مقالات رزومه عبدالباسط عرب یوسف آبادی

Macro metaphors are a kind of conceptual metaphor that is not present in the structure of the text; Rather, it appears in the whole text in a conceptual form and forms the mental structure of the text. the macro metaphors give coherence to all the micro metaphors used in the text and gather them around a fixed axis. the widespread use of machine and machine learning algorithms in football and their increasing influence on player selection and training design made the connection between football and machine in language more visible, and this caused the machine to appear in the conceptualization process of many metaphors related to football. In this research, with an emphasis on the descriptive-analytical method, an attempt is made to investigate the mechanism of the macro metaphor "football as a machine" in the Arabic language, and to extract and analyze the methods of mapping the concepts of the source domain to the destination domain in this macro metaphor. for this reason, the reports and oral and written words of football analysts were examined and the most important propositions that somehow express the relationship between football and the car were collected and their metaphors were extracted. The results show that in the metaphorical chain of football language, a significant part of what is related to the world of football has a mechanical nature. also, in this chain, the conceptual metaphor "football as a machine" was recognized as the most prominent conceptual metaphor

Despite the fact that the children's story (fantacies) is in contradiction with the real world, it comprises surreal characters and events. Further, it leaves a deep impression on the child's mind and spirit and prepares him to face the stages of growth and socialize with others. Such a critical look at children's stories is included in the cognitive function of children's literature. Since cognitive development plays a predominant role in the sequence and progress of other child development processes; Therefore, it is critical to pay attention to the appropriateness of the cognitive function for each age group in children's story writing. In this research, with reference to the descriptive-analytical method and with the aim of investigating the cognitive function of fantasy in promoting children's creativity, the processes of animating, allegorical symbolization, self-concept, self-esteem and self-efficacy in the stories of Adil Ghadban and Mohammad Reza Yousefi are comparatively investigated. The results indicate that the stories of two authors play a pivotal role in child's growth processes and strengthen his personal and social identity. Also, the use of characters with high self-confidence evokes a safe and secure hero in the child's mind, which increases his self-confidence. The characters of the fantasy stories of both authors instill the aspects of creativity to the audience/child with two important cognitive features of self-esteem and self-efficacy. 
The literary genre of fantasy, being prevalent in fiction, has successfully embedded itself within the realm of literature by virtue of writers' imaginative prowess and plays an egregiously pivotal role in children's narratives. An inherent principle of fantasy involves transcending established laws of existence and consequently, engendering the formulation of novel rules and patterns. Within this literary genre, an intriguing play unfolds using conventional language, space, and events. These elements undergo a transformative recreation, intending to evoke a sense of wonder. Beyond the provision of joy, fantasy endeavors to transport the child into extraordinary realms, fostering self-awareness and introspection. Simultaneously, it works to enhance the child's sense of empathy.
In the current study, relying on the descriptive-analytical method and with the aim of investigating the cognitive function of fantasy in promoting children's creativity, the processes of animating, allegorical symbolization, self-concept, self-esteem, and self-efficacy in the stories of Adil Ghadban and Mohammad Reza Yousefi are comparatively investigated. The results indicate that the stories of two authors carry paramount roles in the child's growth processes and strengthen his personal and social identity. Also, the use of characters with high self-confidence evokes a safe and secure hero in the child's mind, which increases his self-confidence. The characters of the fantasy stories of both authors instill the aspects of creativity to the audience/child with two important cognitive features of self-esteem and self-efficacy
As provided by this investigation, an exploration of data was undertaken through the lens of cognitive processes such as personification, metaphorical symbolism, self-concept, self-esteem development, and self-efficacy. To scrutinize and interpret the gathered data, components associated with text configuration, as well as structural and conceptual figures of speech, were chosen with a foundation in the cognitive functions of fantasy. Subsequently, the data has undergone a comprehensive analysis aligned with these chosen parameters.
The characters within the fantasy narratives crafted by both authors predominantly stimulate the creative facets of the reader or child, emphasizing two crucial cognitive dimensions: self-esteem and self-efficacy. Adel Al-Ghadban employs traditional fantasies, incorporating myths, magic, and fairies, to purify the child's mind from negative experiences and memories. Through these fantastical elements, Al-Ghadban endeavors to mold the child's sense of identity and foster their imaginative capabilities. In contrast, Yousefi utilizes his own writing prowess and creativity to introduce personification and metaphorical symbolism, enabling a child to similarly envision these elements within their realm of play. The incorporation of confident and heroic characters in narratives instills a feeling of safe and secure heroism within the minds of children, fostering their self-confidence—an aspect that both authors have diligently emphasized in their stories. Additionally, both authors, conscientiously aligning with psychological principles and cognitive functions of fantasy, have cultivated children's belief in their abilities. Through their narratives, they have depicted a positive, independent, and confident identity, thereby expediting the development of children's self-concept. The juxtaposition of good and evil, as well as ugliness and beauty in the stories of both authors, imparts a robust self-image to the child, influencing them to choose goodness and beauty.
The narratives crafted by both authors are tailored to align with the cognitive developmental stages of children within specific age groups. Both writers have underscored the significance of fantasy in nurturing children's creativity. Notably, Mohammad Reza Yousefi has undertaken this endeavor by introducing diverse and innovative forms of fantasy, whereas Al-Ghadban has chosen to emphasize it through the lens of classical and mythological fantasy. It is pertinent to highlight that children in age groups "B" and "C" foster creativity by engaging with myths and legends, an aspect that Adel Al-Ghadban has given more prominence to in comparison to Yousefi.

