dr. mahin hajizadeh

In contemporary times, one of the researched fields in the field of linguistics is the study of women's language. With the expansion of the branches of linguistics and the studies conducted in the field of women, linguists have come to the conclusion that there are fundamental differences between the language of women and men, and these linguistic differences have caused differences in writing. Linguists believe that women, due to their different moods and behaviors, have different worldviews. For this reason, their use of language and writing style is different. This research aims to examine the women's writings of Sania Saleh and Forough Farrokhzad according to the analytical-descriptive approach in order to achieve the characteristics and views of women in poetic discourse.The results indicate that each of these two poets have used feminine characteristics in their poems. At the vocabulary level, due to their personal characteristics, both poets have used a wide range of colors, motherly words, emotional combinations and etc to express their intentions. At the grammatical level, two poets have paid more attention to the use of interrogative, deleted, and cut-off sentences, as well as the use of exclamations, exclamatory words, etc.

Today, feminist ideas and images are a suitable tool for checking the feminist level of thework, its author and the extent to which it has a feminist structure. In the meantime, thetheory of the four dimensions of "Elaine Showalter" including the biological, cultural,psychoanalytical and linguistic approaches provides this opportunity for women's criticismwork, and by relying on it, the position of women can be in the literary works of femalewriters and male writers recognition. Therefore, the present research has selected a novel byby Ahlam Mosteghanemi "Body memory" and a novel by an Iranian female writer NasimMarashi entitled "prune" for criticism of women's writing and based on the linguisticdimension of Elaine Showalter's theory. It can be said that both novels are in the stage offeminism. Therefore, due to the fact that the novels belong to the feminist and femininewriting tradition, they significantly have the characteristics of female criticism. In terms ofthe use of linguistic components, for example, the word hey related to colors and itsabundant and combined use, as the main component of women, it has occupied the mostplace in both works. However, regarding the vocabulary related to women, this componenthas a lower frequency in both works. Detail and short sentences are widely used in bothworks. This linguistic component has been used explicitly and repeatedly with lessinterference from culture and the transfigured minds of village characters from the heart ofcult significantly.

.The concepts of self and other in the modern era have undoubtedly diverged from premodern understandings. One effective approach to comprehend this connection is through the lens of sociological formulations. Charles Horton Cooley, a prominent American sociologist, offered a distinct perspective on this issue. His empathetic, introspective approach posits the self as inherently connected to society. He argues that understanding the self is impossible outside the context of society and the reflected perceptions of others. Cooley categorizes this interconnectedness into four forms: organic dependency, the other as imagination, the looking-glass self, and the self and group as another. Each form possesses unique characteristics.This novel approach to self and other serves as the theoretical framework for the present analysis of Aicha Arnaout's novel, "I Lead You to My Other." The novel's central theme, evident in its preface, is explored through a scientific lens using Cooley's theories. This essay demonstrates that the Syrian-Albanian author was not unconcerned with Cooley's sociological ideas and proposed forms of self-other connection. Through the creation of "Saros" an invisible entity crucial to the story, Arnaout vividly portrays the encounter with an imaginary other, or "the other as imagination." Furthermore, the deep and distinct relationships Maryam, the novel's protagonist, forms with various characters exemplify the concepts of organic dependency, the looking-glass self, and the self and group as another. These details, supported by evidence from the novel, were initially outlined at the beginning of this research.

Today, feministic images are counted as appropriate tools for recognizing the feministic nature of a work, its author, and the extent to which it has feminist-based mechanisms. In the meantime, the theory of four approaches of "Elinschwalter" comprising; the biological, cultural, psychoanalytical, and linguistic approaches, provides this opportunity to criticize the tradition of women's writing by relying on which, the position of women in the literary works of female writers can be determined. Having that in mind, the current rrsearch, using a descriptive-analytical method, has tried to select the two novels of Body Memory by Ahlam Mesghanami and Hars by Nasim Marashi so as to criticize women's writing and analyze it on the basis of Elaine Showalter’s cultural approach. Consequently, the image gets a better understanding of the women’s situation and their ideas and ideals. According to the results of the research and considering that the novels under discussion belong to the stage of feminism, the signs of the cultural approach about women's writing are visible in both works under investication. Finally, according to the component of examples in patriarchal rule, the rule of traditional taboos and female habits and beliefs in both works has been more reflected.

