mohammad javad pourabed

Speech acts are considered as one of the most important foundations of pragmatic analysis by creating an impact on the recipient based on understanding the addressee’s intent, and benefiting the addressee is one of the important goals that cannot be neglected. The speaker chooses vocabulary and arranges it according to the intention he follows in speaking. Austin was able to lay down the main principles of the theory of speech acts, but the theory did not stop there. It expanded and became more mature with the second pioneer in the philosophy of ordinary language, namely the American philosopher John Searle. His tasks were to develop the theory by distinguishing within the sentence between what is related to the action included in the statement itself, which he calls the power included in the statement, and what is related to the content of the action, which he calls the name of propositional content. In this study, we will rely on Searle's opinions and search for the five speech acts affected by context and internal and external factors, used in poetry collections, A Vasham All khzrah, Ghasaed fi zaman Alfath, and Taghribat Bani Palestine by the poet Walid Saif. This study aims to search for speech acts and employ them in Walid Saif’s poetry based on the descriptive-analytical approach. The results indicate that the poet used verbal acts to express positive and negative emotions such as war, love, sadness, nostalgia, coercion, disappointment, waiting, and his hope for the future. Through these speech acts, which were mentioned directly and indirectly, we saw that the poet tends to use the five speech acts to stir feelings and excite the recipient to accomplish an action. The performance verb, both direct and indirect, was evident in poetic discourse, revealing its power within specific linguistic contexts that facilitated the realization of the poet’s verbal intentions and purposes through the words he chose to serve his poetic text.

The pragmatic theory represents a group of theories that have enjoyed academic prosperity in the fields of literature and linguistics, and language and its actions have been the subject of their analytical tests. In fiction or poetic literature, studies and research have been carried out to a large extent on many literary works, and the Arab academic field has been affected by this theory “pragmatic theory” and Arab academic forums encouraged it, and this theory is not far from the past of deep Arabic textual analysis, which takes the language Space for script analysis. Based on the foregoing, this study has taken the pragmatic theory approach to analyze the level of discourse and its tools in the Diwan of "The Horses and Ashes" by the poet “Hessa Al-Badi”, using the mechanisms of the curriculum to which the study has devoted several elements, which are as follows "Semantics" and "Speech Verbs", “Direct and Indirect Actions”. The analytical study aims to analyze the poetic discourse through actions, the social, psychological and political conditions that revolve around the discourse, and the degree of compatibility of these conditions with the writer’s sentiments in general.The study was able to record a wide presence of semantic verbs in the Diwan “Hessa Al-Badi”. These verbs refer to comprehensive and general events that are in harmony with the general reader, as the verbs direct to the reader Its comprehensive discourse, which greatly helps in building communicative perceptions between the poet and her addressee.

In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi are two poets whose poems contain numerous similarly marked words in terms of both structure and meaning, to the extent that the use of these words can be considered a literary trick of the poems of these two poets. This study, which employs a descriptive analytical method, aims to examine the structure of the highlighted words in the poems of Sa‛ādah and Mousavi, as well as to articulate the most significant meanings of these words in relation to the American School of Comparative Literature. An analysis of the prose poems by these two poets reveals that, in addition to their sentences, they present the highlighted words in descriptive and supplementary combinations, utilizing straightforward language that is accessible and uncomplicated. The highlighted words in their poems are either derived from societal conditions or inspired by the beauty of nature. Consequently, both poets employ techniques such as simile and metaphor to craft meaningful words and phrases that occasionally attribute human characteristics to inanimate objects and elements of nature, while at other times, they visualize the impossible through historical references. This approach facilitates an engaging experience for readers by transforming their works into open texts. The predominant theme of the highlighted words in the poems of these two poets is the portrayal of the suffering and pain experienced by contemporary individuals. 

Pragmatics is a branch of linguistics that studies the simple or complex relationship between language and speaker and audience. In pragmatics, the theory of speech act has a prominent place, which was introduced by language philosophers such as Austin and developed by his student Searle, and he divided the patterns of speech action theory into 5 types under the influence of internal and external factors of context. So, based on Searle's theory, we study Faliha Hassan's poems in terms of the speech acts, because her poems have many semantic dimensions and talk about human and emotional issues as well as social and political issues such as war. This Iraqi poet has a critical view on various subjects and she is influenced by the context of her poems with this act of explicit and implicit speech. This Iraqi poet has a critical view on various subjects and her poems are distinguished by these explicit and implicit speech acts. Therefore, this article tries to study the function of speech acts in Falihah Hassan's poetry based on a descriptive-analytical method. The results show that the poet used a variety of speech acts. But interestingly, this poet has used 5 types, specifically assertive act, directive act, and expressive act. In the poet's poems, we find that she used assertive acts to describe and express her emotions and experiences during the war.