Today, due to the widespread cultural interactions and movements, the element of place has lost its static nature, as it had ancient stories, and has become a dynamic element in terms of meaning and implication. This dynamicity is more visible in novels about immigration since the cultural confrontation and, consequently, the multiplicity of meanings is provided in these types of novels more than others. "Love in Exile", the famous novel of the Egyptian storyteller, Bahaa Taher, is one of the narrative works in which place plays an important role in the reader's perception of the overall plot of the story. Intercultural communication in this work has caused the place to become a cultural code with deep and complex implications. The present study attempts to discover the implications of place in the above-mentioned work by relying on the descriptive-analytical method and by emphasizing the achievements of cultural studies. The findings indicate that, in this novel, an international conference is depicted as a central place from which the concept of multiculturalism is inferred and all events are valued accordingly. Also, based on cultural relations, each place has a meaning the understanding of which can be fulfilled through categories such as ideological identity and intellectual and cultural patterns of characters.

From cognitive linguistics' point of view, the conceptual system according to which man thinks and acts has a metaphorical nature. Therefore, metaphor is an important part of colloquial language and can be one of the ways to understand the psychological structure of people in society and their mental concepts. Consequently, technology-derived metaphor can also express the psychological structure of language speakers and their mental concepts about how humans encounter technology and the way these two interact with each other. Enjoying the descriptive-analytical method, this study has investigated the anthropological role of the conceptual metaphor of "man is technology" in the colloquial Arabic. Studies show that, in the colloquial Arabic, there is a cognitive-ideal model regarding the relationship between man and technology, in which the source territory includes elements such as "car", "cell phone", "computer", "internet" and "industry" and "Man", as the target territory, is the center of gravity in this cognitive model. The conceptual metaphor of "man is technology" with all its components is subconsciously evoked in the colloquial Arabic which creates a metaphorical mapping between the source and target territories. Based on this mapping, abstract concepts are expressed in a simple and tangible language and they somehow convey the inability of man against technology and the domination of technology over his present and future life.

Consistency is the sum of grammatical premises that make the text a sequence of sentences and paragraphs. It surrounds the text, giving it a sense of sequence and texture. The various linguistic phenomena within it aim to enhance the text, fitting it together and ensuring its continuity. Consistency, through its formal and semantic means, allows us to approach the text from a contemporary linguistic perspective.Based on this perspective, this study observes several coherence tools in the poem "Saly Al-Ramah Al-Awali" by poet Safi Al-Din Al-Hilli (1278-1349) to uncover the mechanisms of textual references, deletion, connection, consistency, repetition, and conjunction. The study concludes that this text has a coherent framework and its parts are connected in a continuous and sequential manner. The mechanisms of textual harmony are clearly visible in the poem.The text contains an abundance of textual coherence tools, accounting for 51% of all coherence mechanisms. This percentage is attributed to the interrelationship between the structures of the poem "Sali Al-Ramah Al-Awali," where grammatical linkage and semantic consistency overlap and interweave. The textual structure reveals a diversity of textual consistency mechanisms, with referral accounting for 30% and repetition also accounting for 30%.

Imagination in literary texts, which means representations of real or illusory objects and people allows the visualization of invisible dimensions of the universe. Since imagination is the core of the thinking of fictional texts, the horror genre, because it s a combination of fear of the unknown and nightmares and creating a sense of hatred and horror in the reader It often has a complex and systematic network of imagination., The story series "Alan Afham" by Ahmad Khalid Tawfiq, the originator of the horror genre in Arabic fiction It is a clear example of the function of imagination and its structures in horror stories. In the present study, an attempt is made by relying on a descriptive-analytical method and by referring to the structures of Gilbert-era's system of imagination, the dynamic dimensions of imagination can be discovered in describing the events and terrifying scenes of the "Alan Afham" series Shows the final impression the time and horror of its passage is the most important factor in the horror of the events of this story series This creates a kind of homogeneity between the images of the fall, the darkness and the animal, which Increases the reader's sense of fear and, consequently, his attraction to the continuation of the "Alan Afham" stories The issue that has been able to introduce Ahmad Khalid Tawfiq to the Arab world as an innovative and successful writer of the horror genre.