Pierre Guiraud's theory of semantic functional levels is originated in Roman Jakobson's communication theory. The distinction lies in his interpretation of the six functions of language, which he views as a blend of semiology, aesthetics, logic, and sociology. This theory is meant to examine the texts, signs, codes, and their uses in both external and internal contexts. The current study, employing the analytical-comparative method and drawing upon the American school of linguistics, aims at investigating the poems of Azzedine Mihoubi and Ahmad Shamlou through the lens of Guiraud’s theory of semantic functional levels. As indicated by the results of this study, these levels are typically manifested in referential, emotive, aesthetic, injunctive, pathic, and metalinguistic functions in poems of these two poets. Points of similarity and difference, according to Guiraud’s theory of semantic levels, include the observation that emotive, literary, empathetic, and referential functions are more prevalent in their poems. However, distinct linguistic structures and diverse constructive and expressive forms are employed which signify the differences in their languages. Moreover, the referential function in their poems is exemplified through religious and historical characters. Considering their distinct religious backgrounds—one being Muslim and the other Christian—the manifestation of this function varies in their respective poems and the aesthetic function is exemplified in their poems through the concepts of prison and freedom. However, due to their distinct philosophies of life embedded in their subconscious, Shamlou perceives himself as a prisoner of fate and confined within the prison. Finally, the least frequently observed function in their poems is the metalinguistic function. 

Pierre Guiraud holds the idea that semiotics is the science devoted to the study of all cultural phenomena within semiotic systems. His theory can be considered a continuation of semiotic theory, focusing on the examination of texts, signs, codes, and their utilization in both internal and external contexts.Guiraud has categorized codes into three groups: logical, aesthetic, and social. However, before delving into these codes, he examines two functional levels of a message: meaning and signification. Guiraud explores the two semantic functional levels of a message and two contrasting forms of signification. He contends that one of these two forms of signification is originated in logical and technical signs, while the other arises from the function of sensory and aesthetic signs. The function of a sign is to communicate or convey a thought through a message. This implies the presence of elements such as the means of communication, sender, and receiver. Roman Jakobson utilized a schema borrowed from communication theory to delineate six functions of language. According to Guiraud’s functional semiotic theory, Jakobson’s analysis is applicable to all forms of communication. This implies that he views referential and metalinguistic functions as components of logical semiotics, and attributes a dual linguistic function to the emotive function. If the function is objective, it falls within logical semiotics and in case it is sensory, it becomes part of aesthetic semiotics. Guiraud regards aesthetic and empathetic functions as aesthetic and social codes. Additionally, he posits that the issue of functions is linked to another phenomenon, namely the means of communication, the intermediary of the message, or, in modern terms, media. In the current research, the components of Guiraud’s functional semantic levels will be examined within the framework of the three poles (sender, text, receiver) in the poems of Azzedine Mihoubi and Ahmad Shamlou.

The American school of linguistics addresses emerging topics like semiotics and explores the connections between literature and various sciences, including social science. A fundamental tenet of this school is found to be the affinity between subject and literature. Contemporary American scholars have also asserted that comparative literature embodies a literature of difference in a broad sense. In light of these aspects, it can be argued that these two Algerian and Iranian poets were not influenced by each other in the creation of their poetic works. However, notwithstanding their political differences, there are similarities in the subject matters and contents of their poems, suggesting a shared spirit. Thus, a research method based on Guiraud’s functional semantic levels and the American school of linguistics is to be employed and as the result of which, the question of mutual influence becomes inconsequential.

