drawing on the works of three poets: Muin Bseiso, Mohammad al-fitoori, and Adnan al-Saegh. Since this form of poetry mirrors the thoughts and beliefs of the people living in one particular society, it is inevitably realistic, alive, and dynamic. Given the biological and cultural diversity of Arabic-speaking communities, this form of poetry can take many different linguistic and stylistic forms. This very issue calls for further studies and research on the style and language of the poets of resilience poetry. On the one hand, each poet has made use of a different style depending on the extent to which he has been affected by the status quo and socio-political changes of his country and each poet enjoys a style which differentiates him from other poets. Therefore, cultural, social, and political environment of these poets, their position and prominent role in the contemporary Arabic poetry, all of which bear solid themes, have led to their selection. Given the wide variety of syntactic structures, only nominal and verbal structures, tense, and Modality are of concern to the present research. The aim of the present research is to shed light on the aspects to which poets have resorted to achieve the common goal known as reliance poetry. Therefore, the main research problem is to identify and stylistic study of the syntactic structures of these three poets. In this way, the idiosyncratic style is identified along with the type of their interaction with language.The present study follows a descriptive -analytical-statistical approach. Twenty odes from each poet on the theme of homeland were selected. These odes were selected to shed light on how linguistic and stylistic components were made use of to express their thoughts and beliefs and best depict this form of literature.With regards to the results, it was found that Bseiso’s style is characterized by nominal structures with verbal predicates. The political position of this poet as the head of the Palestinian communist party leader. On the other hand, his physical presence in the fights against the Zionist enemies could be considered as factors that could lead to his usage of singular pronouns in nominal structures. al-fitoori has mostly utilized nominal structures and singular pronouns to express his thoughts and feelings in his initial poetical works. This is due to the grim social and political situation of his time when colonialists were looking to destroy their culture and identity. He also consolidates his being and presenxe by using such structures. However, verbal sentences in al-Saegh’s poetry are more frequent compared to Bseiso and al-fitoori's and can be considered as one of his stylistic features. This can be due to the narrative and storytelling aspect of his work. The expression of such concepts inevitably entails the usage of verbal structures.In al-Saegh’s works, tenses are either past or present. He does not seek to escape from the reality by depicting the old world; rather, he levels criticism at the current situation of the society that cannot create a link between its two different worlds. To disentangle from this bipolarity, he creates another world in the past tense. Such a style is an indirect mode of expression to express objections. However, Bseiso and al-fitoori’s works are almost completely set in the present tense.Declarative forms are stylistic features of al-Saegh’s poetry. He makes flashbacks to the past and depicts the scenes in a natural way. Nonetheless, unlike al-Saegh’s poetical works, most of al-fitoori’s odes are a combination of different kinds of verbal modalities in the macro-structure of odes. However, in Bseiso’s works, due to his wrathful spirit, the decisiveness and function of the declarative structure is highly common. He has explicitly expressed bus thoughts using this structure and humiliates and ridicules his enemies by drawing on imperative and interrogative structures. However, imperative structures are less frequent in al-Saegh’s works. Due to his bitterness towards war, he does not try to persuade the soldiers to fight. His obligatory participation in war has played a role in this matter and has led to him using declarative and narrative forms to retell and depicts the status quo of the country. The essay aspect of his sentences, which is mostly reflected in his interrogative modes, is in fact coveted in despair and disappointment.

Criticism of literary works based on archetypal criticism is one of the types of psychological criticism based on the theories of Carl Gustav Jung. He considers the products of the collective unconscious to be examples of archetypes, which appear in cases such as self, shadow, anima, animus, etc. Finds; The manifestation of the mental and psychological aspects of the characters of the play and the place of the inner unconscious in the play of Al-Harr al-Riyahi caused this article with the aim of analyzing the archetypes in this work based on Jung's theories and using the descriptive-analytical method with a new approach to this Ashurai work. to study The archetype of the self, the shadow, the feminine element (anima) and the use of different colors are among the archetypes in this play. Analyzing the play of Al-Harr al-Riyahi based on Jung's theory is one of the ways to penetrate and deeply understand the content of the play, and the knowledge of the unconscious of the characters of the play leads to the recognition of the hidden secrets and deep concepts of this type of works. Among the archetypes used in this play, we can mention the self and the shadow, and the contrast between two mental states in this play represents the contrast between these two archetypes. Har Riahi is a symbol of self-awareness and awakening (self), and Shammar bin Dhi al-Jawshan is a symbol of neglect and submission (shadow) to the self, that is, the opposition of good and evil, which has been the focus of many religions throughout the world. In this play, the archetype of color is also reflected in the characters of the play. The use of black color has been used to express certain concepts such as turbidity and hostility, which the archetype of the shadow is frequently involved with, and the color white evokes the concept of purity and innocence, which is observed in the expression of states related to the archetype of the self, and finally the color Red is an indescribable expression of eternal life and immortality, which finds its meaning in the pure blood of Imam Hussain (peace be upon him).