Today, psychological criticism is one of the important approaches of literary criticism. Psychological criticism is one of the important approaches in literary criticism. Karen Horney was one of Freud's students who despite being influenced by him, critiqued some of his theories. In "fundamental conflict" theory, Horney stated that mental illnesses are the consequence of violent and abnormal relationships of people with children. Therefore, according to Horne's theory, childhood is the most influential factor in the formation of personality types (the need for affection and approval; the need for social recognition, etc.), which has been widely used in literary analyses. In Naguib Mahfouz’s Palace Walk many characters suffer from internal conflicts which can by analyzed based on Horney’s ideas. Drawing on a descriptive-analytical framework, this study attempts to examine different psychological dimensions of one of the two main characters in Palace Walk. The study finds that Amina is an exemplar of affection-seeking personality as she bursts with submission and low self-confidence.

In a world that is constantly growing and evolving, entrepreneurship plays an important role in the development of societies. This category is one of the emphasized axes in folk culture and oral literature. A proverb is an outstanding example of folk culture that refers to various phenomena of society with a short and melodious structure derived from a folk story. In some Arabic proverbs, direct or indirect reference is made to the most important entrepreneurial indicators such as hard work, wisdom, responsibility, individualism, opportunism and income generation, which adds to the importance of research on this issue. In the present research, an attempt is made to examine the entrepreneurship category in 200 selected Arabic proverbs by relying on the descriptive-analytical method and to extract their most important directions by emphasizing the foundations of rhetoric. The results show that the high frequency of hard work (32%) and wisdom (23%) in the discussed proverbs indicates the importance of work and effort combined with wisdom and reason among Arabs. From the rhetorical point of view, the high frequency of descriptive orientation (47%) and motivational orientation (34%) shows the development of the Arab society in explaining the working conditions to the audience and motivating and encouraging them to make continuous efforts and avoid laziness.

In recent years, statistical analysis is used as a tool to evaluate the independent characteristics of texts. Keith Johnson, one of the theorists of statistical stylistics, believes that the style of that text can be obtained by calculating the ratio of the vocabulary of each text. In translation studies, this model can also be used to check the vocabulary diversity of the target text and compare it with the source text. The Inside Out (2015) is the winner of the Oscar award for the best animation, which was well received due to the fascinating subject of psychology and artistic depictions of mental concepts. In terms of style, the script of this animation is full of general and specialized words, a feature that is also evident in the translation of the script. In this research, an attempt is made to compare the lexical diversity of the Arabic and Persian dubbing of the above animation by relying on the descriptive-analytical method and referring to Johnson's model. The results show that the vocabulary of the Arabic dubbing of animation (52%) is more diverse than its Persian dubbing (45%). The reason for this variety of vocabulary can be found in the word production process in Arabic (based on derivation) and its clear difference from the word production process in Persian language (based on composition); Because the process of derivation provides the possibility of producing more diverse words than the process of composition.

Language as a means of transferring thought has been the subject of research by various thinkers up to the present. In recent decades, however, language has become an important topic for research and study. Linguistic studies can be followed in two ways. The first is areas of linguistic studies that examine a particular language, such as syntactic science. Another aspect is sciences that study language as a general category. These sciences methodologically are two types as well: 1) sciences that consider language as a scientific subject and study it in an empirical manner, such as linguistics, and 2) those that regard language as a philosophical issue and consider it rationally. The philosophy of language is responsible for expressing the general aspects of language. These aspects do not relate to a particular language but are true for any language. The language of the Holy Qur’an is an innate language. The Holy Qur’an does not only have innate content, but the language used in the Holy Qur’an is an innate language as well. It is a pragmatic language, a language in which a person evaluates the validity of anything in its practical and concrete result in practice. The text-based communication in the Holy Qur’an will be understood by relying on such a language, namely the pragmatic language. It was therefore concluded that the Qur’anic language is a pragmatic language in the sense of an existential language. A language that is compatible with the nature of human existence. The observance of morphological and syntactic rules makes the language used in a text and dialogue meaningful, but understanding the existential and anthropological rules makes the text and dialogue understandable. Hence, the language of the Holy Qur’an is a pragmatic language, an existential one.Communication refers to a process during which a message is sent between the speaker and the audience so that the audience tries to analyze and interpret that discourse by considering the context and the conditions of speech. The language communication theory, expressed by Roman Jakobsen, is based on linguistic codes that the audience participates in deciphering those codes during a verbal conversation. In addition, this theory is based on the social roles of language. Jakobson distinguishes six communication functions, each associated with a dimension or factor of the communication process: 1) referential (contextual information), 2) aesthetic/poetic (auto-reflection), 3) emotive (self-expression), 4) conative (vocative or imperative addressing of receiver), 5) phatic (checking channel working), and 6) metalingual (checking code working). In the present study, using the descriptive-analytical method and referring to Jakobsen's theory, the linguistic connection in the discourse of Surah Hud (PBUH) is investigated. This surah is one of the surahs that have pragmatic codes and can only be interpreted and analyzed through the process of communication.The results of the research show that the referential (36%) and emotional (25%) roles are the most frequent linguistic roles in the discourse of Surah Hud (PBUH). The difference in the frequency of these two linguistic roles indicates that the discourse of this surah is mostly based on informing, promoting, and expressing events (referential role). It expresses the inner states of the speaker (mostly prophets). So, by using verbs that indicate the speaker’s intrinsic and inner feelings and affairs, his feelings in connection with the divine message are revealed (emotional role). The final result of the research shows that in the discourse of Surah Hud, the linguistic communication roles of Jakobsen's theory have been used to a very good extent, and this theory is a suitable model for analyzing the linguistic structure of this Surah. In Surah Hud, in order to create a communication process (God, prophets, angels, and others), the speaker must send a specific message to the audience (Prophet, ordinary people, relatives of prophets, and others) to influence the audience through the linguistic structures of that message. In such a conversation, the message must have a specific context to strengthen the communication links between the speaker and the audience and after that, this communication continues with special language tools (speaking and writing).