Considering the three poles of sender, text, and receiver, Guiraud’s functional semantic levels encompass the following functions.Referential FunctionThe referential function serves as the bedrock of any communication, establishing the connections between the message and the subject it refers to. Guiraud holds the idea that the fundamental challenge lies in formulating authentic, objective, observable, and verifiable information. This is the goal of logical semiotics, encompassing epistemological codes and the codes of various sciences. Among these are codes designed to prevent any merging of the sign and the object and to impede the blending of the message and the encoded fact. This function conveys a meaning that is neither the sender's emotion nor the receiver's. Furthermore, it is not necessarily exquisite. All methodologies that offer content criticisms of artistic work lie under the realm of referential functions. This function is evident in the representation of religious and historical characters in the poems of these two poets.Emotive FunctionThis function conveys the relationships between the message and the sender. When we utilize language or any other method of signification to initiate communication, we articulate ideas about the significance of the message's referent. However, we can also express our attitudes toward the subject, for example, by stating our view that the phenomenon is good or bad, ugly or beautiful. Nevertheless, it is important not to conflate the spontaneous manifestation of feelings, character, and social status—natural indicators—with their use for the purpose of communication. For Guiraud, the referential and emotive functions simultaneously complement and compete with each other in the realm of communication. This frequently gives rise to the dual function of language: an epistemological and objective function (logical coding) and an emotive, subjective function (aesthetic coding). These two functions involve two different types of encoding, with the latter arising from stylistic varieties and implicatures. This function is evident in the shared subjects of a dedication to friends and a reinterpretation of Christ’s character.Injunctive FunctionThe major duty of this function is to determine the relationships between the message and the receiver, as the aim of every communication is to evoke a response from the receiver. According to Guiraud, an injunction can target either the cognition or the emotion of the receiver. Thus, at this level as well, we can discern objective-subjective and cognitive-emotive distinctions, highlighting the contrast between the referential and emotive functions. This function plays a vital role in advertisements and propagations, where the referential content of the message takes a back seat to signs intended to evoke emotions from the audience. This is achieved either through conditioning by repetition or by eliciting subconscious emotive responses. The use of this function is evident in the poems of these two poets, particularly in the context of patriotism.Aesthetic FunctionA notable example of the aesthetic function can be observed in works of art, where the referent of the message is the message itself. In this case, the message ceases to be merely a means of communication and becomes its own subject. According to Guiraud, art and literature generate subjects that, beyond the immediate signs related to the subject, possess their own significations within a specific semiotic system, such as the stylistic semiotic system, sign circulation, symbolism, and aesthetic semiology. This function is evidently employed in the works of these two poets concerning the use of religious symbols and the theme of freedom and imprisonment.Pathic FunctionThe purpose of this function is to establish, maintain, or terminate relationships through aesthetic semiology. Signs with this function are those whose role is to initiate, sustain, or conclude relationships, ensuring their continuity, capturing the audience's attention, or guaranteeing their attention and vigilance. In Guiraud’s view, the pathic function plays a pivotal role in all forms of communication and relationships. Examples of this function are evident in the poems of Shamlou and Mihoubi through conversations or questions and answers.Metalinguistic FunctionThe metalinguistic function aims to elucidate the meanings of signs that receivers may not understand. To achieve this, a word is enclosed in quotation marks or explained. For Guiraud, the selection of a medium pertains to the metalinguistic function. A work of art often refers back to the chosen codes, rather than the content of the message. Consequently, the metalinguistic function returns the sign to the codes from which the sign derived its meaning. This is how this function is evident in the poems of these two poets (the logic of the people of their respective homelands).

Emotive, literary, pathic, and referential functions are the most frequently employed functions in the poems of Mihoubi and Shamlou, as these functions are well-suited to literary texts, aligning with various poetic forms. Furthermore, they bring out the best in poems that exhibit linguistic creativity and imaginative creation, as well as literary and poetic functions. In this regard, various instances from the works of these two poets have been encountered. The emotive function is evident in their poems through the interplay of objective and emotional functions, employing logical and aesthetic semiology, such as a rereading of the character of Christ and a letter to friends. Furthermore, owing to the alignment of poetic language with the poet's personal imagination and emotion, and the representation of the world from the unique poetic perspective of each poet, this function is prominent in the works of these two poets. However, they employ this function differently, which reflects their unique and even divergent perspectives on the surrounding world. The pathic function is also prominent in the poems composed by these two poets. Both employ imaginative codes, falling under aesthetic semiology, to express empathy with people in their poems, as seen in a hypothetical dialogue with a passerby in an alley in Palestinian neighborhoods. Given the intricate structure of contemporary poems, which interconnect various historical, cultural, and other intertextual elements, the referential function is also abundant in their poems. In this context, allusions to historical and religious figures serve as significant examples of the referential function of language. The reader's cognitive knowledge of these figures plays a crucial role in comprehending the hidden layers of this function in their poems. This function takes the form of logical semiology (epistemological coding), wherein readers' awareness and knowledge of these characters play a vital role in understanding the hidden layers of this function in the works of these two poets. It is essential to note that, for various reasons, including differences in the religious background of these two poets, those characters are manifested differently in their poems. Given Mihoubi's Christian faith, his depiction of Mary is as a symbol of alleviating pains and suffering, while Shamlou, with his Islamic background, is primarily focused on Mary's virginity. The least frequently used function is the metalinguistic function, as it primarily appears in dictionaries and books of terminology due to its characteristic of describing language with language. Consequently, it rarely appears in poems, including those of these two poets. This function is elucidated in the poetry of Mihoubi and Shamlou as reverse values encompassing people in society.

Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and without specifying their names at times, as a result of the political and social conditions in the war-torn regions. At other times, the poet may do so explicitly. The character within the poem serves as an embodiment of the poet's thoughts and imagination. Through the portrayal of a living individual and the immersion of that persona into the realm of his imagination, the poet endeavors to establish a meaningful connection with the readership while also allowing the character to embody his own sentiments and behaviors. Philippe Hamon, a renowned and contemporary French theorist, is among the few authorities who has a precise and exhaustive theory of the context of character. A comprehensive understanding of the hidden meanings and concepts in characters can be attained by adhering to his perspective, which incorporates the views of earlier theorists.By conceptualizing character as a symbolic context comprised of the signifier and the signified, Hamon broadens the fundamental semiotics of character. In doing so, he argues that character is not merely a psychological construct, but rather a real-world entity. Characters are processed in accordance with four principles, according to Hamon's theory: types, character dimensions, signifier, and signified. As a result of the shift in the political and social climate of the modern era, which compelled Nizar Qabbani to address women's issues and defend their violated rights, he devoted considerable poetic space to this segment of society and depicted the physical and spiritual beauty of women. Nizar's poetry exemplifies the exquisite unity of women and poetry; these two elements are so intertwined that they cannot be separated; this is the reason why she has earned the reputation of a woman poet within the realm of Arabic poetry. Hence, the poet's poems prominently feature the female context. The present study employs a descriptive-analytical approach and draws upon Philip Hamon's personality theory to analyze the diverse facets of the female persona in Nizar's poetry courts. While emphasizing the significance of this context in Qabani's poems, it also clarifies its function as a means of conveying the poet's intended message. In conclusion, the research findings indicate that Nizar Qabbani's poems comprehensively illustrate every facet of Philip Hamon's theory. By opting for a moderate approach rather than ambiguity and a direct tone when expressing ideas in his poems, he has effectively increased the value of his poetry. One could say that Nizar's poetry and thoughts have elevated and evolved the status of women; the majority of the female characters in his romances are figurative, which is consistent with the general tone of his poems concerning the corrupt Arab society of the time. It is compatible because the poet often had to suffocate and communicate his ideas in an invisible manner. Furthermore, since he does not believe in the central reader, he employs the method of application the pronoun of the audience to represent the female characters. Thus, the character in question disappeared from the reader's mind and submerged her poem in an aura of ambiguity, which is the consequence of the ominous phenomenon o Furthermore, one may observe an intermediary, a pointer, or a reference, in addition to virtual characters. Frequently, the external and psychological aspects of the description of the female character are conveyed, and the poet employs a variety of literary devices, particularly similes, to establish an intimate connection with the reader. The reader is able to readily envision the poet's depicted character. Furthermore, an examination of the meaning reveals that the majority of the information regarding the nature of women originates from the poet himself. This is evident on both quantitative and qualitative levels, with the poet's descriptions being melancholic in the quantitative sense. And to evoke empathy in the audience, he added melancholy; he utilized both direct and indirect methods in the qualitative dimension. However, upon closer examination of the evidence, the reader discerns a discrepancy between the characters' portrayals and their actual performances, leading to the conclusion that the nomenclature and origin of certain characters are not connected to Hamon's theory