Among different types of texts for translation, poems are one of the challenging ones given their aesthetic specifications that are in harmony with the meaning. A poem can convey a variety of aspects of meaning to the audience, which is not easy to do in other ways. In addition, creating a balance at all levels of the target text to create an equal and similar text to the original text is not feasible, which in many cases leads to a failure to convey the whole meaning and concept. Literary recreation is an approach that is expected to attract more attention for making a versified version of the poem translation. The present study examines Jami Poetry Collection by Taiyeh ibn Faraz in terms of semantic, superficial, and aesthetic aspects and the transfer of meanings from Arabic into Farsi in a versified form. The study was carried out through a descriptive-analytical method. Taking into account the notable similarities between Jami and Taiyeh ibn Faraz’s poems in terms of words, sounds, and clarity of words, Jami’s work can be considered as a translation loyal to the original text. The poet does not attempt to create literary aspects to convey the idea via an independent work in Farsi. The translator has made himself committed to finishing the verses with words identical to the original text in terms of sound so that in many cases he has finished the sentences with the exact Arabic word. This approach has created ambiguities in the meaning and highlighted the loyalty of the translation to the original text.

Feminist theories were formed as a result of women's protest against their status in society. They have influenced literature and have been reflected in the works of pro-feminist writers. Formation of this movement in the West and its spread have led feminism and its theories to find their way in the East and the Arab and Islamic countries. In line with this movement and in order to spread feminist views, writers such as Nawal El Saadawi from Egypt, Ghada al-Samman and others strongly expressed their opposition regarding women’s status. On the other hand, some writers of the opposite group have tried to consciously stand against the movement that targets chastity and identity of Muslim women and eastern societies and, in the form of literary works, have challenged radical feminist viewpoints on women’s issues based on Islamic views, principles and criteria. Khawla Al-Qazwini, Kuwaiti writer, is a committed Muslim writer who seeks to criticize western feminism according to Islamic principles and using the literary genre of novel written based on the lives of people in the society. In this study, family as the main social component in the work of " Zainab bint Al-Ajaweed" was reviewed and, since woman as the main element of family formation and family is the essential basis of human society and the required factor for social dynamism and stability is stable and proper relationship between spouses and children. Using descriptive-analytical method, the way Radical feminist views are reflected and Islam's opposition to it were analyzed. One of the most important findings of the study is that all characteristics of a powerful woman influenced by true Islamic teachings of the family are portrayed in Zainab’s character and the lives of other female characters who turn away from true Islamic criteria of family, an important and fundamental institution, have been ruined. Families influenced by feminism have lost two of their vital duties: satisfying their sexual needs within a special framework and family as a center of producing offspring and education and training. This is while in Islam man and woman are considered to complement each other and it has been shown that they have equal human status.

The feminine literature is one of most important topics in contemporary literary criticism. following the Women's movement to achieve equal rights with men, “Feminine writing style” was developed as branch of feminist criticism in the mid-20Th century. According to feminists, men are not able to represent women's experiences in their works, so it is necessary to express these experiences in women's language.Using statistical- descriptive and analytical methods, this research has attempted to study the components of feminine writing in Hoda Barakat’s novel "Hajar al-dahk" in two lexical and syntactic layers. This result was obtained by studies: In lexical domain: intensifiers, hedges, repeated words and color terms, in syntactic domain: simple sentences, short sentences, compound sentences, incomplete sentences, and interrogative sentences used as soliloquies are among the components highlighted in the novel. It is worth mentioning that, although war literature demands its own language, this issue could have no significant impact on the type of language of the author, and she has maintained her own specific feminine language. The lost identity of women in society has played a significant role in shaping their particular language and could be the main cause of feminine writing components formation.