The aim of this study is to evaluate the effects of the reader’s presence and participation in the stories of Sobhi Suleiman. With the initial reading of the desired stories, it is assumed that the author has been influenced by the child's specific intellectual and linguistic framework in the creation of each of these stories.In modern literary criticism, the reader plays such an important role in reading and receiving the meaning of the text that many theorists in this field consider the reader as the main purpose of creating the text. This requires that the constituent elements of the text (author, reader, and message) have a proper and logical relationship with one another. In contemporary literary texts, it is the reader who chooses the text, and his choice affects the different stages of a literary relationship. If the author selects his audience while creating a work of art, he places the text in a circle of rules and special tastes of the reader. Deviating from any of them causes a noticeable decrease in the reading of that text by the reader. This approach in literary criticism is known as the mental presence of the reader in the text. In contrast, there is another approach believing in the indifference of literary texts to the reader's tastes and moods. They state that it is the writer who plays a pivotal and fundamental role in the emergence of a literary text. If the reader of such texts is a child, due to the complexity of the content and its wide vocabulary, the texts will fail to attract the child’s attention and to be welcomed. The present research seeks to analyze the children's stories written by Sobhi Suleiman, a contemporary Egyptian novelist, based on the descriptive-analytical method and the theory of the text reception and its adaptation to the child's literary texts. So far, several illustrated story collections have been published by this author. In this research, some of his short stories were randomly selected. These stories are generally written for age groups "B" and "C". The term "latent reader" was first coined by Aiden Chambers. To reach the latent reader, elements such as style, perspective, advocacy, and rational gaps must be explored. The style is the manner of using the language to convey meaning and to connect the author's secondary self and the reader within the text. It includes the choice of words, sentence structure, and the author's attitude toward beliefs and customs. The perspective is to place the reader (child) at the center of the story and to tell the story through his or her presence. The element of advocacy means understanding the child's world, aligning with it, and creating the conditions for the child to participate in the story as a reader. Thus, the author expects the child to both accompany the story and distance himself from it so that he can understand the story deeply. The rational gaps in this regard include infrastructure (content) and superstructure (form) gaps. In contemporary criticism, the author's dominance over the text gradually diminishes and the reader finds the main role. Therefore, in such a critique, a special look is taken at the position of the text and its interpretive power and the position of the audience and the way of receiving it. In children's literature, critics of reader-centered texts emphasize that the more attention the writer pays to the child and emphasizes the conditions of his presence as a complementary element of the text, the better the text is. They pursue the originality of children's literature neither in the eyes of the child's writer nor in the text, but in its ultimate goal, the reader (child). The results show that the above stories are closely related to the child's world. This is because, throughout the stories, the author uses techniques such as spelling, spacing characterization, dual structures, rotational rotation, prior awareness, and context with the aim of encouraging the child to read or listen to the rest of the story and making him or her an agent. Before writing the stories, Sobhi Suleiman had a general idea of the child's mental world, and this foreknowledge has given the texts of the stories a relational structure. To achieve this goal, he has left some spaces in the text blank or removed parts of the text by some dots. In order to receive the desired meaning, the child emphasizes his presence in the text and enjoys this mutual interaction through filling the blanks and suggesting different solutions for the characters of the story. In these stories, there are two ways of creating gaps in the common characterization; a character with a special physical dimension is introduced with different physical characteristics, or the phenomenon that plays a major role in the story is introduced significantly different from the adult world in terms of internal and emotional dimension.

Time has the most obvious function to improve the structure of the story among the constituent elements of the story. Gerard Genet, as one of the theorists in this field, provided a clear theoretical framework for evaluating and analyzing the element of time in the story. Genet believes that in analyzing narrative time and comparing it with calendar time, three important categories such as order, continuity and frequency should be analyzed in order to extract and evaluate the most important narrative techniques used in each work of fiction. Ahmad Saadawi's novel Frānkenštāin fī Baghdād (Frankenstein in Baghdad) is a suitable novel for analysis based on the Genet model due to its great emphasis on time. Therefore, in the present study, an attempt is made to investigate the element of time in the novel "Frankenstein in Baghdad" based on the descriptive-analytical method and with the aim of discovering the salient aspects of time turbulence in post-modern novels. The results show that the widespread use of retrospectives, negative accelerations and positive accelerations, has caused irregularity and discontinuity in the narrative time of "Frankenstein in Baghdad". This sometimes confuses the reader in the story, which of course is one of the features of postmodern stories, and Ahmad Saadawi has been able to make good use of this techniques.