Aesthetics and text from beauty effects are among the most important criteria for the assessment of literary work as well as ruling the success of the poet and craftsman in the process of inventing the time of the Jaheli era. Many critics believe that literary elements of a text of meaning, affection, fantasy and fashions are formed and the duty of artistic critique and aesthetics is to examine texts based on the literary elements. The present study relies on a descriptive and analytical method to examine the Seven Sahifah's supplication. This supplication has a prominent text feature that benefits from beauty stances in expression, plays an important role in the invention and creation of art. The results of the research indicate that the supplication contains beliefs and carefully in this supplication in terms of Linguistics that the text of supplication has a state of beauty, and is not empty of the spirit of innovation and creation, and in the emotional dimension witnessed a wide variety of diversity From the description of domestic and stability and stability in the affection of supplication, and having an excellence and sophistication of affection plays an important role in the emotion of the reader, and in relation to the artistic image, it can be said that this supplication has benefited from various types of rhythm. And with the text of supplication, and in lightness, we are witnessing a special coherence and continuity of the word with meanings and affection, as well as balance and synchronization between the words and the concepts of sentences of the supplication characteristics.

translation of religious and sacred texts, especially Nahj al-Balaghah, is one of the most important ways to convey their concepts. These translations need a precise and scientific evaluation in order to identify the shortcomings in them and thus improve the quality of translations. In the meantime, the numerous models have been proposed by translation experts to evaluate translation. Vinay and Darbelnet model is one of the most efficient translation theories that can be employed as a scientific framework for evaluating translated texts, particularly those of religious nature. This model, which is a combination of direct and indirect translation methods, consists of seven procedures: borrowing, literal translation , calque, transposition, modulation, equivalence, adaptation. In this research, which has done by descriptive-analytical methodology, a part of the translation of Faiz al-Islam from Nahj al-Balaghah is analyzed based on the Vinay and Darbelnet model, and the rate of application of septet techniques is specified. the results show that the translator, while being faithful to the source text and observing the principle of fiduciary duty, has primarily adopted the indirect translation method which has produced a smooth and eloquent rendition.

Nowadays, digital technologies have strongly influenced all aspects of our daily life via redefining our communicative practices and habits of text reading and textualizing. Accordingly, a need to change the role of literature and literary discourse in the contemporary media space of Iran and the Arab world has been felt and steps have been taken in this respect. By adopting a descriptive-analytical method, the present study sets out to make a scholarly account addressing the experience of Iranian and Arabic digital literature, exploring certain works produced by them comparatively, and discuss their degree of aesthetic creativity in terms of form and content. As the findings revealed, despite the historical precedence of Iranian digital poets and writers over Arabs, there is a significant digital division between Iran and Arab countries. Although the Arab countries are highly distant from digital literature of the West, they have produced aesthetically more creative literary works, compared to Iran. These works more actively follow the processes of participatory or collective creation, and being aesthetically creative in form and content.

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

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

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

In the twentieth century, modernity entered the domestic and foreign politics of the Middle East countries with its positive and negative (Janusian) faces. Contemporary Iraqi Kurdish and Arab poets such as Kazim Al-Samawi and Shirko Bikas in their poems identified such a detestable face, including the phenomenon of the nation-state, genocide and crimes against humanity, which were displayed by internal and external colonizers. It turned out that the historical beginning of this event was the beginning of the establishment and creation of heterogeneous nation-states in the Middle East by foreign colonizers, which were created from the division of the territory of the Ottoman Empire as puppet states under their tutelage. These two poets, in order to deal with this phenomenon, called for the violation of the rule of law "prohibition of resorting to force". This means that the people of their community encouraged the intifada and struggle and the "right to resort to force" in line with the right of "legitimate defense". The present descriptive-analytical research seeks to introduce these two poets and analyze their poems based on international law and the Universal Declaration of Human Rights in such a way that the duality of modernity in the field of politics, which has shown its dark face in the society, van be fully indicated. A major result was the technology employed by a government like Baath, whose act of genocide and crimes against humanity were the direct product of the modern world.