Verisimilitude is a significant element of stories and plays, and it depends on the degree of conformity of the work with external objectivity. This correspondence does not represent complete objectivity, which separates literary works from belletristic and historical texts. Verisimilitude means reflecting reality and bringing it back to life in a credible way for the audience. Extra-textual objectivity is a structure that each writer uses in their work based on their approach and literary style. Ashura's drama literature seeks to revive the Karbala incident in the form of a play. Determining the border between objectivity, belletristic, and imagination in these works has been the focus of this research. Many Arabic plays can be found, each dealing with the events of Karbala from a specific angle. Three prominent plays were selected: "Al-Har al-Riyahi" by Iraqi poet and writer Abd al-Razzaq Abd al-Wahed, "Al-Hussein Tha'era" by Egyptian author Abdul Rahman Sharqawi, and "Al-Hussein" by Syrian writer Walid Fazel. This study investigates the conformity of these three works of art with the objectivity of the history of Karbala using analytical-descriptive methods. Based on some findings from this research, authors have used various tools such as factual and historical characters, narration of historical events, use of logical and natural plots to strengthen the truthfulness of their works. However, Abdul Wahed's work has more tools than others. Shargawi's work is closer to narrating the history of Karbala than other two works. The aspect of religious realism can be found in special events in "Al-Hossein's" play.

Criticism of literary works based on archetypal criticism is one of the types of psychological criticism based on the theories of Carl Gustav Jung. He considers the products of the collective unconscious to be examples of archetypes, which appear in cases such as self, shadow, anima, animus, etc. Finds; The manifestation of the mental and psychological aspects of the characters of the play and the place of the inner unconscious in the play of Al-Harr al-Riyahi caused this article with the aim of analyzing the archetypes in this work based on Jung's theories and using the descriptive-analytical method with a new approach to this Ashurai work. to study The archetype of the self, the shadow, the feminine element (anima) and the use of different colors are among the archetypes in this play. Analyzing the play of Al-Harr al-Riyahi based on Jung's theory is one of the ways to penetrate and deeply understand the content of the play, and the knowledge of the unconscious of the characters of the play leads to the recognition of the hidden secrets and deep concepts of this type of works. Among the archetypes used in this play, we can mention the self and the shadow, and the contrast between two mental states in this play represents the contrast between these two archetypes. Har Riahi is a symbol of self-awareness and awakening (self), and Shammar bin Dhi al-Jawshan is a symbol of neglect and submission (shadow) to the self, that is, the opposition of good and evil, which has been the focus of many religions throughout the world. In this play, the archetype of color is also reflected in the characters of the play. The use of black color has been used to express certain concepts such as turbidity and hostility, which the archetype of the shadow is frequently involved with, and the color white evokes the concept of purity and innocence, which is observed in the expression of states related to the archetype of the self, and finally the color Red is an indescribable expression of eternal life and immortality, which finds its meaning in the pure blood of Imam Hussain (peace be upon him).

Defamiliarization, which is making unfamiliar and alienating what is familiar, is one of the pillars of the Russian formalism school. This term is one of the pillars of aesthetics and prominence of any literary work. The relationship of defamiliarization with the topic (the problem of words contrary to the requirement of appearance) to express the benefit of the Holy Quran from linguistic possibilities and aesthetic methods of creation is the goal that this research tries to use descriptive-analytical method and by mentioning examples of ten components. the middle of the Holy Qur'an to achieve it. The importance of examining this issue in the Holy Quran is that it makes the prominence and beauty of this divine book, which is approved by everyone, even clearer. Defamiliarization arising from norm-avoidance can be seen in the Holy Qur'an. Most of the existing norm avoidance is related to the problem of words contrary to the requirements of the appearance, especially alfatah and heart, syntactic norm avoidance. This issue has been done in the Holy Quran with the aim of further implying the divine purpose and delighting the audience.