Saadi's Golestan and Jami's Baharestan are two Persian works in prose in which significant techniques have been used in translating Arabic expressions due to the proficiency of the authors in Arabic and Persian languages and their rhetorical and linguistic knowledge. In this research, the Arabic-translated phrases in the mentioned works have been studied based on the target-oriented approach in translation. The basis of this approach is that the translator tries to choose equivalent and equal elements of the target language with regard to the elements of the source language and text. With the help of special methods, he also tries to enter the entire meaning of the desired context into the target language and to avoid conveying the explicit meaning merely. The aim of the present study is to find Arabic to Persian translation techniques in Saadi's Golestan and Jami's Baharestan and to examine the extent of Saadi and Jami's commitment to the target language. Considering that Jami's Baharestan is the most prominent work of art identical to Saadi's Golestan in terms of form and content, the results indicate that the techniques of translating Arabic phrases into Persian in this work are also remarkably similar to Saadi's Golestan. Accordingly, the most distinguished methods of the target-oriented approach in translating the Arabic expressions of Golestan and Baharestan, respectively, are transition, dissimilation, adjunction, and disambiguation.

semantically, discovering the relationship of some verbal metaphors with the intended message is out of reach of the audience, in which case the presence of visual metaphor to reinforce the message will be necessary. This cognitive phenomenon is called multidimensional metaphor. The emergence and spread of corona as an emerging phenomenon has led some magazines and websites to use cartoons made of multifaceted metaphors to convey corona messages. The message in such cartoons is produced through two visual and verbal cognitive expressions; therefore, it is necessary to discover the interaction of both dimensions. In the present study, based on the descriptive-analytical method and based on Forsville (1994) theory, the selected coronary cartoons of Al-Youm Al-Sabee online magazine are examined. The results show that the cartoons in question contain metaphorical cognitive mechanisms; accordingly, the multifaceted metaphors of the cartoons in question - the most frequent of which (42%) are related to health issues - are in order to reinforce the message and help the messenger to identify the relationship between the origin and destination areas. Also, in none of the multidimensional metaphors in question was the possibility of reversing the origin and destination domains found.

In the classical period, realist novels are often written based on descriptions of reality and out-of-mind issues; but with the collapse of traditional narrative styles, after the advent of modernism and the great growth of human mental problems in modern societies, novelists have focused more on portraying mental problems and depicting the inner concerns of fictional characters. relying on a descriptive-analytical method, the present article tries to discover the components of modernism in the novel "Love in Exile " by the Egyptian novelist Bahaa Taher (1935). the most important feature of this novel, which was recognized as a necessity of research, addressing social issues with an emotional and intrinsic approach. the results of the research indicate that the author tries to show the narrator's inner struggles in a modernist way through long monologues; therefore, real world issues are vaguely described in this novel and instead this narrative work consciously has modernist components, so that the logical order of the events of the story is disturbed and the reader is confused in understanding the events of the story and the author's use of poetic structures in the story causes the lyrical and emotional aspects of the story to prevail over realism.

Laghatah, written by Abd al-Halim Abd Allah, and Probably I Am Lost, written by Sara Salar, are two examples of texts dealing with the status of women in a patriarchal society. The protagonists of Laghatah and Probably I Am Lost are named Leili and Ravi, respectively. Both novels’ protagonists are women limited by the society norms and their social role. Despite various turbulence, they experience an internal journey to achieve perfection. The present study investigated both novels comparatively based on Maureen Murdock’s theory using analytical-descriptive method. The paper aims to investigate the sequence of female heroes’ actions in Laghatah and Probably I Am Lost? Accordingly, the text structure of both novels as well as a set of their textual connections were evaluated and described through Murdock’s theory. The results showed that the sequence of Leili’s actions in Laghatah and Ravi’s in Probably I Am Lost follows a ten-stage model, including: passing from femininity, identification with men, tests path, imaginary success, being rejected as a powerful woman, falling in front of the goddess, femininity renewal, removing the gap between mother and daughter, finding the internal man, and reaching beyond duality.