Sociological criticism is one of the methods of literary criticism, and Lucien Goldman's constructive structuralist criticism is one of its subsets, which examines the relationship and similarity between the structure of a literary work and the structure of society. Tariq Bekari, a Moroccan writer, has mentioned the categories of colonialism, cultural alienation, westernization and the influence of the capitalist system in the Arab world with a historical perspective in his novel Maraya General, and his work has a meaningful structure. Therefore, the current research tries to express the worldview of the novel Maraya General based on Goldman's theory and show the political and social developments of Morocco represented in the text of this novel. The findings of the research indicate that the text of Maraya General's novel is a reflection of the structure of the Moroccan society in the 1970s to the 1990s, whose hidden worldview is the critical attitude of a class of Moroccan left-wing and socialist intellectuals who rely on their class consciousness to achieve freedom. They rebel against the authoritarian system in Morocco, but Western colonialism and the capitalist system prevent the realization of the ideal consciousness of this class by alienating and dividing Moroccans. At the cultural level, because of copying the western culture, Moroccans have suffered cultural conflicts and alienation and caused the spread of moral corruption and the development of the influence of foreigners, and at the social level; The suffocation and lack of freedom of speech make Moroccans disappointed and frustrated,

One of Michael Riffaterre's achievements in understanding the linguistic and deep implications of the text is his theory of Semiotics in poetry. In the present study, the ode of "Al-mutanabbi" is explained in two levels of Heuristic reading and Retroactive reading by using the mentioned theory and by descriptive-analytical method. At the first level, the audience is confronted with a collection of news that does not convince the reader with literary ability;Therefore, in the second level reading, leads to the accumulation of "the caliphate of the second Abbasid period, the events of the history of Islam and critical expression and ridicule" and the descriptive systems of "The political situation in Iraq, the confrontation between right and wrong, betrayal, power-seeking" by examining Ungramaticalitis. Then, obtains the semantic and implicit meanings of the text by discovering the hypogram, and finally reaches the Matrix, which is protesting and criticizing the actions of the rulers of that time with bitter humor and mockery.Ode Hypogram are also based on a bitter and biting critique on the domination and rule of incompetent people during the history, false domination through betrayal, corruption and its dire consequences, lost Arab power, The betrayal of internal factors, and the division and defeat of the currents of resistance in the present era.

The translation of religious writings is one of the most challenging and exact forms of translation, requiring the translator to be more accurate and skilled to express the literary nuances of the subject text. However, to assess the accuracy and quality of these translations, fidelity or lack thereof to the original text, level of quality and acceptability, etc., one must inevitably refer to the theories proposed in the field of translation criticism and evaluation. Only then can these translations be properly assessed. The Garces model, one of these models, is employed to assess how well literary materials have been translated. The four levels of semantic-lexical, syntactic-word construction, discourse-functional, and stylistic-practical level are proposed in this model to compare the similarity between the source text and the target text. Based on these four levels, it evaluates the quality and acceptability of the translated texts. As a result, the current study uses a descriptive-analytical approach to assess the accuracy and acceptability of Ali Shirvani's translation of Nahj al-Balagheh based on Garces's theory. The findings demonstrate that Shirvani is content-oriented in her translation and frequently clarifies and broadens the meaning of Imam Ali's statements based on the positive, negative, and neutral strategies that are suggested in the Garces model. The second and fourth layers of the Garces pattern, out of its four levels, are most frequently translated by Shirvani. He occasionally employs constructive strategies like syntactic expansion, grammatical or syntax changes, viewpoint shifts, etc. On the other side, there are also issues with his translation that detract from its quality, such as omissions, translation errors, verbosity, etc.

One of the most widely used and effective methods in analyzing various literary and artistic texts and works is their semiotic analysis. One of the contemporary theorists in the field of semiotics is the French Philippe Hamon; His theory is based on four principles: 1. Types of characters - which include reference characters (historical, social, mythical and virtual), mediating characters and pointer characters (indicating the presence of the reader and writer 2. means personality, 3. personality sign 4. levels of personality description. The present study has tried to analyze and reflect this theory based on the semiotic method in the novel Frankenstein in Baghdad by Ahmad Saadawi. Due to the multiplicity of characters in this novel, the four main characters of Shasmeh, Hadi Al-Atag, Ilyshwa and Faraj Al-Dalal are considered. The results of the research indicate that the selected characters are the type of mediating or pointing characters that the author has used to express his thoughts and in fact, by including them in the novel, he has shown his freedom and patriotism thoughts. The meaning of the characters is also expressed more through the introduction by the author; He uses sentences with special care that acquaints the reader well with the intellectual and mental level of the character used. At the level of description, Saadawi has carefully stated all the physical, psychological and social characteristics of individuals. The choice of name is also made with a certain obsession.