The cohesion of poetic elements is one of the factors contributing to the organic unity of odes. Poetic cohesion is the result of various elements, especially coordinating conjunctions. In other words, the literariness of a text is the result of syntactic coordination. Since the early 20th century and with the advent of modernist literary movements in the Arab world, the subject of cohesion and coherence in odes has turned into a hot topic. In this regard, the structure of modern poetry is set free from the strict systematism of traditional poems, which was held by the poets of the 1950s as an important element of poetry. In other words, since a poetic context is made up of various phonetic, syntactic, rhetorical, and semantic structures, it is of necessity to find a way to connect these distinct structures. In other words, these structures are so distinct that, in order to capture the nuances involved in each area, each has turned into a distinct field of study. Therefore, the present study focuses on coordinating conjunctions, which are related to the syntactic layer. Furthermore, the existing cohesion is studied in larger linguistic units, i.e., sentences, and the type and usage of these links are analyzed by considering coordinating conjunctions and syntactic parallelism, structures lacking coordinating conjunctions and cause-and-effect relations. To this end, twenty odes by three resistance poets (Muin Bseiso, Muhammad al- Fitoori, and Adnan al-Saegh) are studied to answer the research questions a) What is the relationship between the context and the poetic components of the selected poems? and b) What are the most important elements in achieving syntactic cohesion in the works of these three poets?
The present research is a descriptive-analytical-comparative one. It seeks to study the syntactic cohesion and its types in twenty odes written by Bseiso, al- Fitoori, and al-Saegh.
Unlike Bseiso’s poems, referral compounds in al-Fitoori’s poems are used frequently. Such structures are tangible and undeniable ones which originate from the stagnation, dictatorship and colonialism existing in the society. The poem, consequently, shows this feeling and approach perfectly well by making use of coordinating conjunctions to link different sentences in the poem. This feature is indicative of the stagnation and dullness and removes the liveliness and speed of the words. On the other hand, Bseiso has combative and fierce spirits, and he rushes to oust the enemies and urges people to show up in battlefields. This makes his poems devoid of referral compounds. Al-Saegh’s poems are structurally different and arranged in a pleasing manner and, therefore, enjoy a high level of cohesion. Each sentence can be considered as a macro-structure in which several sentences are embedded and each macro-structure is repeated in the next structure with exactly the same coordination; the ode of ‘Maqate’’ can be a case in point. Unlike the other two poets, al-Fitoori makes extensive use of ‘uslub al-shart’ (conditionals) to express his and his people’s degree of resistance. This structure, in addition to coordination and musicality, sheds light on the poet’s thought in terms of meaning.
Studying the poems written by the poets of resistance yields the following a). Al-Fitoori has made use of coordination to link his sentences where a mystical feeling was dominant and no conjunctions were used. This is as if there is a feeling of divine intoxication and surprise to link the sentences together with no need for coordinating conjunctions.

b) Bseiso’s poetry, compared to al-Fitoori’s, makes use of these elements much less frequently in connecting the sentences. Bseiso’s wrath and belligerence have caused him to write sentence without any kind of link. In other words, his rush for ousting the enemies and encouraging people is a factor that has led to this feature in his poetry.
c) Al-Saegh’s poetry makes use of repetitive coordinations to link the sentences semantically and contextually. The different structure of his poem resembles more that of prose, and semantic relations are observed quite frequently. Furthermore, unlike Bseiso and al-Saegh, al-Fitoori makes extensive use of conditionals and the poet, quite vividly, depicts the toleration of torture, pain, and difficulty on the way to liberate one’s home country and ousting foreign colonialists. Furthermore, through cause-and-effect relationships, he actually warns his enemies against his seriousness and irreconcilability. However, such a cause-and-effect relationship can be achieved through a literary and emotional look which makes the audience ponder and delve into the details.

An Islamic play is a play that it's structure is presented in a special framework of the play؛ It's difference with other plays is in it's islamic perspective. The play Al-Hurr Al-Riyahi by Abdul Wahed Abdurrazzaq is included in the islamic play which is written with the focus on the events of Karbala, focusing on the character of Hurr Riyahi. Abdurrazzaq, through the character of Hurr and by recounting the event of Karbala, has linked it to the situation in Iraq at the time. Examine the structure of this play and the degree of it's adaptation to the reality of Ashura in drawing the course of events and discover the author's style caused to analyzed this work with descriptive and library analytical method and based on the structure of Gustav Freytag german theorist. The five principles of Freytag were derived from Aristotle's theories and includes: Introduction، Rising action ،Climax، Falling action and result. An analysis of the play shows that the author has departed from the conventional and classical principles of playwriting and has turned to postmodern theater and Bertolt Brecht؛ because Abdurrazzaq Abdul Wahed, knows the dimensions of the Karbala incident beyond that It can be expressed with a classic and conventional narrative. So in his play did not adhere to the conventional principles of playwriting and with his work Offers a suggestion in the field of Ashura playwriting.