Personality psychology is one of the basic topics in psychology, on which traits and factors affecting the processes of thinking, emotion as well as normal or abnormal human behaviors are determined and the causes of human behavior in various situations are analyzed. So far, several theories have been proposed regarding personality psychology, the most prominent of which is Abraham Maslow's Pyramid Theory due to its emphasis on the stages of personality development based on human five needs (physiological, security, dependence, self-esteem, self-fulfillment). Maslow believes that the process of meeting human needs has a hierarchical process that depends on the relative satisfaction of previous needs. Relying on a descriptive-analytical method and a comparative-interdisciplinary approach, the present study tries to analyze the various psychological and developmental dimensions of the characters in the novels Baqāya suwar (The Remnants of Tire) by: Hanna Mina and jāye khālyie soluch (Missing Soluch) by Mahmood Dovlatabadi to examine the growth rate of each character from the stage of physiological needs to the stage of self-fulfillment and the influence of various factors during each stage. The results show that none of the characters in the two novels reached the stage of self-fulfillment and even complete self-esteem; However, given that in the novel jāye khālyie soluch (Missing Soluch) there were more favorable social, economic and security conditions for the characters of the story than Baqāya suwar (The Remnants of Tire); Therefore, a relatively more suitable context for Maslow's motivational stages was provided for the characters of this novel.

The expression of postmodernism in written texts is not limited to content and subject matter; Rather, part of the postmodernist arrangement of literary works relates to the physical elements of the text, namely the page of paper, the lines, the letters, the words, and the margins of the text. These arrangements are made in line with the postmodernist principle of uncertainty and the creation of doubts and suspicions in the ontology of the audience. This leads to the confusion of genres, the collapse of the geometric order of the text and the creation of chaos in the traditions of writing and poetry, especially the arrangement of words and lines, as well as reducing the centrality of the main text and focusing on the margins of the text. Kamal Abu-Deeb, a contemporary Syrian poet, writer, and critic, is one of the figures in contemporary Arab literature who is particularly familiar with postmodernist thought. In the collection " Adhabat al-Mutanabbi fi Suhbat Kamal Abu-Deeb wa al-'Aks bi al-'Aks", he tries to rewrite the narrations, currents and various events of Mutanabbi 's life that have been mentioned in previous texts with a postmodernist mentality. The present paper tries to analyze these mechanisms and their role in creating meaning in the above collection based on the descriptive-analytical method. According to the author, this work does not fall into the category of fiction or poetry, because it is a combination of all literary genres and form-based arts. The results of the research show that in this work, Abu-Deeb tries to portray the tensions of his inner world and the philosophy of personal and social life in the Arab countries with an emphasis on postmodernist form-based tricks. By emphasizing form-oriented tricks, he intends to direct the audience's mind to the hidden angles of his story formation in order to challenge the great narratives at the visual level. To convey this message to the audience, he uses form-based mechanisms such as blank verse, painting, geometric shapes, vertical writing, parsing, and font change, each of which plays a prominent role in creating doubts in the mind of the audience about his real affairs and proven intellectual and epistemological patterns.

The study of meaning and its transmission through language, which manifests itself in different emotional, news, interrogative, and imperative forms, is investigated in various branches of applied science. From the point of view of usage, a sentence can have different roles in different contexts and contexts, the more common roles are the primary meaning and the other roles are the secondary meanings. Based on this, imperative statements can also play different roles. Since the Holy Qur'an is the manifestation of the semantic-utilitarian roles of imperative statements in order to increase the power of influence and induce meanings to the audience; The present research is trying to analyze the linguistic functions of the imperative sentences of Surah Ankabut, to investigate the communication ability of this surah and its impact on the audience. For this purpose, relying on the descriptive-analytical method, the text-oriented and user-oriented features of the verses have been analyzed along with the effective chain and hyperchain elements in the meanings of the imperative statements of this surah. The results indicate that the imperative statements of Surah Ankabut are used in the roles of guidance, warning, durability, threat, praise and insult, respectively, and considering that most of these statements are addressed to the false people; Therefore, it is understood that religious logic is based on guidance and guidance, and if the misguided oppose, they are first warned, and if they increase their disobedience, they are considered weak and incapable, and God promises them punishment. This type of communication between the Qur'an and the audience is a decisive proof of its linguistic miracle.

Assessing the different levels of discourse allows for a new understanding of it and discovers the interactions of language with ideological structures. Critical discourse analysis makes it possible to examine the two factors of ideology and power that have an important impact on the superstructure and depth of language in the process of linguistic communication. Teun van Dijk, one of the theorists in this field, considers critical discourse analysis as a powerful tool for social analysis. His proposed model is a good criterion for analyzing the poetry of resistance, which is often based on highlighting the positive points of the "self" and marginalizing the negative points of the "other". Qassim Haddad (1926-1995) is one of the contemporary Bahraini poets that is attributed to socio-political poetry, whose bipolar system of emphasis and marginalization plays a key role in shaping his poetic discourse. Relying on a descriptive-analytical method, the present study seeks to show what discourse measures Qassim Haddad used in the superstructure of his resistance poems in order to deepen it in order to highlight his own identity and marginalize another identity. The results show that the discourse system of Qassim Haddad's resistance poems is based more on semantic techniques, propositional structure, grammar and reasoning.