Interdisciplinary studies provided the basis for a better understanding of literary texts and made new sciences such as psychology a suitable platform for the analysis of literary works. Jacques Lacan is one of the neo-Freudian psychologists who reviewed Freud's traditional views and combined them with modern linguistics to provide a scientific and accurate method for researching literary texts. He supported Freud's views with a scientific and modern approach and redefined the  Freudian theory of unconsciousness with the term "Return to Freud" which caused a great change in psychology. The difference between his work and that of other psychologists was in the combination of Freud's traditional theories with the views of Dossussor’s linguistics and Hegel's phenomenology and philosophy. Accordingly, he proposed a new framework for the human subconscious that did not exist in Freud's view. This manifested the transformation and advancement of psychoanalysis, which has become an interdisciplinary study and integrated scientific theory. Therefore, his method is not limited to psychology; rather, it draws on the basic concepts of other sciences, especially linguistics. Lacan, like Freud, has always been a fan of literary works and considers them worth teaching to psychoanalysts. As a result, such a view provides the basis for the psychoanalytic criticism of literary works, especially fiction, and investigates the unknown subconscious world of the characters in the story.Shahd al-Rawi is a young Iraqi writer who rose to fame with his first long novel The saat Baghdad. It was nominated for Booker World Prize for Arabic Novel and attracted critical acclaimations. Al-Ravi gave the novel a psychological look by using a new and distinctive narrative method and paying attention to the personality issues and the psychological structure of the characters in the story. This novel is a clear image of the inner world of its characters, especially the main character, i.e., the narrator, who was affected by the devastating consequences of the Gulf War in the 1990s. The novel consists of discrete narratives in which the narrator tells various events during and after the war that happened to him. The discontinuous and episodic structure of the story reflects the anxiety and distress of the main character of the story by reconsidering his past memories. The important role of the childhood is also reflected in his subconscious. Since Lacan examines the structure of the human personality in three separate dimensions, his view can be a suitable theory to show the psychic rupture of the main character of the novel Saat Baghdad and to express the fragmentary narrative structure of the story. Therefore, according to Lacan's integrated approach, the psychological damages of the story character should be investigated in the deepest semantic layers of the text of the novel.

The present study seeks to psychoanalyze the main character of this novel, the narrator, based on Jacques Lacan's triple theory and to show the reflection of imaginary, symbolic and real areas in his personal and social life.

According to the research findings, the main character of the story escapes from everyday reality due to the unfavorable and war conditions in Iraq and drowns in his imaginations in the hope of achieving unity with the mother body. He takes refuge in the world of childhood and dreams and gradually moves away from the symbolic realm and the world of social codes and norms. He also suffers a loss of dignity and loses his connection with real life, thus becoming an isolated and depressed creature.

Considering the psychoanalysis of the main character of the novel Saat Baghdad and based on Jacques Lacan's theory of psychological realms, it can be concluded that the formation of the narrator character from childhood and from the Persian Gulf War in 1990 to the US and British invasion in 2003 is similar to the psychological realms of Lacan’s theory, which is manifested in the three categories of imagination, symbolism and realism. Due to the conditions of war, this character takes resort to the world of dreams instead of the real world. Moreover, due to his excessive desire for the imaginary realm, a psychotic tendency appears in his behaviors. Examining this novel on the basis of the aforementioned cases makes it evident that the beginning of the symbolic realm, learning of language, acceptance of social norms and father’s law cause the narrator's character to be lost and emptied when he tends to the imaginary field to fill this gap. He suffers from a loss of dignity, and unspeakable emotions flow through his mind by language, which remain only in the pre-linguistic stage and do not flow onto his tongue. The narrator depicts these vague states and feelings through the stream of consciousness and inner monologues.In addition, the narrator or the main character of the story gets familiar with another great person (father) and his relatives, namely Ahmad (Nadia's fiancé) and Farooq (his lover), by entering the symbolic field and learning the language. This is in complete contrast with the other little one, so he sees them as the cause of his separation from the other little one, which prevents him from achieving the sense of security he has gained from being one with mother in the imaginary realm. Thus, the other great person and his relatives become a barrier between the narrator and the other little one. This creates a lot of anxiety and stress for him. As a result, he becomes a shy, depressed and dependent person who feels lonely and abandoned in this world.