Regarding “Certain Iranian Asset” case, International Court of Justice, faced with five preliminary objections with respect to the jurisdiction of ICJ and admissibility of the case which were raised by Respondent. As the second preliminary objection, the United States requested the Court to dismiss as outside the Court’s jurisdiction all claims, brought under the sovereign immunity as a customary international law. Iran relied on Article IV (2), Article X (1) and Article XI (4) of Treaty of Amity to support its claim. However ICJ upheld the second objection of USA based on its interpretation in accordance with the Treaty’s object and purpose and also its finding in “Immunities and Criminal Proceedings Case” and “Oil Platforms Case”. In contrary to ICJ’s opinion, a logic relationship can be seen between the object and the purpose of Treaty and the provisions which have been mentioned by Iran. Such conclusion could be reached by analogy and deductive method as well as analysis of separate opinion of judges.

For poetry Diwan of the Arabs, poetry for melodies and songs; Contemporary poets treat the pain of society with pen drugs, and every person is endowed with the power of reason and imagination, he will taste music for poetry according to his literary tastes. Tastes may differ, but the person who is the slightest gift of taste, enjoys the aesthetic of the contemporary Arabic poem.The rhythm is known as the loud voice that soars the poet’s idea in the sky of reality and imagination. And the rhythm serves the meanings and gives it the special meaning and broad horizons, as the word does not correspond to the meaning. The limitless meanings abound. They call it The meaning of meaning. This research deals with the phenomenon of rhythm and its types, with a focus on the musicality of the poet of the contemporary Omani poet, Saeed Al-Saqlawy, and its relationship to the meaning of speech. The relationship between music and poetry is an organic one, for poetry in its artistic form consists of several acts that represent musical units that give the poem a captivating and influential tone; And when the poem loses the magic of this melody, that delicate artistic thread that draws the recipient to hear the poetry is cut off.The rhythm of poetry is like the chirping of the poet and the ringing of his thoughts, which rings the bell of contemplation and contemplation in the mind of the recipient and comes to his mind what he wants the poet to share with him the emotions and feelings. The external and internal types of falling into the speech process in steps; They are the psychological events and mental processes that take place in the mind of the poet and then, spread feelings and emotions on the recipient and reveal the facts to him. The recipient tastes the rhythm in the poem and perceives it with the meanings and there may be some of the meanings hidden in contemporary poetic poems that only the poet himself sometimes realizes. But what is not fully comprehended, not all is left. The external rhythm emanates from the linguistic sounds and the venerable seas, and the inner rhythm originates from the ideas contained in poetry. And both of them complement the meanings and connotations that he would not taste the aesthetics of poetry without him. This article wants to search for the semantic structure and the rhythmic structure and the relationship between them in the Divan “The Canticle of Water”. He has 24 poems that include concepts such as homeland, patriotism, martyrdom, awakening, and the history and civilization of the Arab homeland.Rhythm is the cornerstone of every contemporary poet's poetry. Slawi chants poetry with rhythm and music excerpts in his collection entitled: “The Water Song”. Through this article, we want to get to the quality of using rhythm and its types in his office. This office was elected because it is full of external, internal, moral, and even lateral rhythms, and the recipient's hand is open to taking unlimited concepts in it.The questions we want answered are:How did the Omani poet Saeed Al-Saklawy employ the inner rhythm of all kinds in the Divan "The Canticle of Water"?How is it possible to see the relationships between the rhythms and their connection to the meanings used?The poet Al-Saqlawi employed several performances of Hebron weights. It seems that the weights used have a special feature that they seek in situations that are enthusiastic, emotional and imaginative. The poet is free to choose Bahour according to his aims, energies and poems ٱ modern poems are distinguished by not being restricted to a single weight and diversity. In his inner rhythm, he employs salqawi to the rhythm of in tandem with the harmony of ideas somewhat. We see it moving from one topic to another, from one idea to another. He is optimistic that conditions in Arab countries in particular, and the Islamic world in general, improve after they were subjected to war, destruction and devastation. These topics appear in its use of the rhythm. It seems to apply these meanings with the support of the rhythms such as the rhythm of repetition, the rhythm of parallels, the rhythm of intonation, the rhythm of the accent, the rhythm of photography, the rhythm of silence.The authoritative plan and approach used in this article is descriptive-analytical, which relied on library sources.