Although Quran’s text is obvious and comprehensible, but it has delicate meanings and it is written with an eloquent syntax and unique brevity. According to this description, one should try in Quran translation to transmit its clarity as well as its delicate meanings and syntactical  and rhetorical details. Tahereh Saffarzadeh has translated Quran in Persian by an obvious and understandable language, but in some cases, she has not conveyed the word’s significations and syntax of text with accuracy and brevity. Investigating Safarzadeh’s Persian translation of Quran and comparing it with Arabic lexicons and syntaxical structures, authors of present article has figured out that some parts of translation cannot reflect the Arabic text and is influenced by English translation of Quran. In order to meet the purpose, text of last for parts of Saffarzade translation has been compared with Quran and Abdullah Yosef Ali’s translation and the aspects by which saffarzade has been influenced, has been extracted and investigated. A more in depth analysis, the results show that in safarzade’s translation, changes such as ungrammaticality, linguistic adjuncts, change of implication, inappropriate equivalents and descriptive equivalents have been made under the influence of English translation.

One of the important elements of the novel that constitutes its main form is the element of plot. The plot consists of a structure consisting of start, expansion, suspension, climax, untying, and ending. Knowing this structure allows the reader to experience the story well and understand it through a specific time process. Contemporary novelists, given the experience they gained from the new world, They found that in writing the story, the sequence of the plot structure could be broken and disturbed. In such stories, due to the abandonment of accepted traditions of art and the creation of new narrative styles, the events of the story are intertwined and the boundary between beginning and end is not defined. It also sometimes happens that the characters of the story invite the reader to implicitly play a role in the ending of the story. In the present study, based on the descriptive-analytical method, an attempt is made to make a comparative study of nonlinear plot in the novel “Land of the Missing” by Elias Khoury and the novel “I am not a tiger” by Mohammad Reza Safdari. Given that in these two works, traces of modern and postmodern fiction can be seen; Therefore, the initial impression is that the plot of both stories is very confused; In addition to time confusion and lack of sequence in the retelling of events, open ending and inviting the reader to end the story is also used. Also, the novel Land of the Missing has a further collapse in the traditional order of the story.

The basis of the conversational coercion theory proposed by Paul Grace is principles that focus on studying the relationship between language and its recipient, with all the characteristics and characteristics contained in this relationship. Grace summarized these principles in four: the principle of quantity, quality, method, and occasion. And based on the Graysian perspective, if the speech takes into account the four principles, then it is called a process of requiring cooperation, and if it contradicts it according to special rhetorical purposes, then it is called a process of breaching cooperation. This study seeks to identify the phenomenon of conversational entailment and its breach in Arab and Persian mural writings, which have emerged as a new art in recent times in society and express the inner components of its author. the research examined 400Arab and Persian mural writings from a deliberative perspective to reveal the faces of cultural convergence between the Arab and Persian cultures. the results showed that a significant portion of Arab and Persian mural writings (Arabic %63 and Persian %59 ) violate the principles of graceful cooperation, and the reason is that the writer wanted to convey the message to his recipients in a suggestive form in order to indicate meanings that he cannot express. Thus, this level of similarity can indicate cultural similarities between Arabs and Iranians.

Spiritual intelligence combines spirituality and intelligence within a new structure and provides humanity with a logical application of spiritual skills to search for meaningful and valuable issues. As the basis of human values, beliefs, and actions, SQ enables humans to focus on ontological issues and change living conditions and seek growth and excellence in the face of the realities of life. Robert Emmons (1958), a professor of psychology at the University of California, whose connections to religious and moral issues are prominent in his thoughts, is one of the thinkers of this new theory. Since the poetry of Farouk Shuwaykh (1976), a contemporary Lebanese poet, are all about mysticism and a reflection of Islamic and human truths, the functions and purposes of applying the components of this type of intelligence in the poems of this poet in Emmons' thoughts were the subject of this study. One of the present research results, conducted via a descriptive-analytical method, is that although Shuwaykh did not mention spiritual intelligence in his poems. However, his poems are very flexible in terms of ideological and cognitive dimensions, emotional and voluntary dimensions. Therefore, it reinforces the hypothesis that the subconscious Shuwaykh used the manifestations of this intelligence in his poems. By analyzing his poetry, which follows the teachings of Islam and the Qur'an and has a searching view to solve anthropological problems, it can be inferred that the Shuwaykh’s subconscious employed the mechanisms of spiritual intelligence in his poetry to transcend himself, solve ontological problems, and use the quality of communication with God and man.