MoSe2 two-dimensional nanostructure is a suitable candidate for optoelectronic applications due to its unique properties such as high absorption and direct band gap. One way to increase the absorption in such a monolayer is to place it as a defect in one-dimensional photonic crystal (PC). The location of defect in the PC can form either symmetrical or asymmetric PC, which affects the number and frequency of defect modes. In this paper, in order to achieve high absorption and adjustability of the defect mode wavelength, the effect of defect layer thickness, PC layers thickness, and periodicity are investigated in both symmetric and asymmetric PCs. In the optimal design, we have achieved a perfect absorption in the asymmetric structures with one defect mode in the middle photonic band gap and in asymmetric PCs with two defect modes the absorption was found to be 70%~80% On both sides photonic band gap. By changing the thickness of the defect layer and the wavelength of the design, the wavelength of the defect mode can be adjusted, which is useful for application in detectors and absorbent filters.

The divine word as a text that has been presented to its audience in the process of conveying the meaning takes diverse forms depending on situational and textual contexts as well as the addressees. The condition of the receiver of messages in Madani surahs is different from that of Makki surahs. A difference that has made distinction in meanings. That said, it is possible to scientifically illuminate this distinction using new linguistic approaches. According to Jakobson’s communication theory, when the concentration of the discourse is on each one of its elements, it finds a different function. The present study aimed at comprehending the themes of ayahs from an addressing viewpoint. Considering the language functions based on Jakobson's model and with the aim of opening up a new horizon for the reception and comprehension of the Holy Qur’an and the distinction between Makki and Madani surahs, the question of the present descriptive-analytical article concerned the effect of difference in the audience and context on language functions and addressing direction. Therefore, the difference in the audience and receiver and their impact on the linguistic function of message were examined. To this end, surahs Maryam and Ṭā ḥā as Makki surahs with a clear mutual interaction in their text, and surahs Al-Nur and Al-Ahzab as Madani surahs were purposefully selected as the corpus of the study and for the explication of different types of address in a comparative manner. Given the instructional and informational feature of the persuasive function of the language, the application of this function as compared with other ones is prevalent in the Holy Qur’an particularly in Madani ayahs. The message being directed towards the subject with the characteristic of verifiability and falsifiability of the truth of the expressions, that is, the referential function of language, was another widely used role among the ayahs in question. Much of the address in these surahs are indirect sermons for the servants, and God conveys the message to all the audience through the words of His prophets.

The communicative theory is one of the subjects discussed in the language pragmatics that language and its applied methods in the communication process are investigated. In this process, there are six-part elements, of which the two elements, the addresser or the composer, as well as the addressee, are key elements, without which communication is meaningless. The addresser uses common codes between himself/herself and the addressee to transpose a message about something beyond the context and through a specific communicative circuit to the addressee. A message whose function in the context is measured according to the intention of the user of the language, namely the addresser. In Jakobson's view, the role and function of language will be different if the message, as the center of gravity, is addressed to each of the elements involved in the communication process. By adapting this diagram to Nahj al-Balaghah's letters, in addition to determining the linguistic functions in different contexts, the present study tries to investigate the effect of the addresser's intention and the type of message addressee on the language function. For this purpose, four letters that were sent in different contextual situations, and addressed to different receivers were selected by descriptive-analytical and statistical methods compared to their linguistic functions. The result of this comparison signifies although specifying linguistic functions in context clarifies the addresser of the message, it does not present a thorough analysis of the text.

The Historical event of Ashürã is recorded in the history through a variety of mediums and languages. The historical narrations in the form of scientific sources and what we know as Maghtil, are the most reliable sources that they aimed at transferring the external and objective instances of an event through illustrating the truth. Given the realistic approach of such works, they can be used as reference as they only narrate history with emphasis on honesty and trustfulness. On the other hand, the nature of the event stimulates a mixture of reason, emotion, and humanistic feelings. That is, when a literary language is used to affect the reader, the man of literature transfers the event through a filter of emotion and imagination to win the attention of reader. Depending on the extent of using this feature, the work might diverge from the reality and emphasize more on imaginary and romantic aspects. Given the importance of narrating historical event, the extent to which such narration remains loyal to the truth, and the importance of a heart touching narration of historical events mixed with emotions. The present study is an attempt to examine two renowned Maghtil in Farsi and Arabic (Maghtil Alhouf by Ibn Tavous and Rouzat-o-Alshohadã by Vaez Kashefi) following a descriptive-analytical approach. The use of literary or ordinary languages and romantic or realistic specifications were examined in particular. The findings showed that the realistic aspect in Alhouf is more evident so that it overshadows the imaginary aspect of the work. Still, the author never neglects the artistic and emotional aspects of his work. On the other hand, Rouzat-o-Alshohadã has a stronger artistic aspect so that the realistic aspects never leave the shadow of the artistic and emotional touch of the author.

Poetry of Resistance is considered to be a meaning-based poetry with its referential function being superior to its poetic and literary functions due to its external references. In this type of literature, the challenge between commitment and beauty places the author in an in-between space so as to have varied choices in his or her poetic language. This is a fluctuation between commitment to reality and realism and the desire to write a beautiful poem. Linguistic and semiotic analyses of a literary work and the exploration of its relation to meaning can reveal the fluctuation of the author.. Riffaterre’s semiotic approach, while emphasizing the message and the reader as well as the precise reading which affects the language, is a good way of illustrating this challenge. Through a descriptive-analytical approach, this paper seeks to analyze and criticize the ode Samedon written by the resistance poet Abdul Quddus al-Ameli after the 33-day war in Lebanon. As the findings show, Ameli's poem depicts the paradoxical encounter between openness and ambiguity. Parts of the text mimic the external reality and, therefore, have benefited less from literature. These parts aim to explore the meaning of the parts that have layered structures and hidden implications. The implications are identified only through careful linguistic analysis.

The study of the vocabulary of poetry is one of the approaches used to evaluate a poetic style. Along with other layers of stylistics, namely syntax, rhetoric, and phonetics, it plays an essential role in analyzing the poets’ way of expressing themselves, and in studying a historical era or literary school. Since words form the structure of language, the study of the diction of literary texts is essential in understanding poetic style and language. Therefore, words should be considered the first tool that embodies poetic emotions and bring the poet into contact with the reader. Due to the importance of this linguistic element in literature, the present study tries to examine the linguistic layers in the poetry collection Sama fi Khozeh (Sky in a Helmet) by Adnan al-Sayegh, a contemporary Iraqi poet known for his resistance literature. The article tries to discover the connection of this layer with the content and form of the text, and the relationship of words with each other, and to determine the function of frequent poetic words. Based on the analysis conducted in this research, the words of this poetry collection have been selected in an entirely purposeful manner so that they correspond with the poet’s surroundings, and this is reflected in the title of the collection, too. The diction shows the contradiction of the spiritual (internal) and material (external) worlds through the centrality of the keywords “sky” and “helmet.” This has created a dialectic of endlessness and limitation. On the other hand, new lexical combinations have caused individuality and stylistic emphasis, and have given a different structure and a distinct style to the poems. Moreover, the concrete forms of words have been juxtaposed with their auditory and visual forms in an artistic manner.

The two-dimensional, transition metals dichalcogenides (TMDC) layers with straight band gaps have created a new horizon in the use of these materials in photonics and electroptics. In this paper, the effects of the thin layer and the effects of the spacer have been investigated. The optical properties of structures are investigated by the transfer matrix method, TMM, in the visible wavelength region. By looking at the optical features of the structure with spacer the absorption increases. We have been able to achieve an absorption above 99% with thickness of plasmonic layer 75 nm and thickness of spacer 33 nm for MoS2 and 40 nm for MoSe2.

The evaluation of translation is, in fact, the quality assessment of translation based on the precise and scientific approaches of linguistics. The review of translation based on Julian House’s pattern of evaluation is one of the most important topics that has been studied by researchers. Based on this pattern, there are two types of explicit and hidden translations. In the explicit translation, translators consciously choose linguistic equivalents, while the hidden translation is based on linguistic norms of the destination text. With the aim of investigating the role of source and destination texts by using a descriptive-analytical method, the authors seek to analyze the type of overt and covert translation and study the quality of the translated texts of the sermon Ashbah. As the translation of Allameh Jafari and Shahidi cares about not only accuracy, fidelity, and the matching of every Arabic vocabulary with their Persian equivalents, but also the literary aspect of Nahj al-Balaghah and its translation into Persian, the quality of the two interpreters’ translation of the sermon Ashbah, Amiralmomenin’s phantoms, is investigated. The findings show that in terms of translation quality, translators have preserved the quality of the original text. The translation genre and the language role have been preserved by translators. According to the provision of two types of explicit and covert translations and the investigation of the explicit and hidden errors presented by House, both translators have made a clear translation of the text but in some cases, they have made changes that are more apparent in Allameh Shahidi's translation than Allameh Jafari's.