Semiotics, also called semiology, is the study of signs and sign-using behavior. It was defined by one of its founders, the Swiss linguist Ferdinand de Saussure, as the study of “the life of signs within society.” Although the word was used in this sense in the 17th century by the English philosopher John Locke, the idea of semiotics as an interdisciplinary field of study emerged only in the late 19th and early 20th centuries with the independent works of Saussure and the American philosopher Charles Sanders Peirce. Saussure treated language as a sign-system, and his work in linguistics supplied the concepts and methods that semioticians applied to sign-systems other than language. One such basic semiotic concept is Saussure’s distinction between the two inseparable components of a sign, namely the signifier, which is linguistically a set of speech sounds or marks on a page, and the signified, which is the concept or idea behind the sign. Saussure also distinguished parole, or actual individual utterances, from langue, the underlying system of conventions that makes such utterances understandable. It is this underlying langue that most interests semioticians. The interest in the structure behind the use of particular signs linked semiotics with the methods of structuralism, which sought to analyze such relations. Saussure’s theories are, thus, also considered to be fundamental to structuralism (especially structural linguistics) and poststructuralism. The relationship between language and emotions can be viewed from two viewpoints. First, language, in a broad sense, can be viewed as being emotive. Taking this view, it is commonly assumed that people, at least on occasions, have emotions, and that being emotional gains its own agency, impacting the communicative situation in a variety of ways. This can also take place extralinguistically (e.g. by facial expressions, body postures, proximity, and the like), in terms of suprasegmentational and prosodic features, and in terms of linguistic forms. In this view, language and emotion are two concurrent, parallel systems in use, and their relationship is due to the impacts of emotions on the performance of the language. Both of them share their functionality in the communicative process among people. If language is conceived of as merely representing the world of emotions and/or people's conceptualizations and understandings of the emotions, it offers an immediate access. Language, in this view, is transparent. However, if it is conceived of in one or another way as contributing to how emotions are understood, or even, to what emotions are, the relationship is not direct but mediated. As far as the narrative literature is concerned, the earliest philological studies of gesture show a strong interest in cultural history. They complemented contemporary writings in folklore, folk psychology and comparative linguistics that attempted to take the inventory of the gestures in various cultures, in particular those of the Greeks and Romans and of the European Middle Ages.

For any interaction with another person, we communicate with each other primarily through nonverbal channels. This occurs through multiple channels and is both strategic and non-strategic.  This includes body language, voice tone, clothing and adornments, the environment, timing, and touch. For nonverbal communication, a single element such as choosing where to sit during a negotiation or meeting or perhaps a hand gesture can be viewed as having a minimal importance on the overall impact of the situation.

Personality is the manifestation of thoughts, feelings, and behaviors that make a person unique. It is believed that personality arises from within the individual and remains fairly consistent throughout life. While there are many different definitions of personality, most scholars focus on the pattern of behaviors and characteristics that can help to predict and explain a person's behavior. Traits and patterns of thought and emotion play important roles along with fundamental characteristics of personality. The major characteristics are as follows:   a) Consistency: There is generally a recognizable order and regularity to behaviors. Essentially, people act in the same ways or similar ways in a variety of situations.   b) Psychological and physiological features: Personality is a psychological construct, but research suggests that it is also influenced by biological processes and needs.   c) Behaviors and actions: Personality not only influences how we move and respond to our environment, but it also causes us to act in certain ways.   d) Multiple expressions: Personality is displayed in more than just behavior. It can also be seen in our thoughts, feelings, close relationships, and other social interactions.   In the mentioned novel, there are several examples of cultural and social issues related to women that show an instrumental view of women. The social rights of women in this novel are not equal to those of men, and they are victims of what the patriarchal society figured out for them. Much of the behavior of the female characters in this novel arises from and is influenced by the cultural atmosphere of the society a few decades ago, whose cultural and social characteristics are revealed through what the society expect from women's behaviors, relationships and beliefs. The different women in this novel are the product of the world, i.e., thinking, culture, and upbringing of patriarchal societies. They have experienced emotions that are often formed under certain coercive conditions, and, in this novel, they move from tradition to modernity.  They must both play the role of the beloved as a delicate creature and satisfy the opposite sex in the community and protecting their chastity and innocence in an atmosphere full of inequality as well as hidden verbal and physical violence. In this situation where the woman is still recognized as a veiled being, she is deprives of the possibility of direct communication with others. So, it makes the non-verbal communication of women more highlighted in the novel.

The following table shows the presence of non-verbal connotations in the novel Ayyām maʻah:   total head hand position face   757 40 71 138 508 frequency Ayyām maʻah 100% 5% 10% 18% 67% percentage   The relationship of the story characters to the feminine characters' non-verbal face-related signs has a high frequency.  This indicates the importance of body language is in the relationships of the characters in the story. The high frequency of facial expressions in the novel is due to the fact that, in the non-verbal communication of the novel characters especially when the parties are women, facial expressions that include lip and mouth movements and eye gestures are more usable and visible. They are one of the main channels of messaging through which a huge amount of information is transmitted to the addressee in a relatively short time in the form of looks, laughter, crying and kissing. Regarding the importance of eye gestures in the non-verbal communication of the characters of the novel, it should be noted that the eye is the instance of the face and participates in revealing the hidden secrets of the person with other parts of the face. This is evident throughout the story and in the interpersonal relationships of the female characters, especially "Reem". Also, the non-verbal communication modules in the book contain more positive concepts to express satisfaction with the past, present happiness and hope for the future. This mood of the female characters in the story and their mostly confirmatory and peaceful personality are appropriate.