This behavior carries within it an unexpected and unpredictable system. This theory attempts to explore the hidden system underlying this randomness. The novel of Al-Amir Al-Tha'ir is a narrative that draws its fabric from the essence of the reality that occurred in the important era and place, namely the 18 th century in the province of Bushehr, southern Iran, and during the European colonial era. It tells the story of a person named Al-Amir Mahna Al-Zaabi, the Prince of Bandar Al-Ragha, who fought against European colonization. The writer, Sultan bin Mohammed Al-Qasimi, documented the novel based on historical documents, with an enjoyable and engaging narrative. This research is conducted through the descriptiveanalytical method, aiming to study the novel of Al-Amir Al-Tha'ir according to the Shuashi theory, which studies the necessary conditions that led to unexpected and significant changes in the end. It also reveals the manifestations of this theory in the novel of Al-Amir Al-Tha'ir and its important effects on historical reality. One of the most important findings of this study is that the writer intended to instill the spirit of pride and dignity in Arab societies, urging them to reject and fight against colonization by employing historical Arab and Gulf figures who are close and relatable to the community. Additionally, it is evident in several paragraphs how a leader can overcome their greatest enemies with the help of their soldiers and allies.

The error analysis approach is one of the most important and latest educational approaches to language teaching, especially foreign language teaching. In light of this approach, the teacher counts, interprets, and classifies students’ errors in order to find solutions to these errors. Theorists of this approach believe that students' errors are only a stage of learning. In this area, we find that translating prepositions into other languages, including Persian, creates major problems for students, as they face many problems in choosing an appropriate equivalent for prepositions during translation. This research paper, in accordance with the descriptive-analytical approach and relying on the field method, attempts to identify the errors of undergraduate students at the Iranian University of Semnan in translating prepositions from Arabic to Persian first, then classify them, find out the reasons for these errors, and finally propose solutions to these errors. The sample of this research includes 30 second-semester students in the Arabic language branch at Semnan University. The focus was on their translations of the book “The Unknown Journey of Sinbad” written by Magdy Saber. The results of the research indicate that linguistic overlap is the most important factor in students’ errors, and among the prepositions, we found that the letters (من) and (فی) are among the prepositions that most mislead the student into making serious mistakes during translation.

Didascalia is an element of the drama structure that includes the author's instructions in the form of a scene description and is second in importance after the main text as a secondary text. This concept is one of the common concepts in the field of theater, and its many functions have made it compatible with theatrical events. These functions help the actor in playing the roles by being able to plan and clarify the titles, characters, behavioral and verbal actions as well as time and place. By focusing on these functions, the Omani poet Saif al-Rahbi has given his poems the ability to examine them with a dramatic view. This research, with a descriptive-analytical approach, while admiring Al-Rahbi's poetry and the uniqueness of his style in his compositions, aims to reveal the main purpose of the poet in using scene descriptions. In this regard, this research has paid attention to five of the most prominent functions that play an important role in the formation of didascalia structure, that is, nominal, melodic, spatial, temporal, and scenography functions. However the result of the research indicates that the poet's attention to the characteristics of performing arts is derived from his attitude towards how to express and search for a broad vision that covers all scenes, for him, poetry is a mixture of different arts. Narrative language dominates Al-Rahbi's poetic structure, therefore, he portrays his daily observations, exile, and criticism of class conflict through didascalia to renew and avoid stereotyped methods

Since not much research has been done regarding the position of women in sustainability literature, it was necessary to introduce an Islamic style woman as a role model to the Muslim women of the world by examining the personality of Seyed Saham Mousavi, the wife of Seyed Abbas Mousavi, the former Secretary General of Hezbollah in Lebanon, based on the components of sustainability. The purpose of this article is to introduce and analyze the personality manifestations of Martyr Seyedah Saham Mousavi in different political, cultural and social dimensions based on the components of sustainability literature to the women of the Islamic society. Target). The most important issue of this research is which of the components of stability has been revealed in the personality of Seyedah Saham Mousavi? (Problem) In this research, the authors analyze the most important components of sustainability that are institutionalized in the character of the hero of the novel "Al-Sosol" with descriptive analytical method (method). The findings of the research show that Mousavi's stake had the most important components of stability at a high level, which are: the need to adjust time and place according to the conditions of the struggle; Trust and the spirit of belief in God in the fight; hope and indomitability; honoring the martyrs; Provincialism and provincialism; forgiveness and giving in the way of resistance and support; Sacrifice in the path of truth(findings).

Humans have always paid attention to literature since long ago, and literature has a deep connection with human life. Writers and poets are always trying to expand the field of literature and its effects. The use of images in literary works provides the basis for understanding for the audience and the audience's connection with the literary text. Sensory Images are also tools that are placed as the foundations of a general image in the text of the poem and the poet uses them to express his intention as best as possible. In other words, the images created by the poet have a direct and close relationship with the poet's spirit and his goal. This research, to the best of its ability, with a descriptive-analytical method and using library and electronic resources in four chapters, examines the elements and tools of sensory imaging, including (sense of touch, sense of smell, sense of hearing, sense of sight) in the works of Shomaisah AL Nuumani Paid. The obtained results indicate that this poet seeks to have a greater effect on the reader by using different language styles and using them, and Shomaisah AL Nuumani poems are a mirror of his poetic experiences.

Scenography is a very valuable literary term, which deserves research and study. Because the literary text analyzes from two aspects: formal and spiritual, relying on the pains of external structure, and poetic components and literary texts. Among these elements, we can mention the elements of Scenography and the extraction of scientific concepts by using refractive images and indexes that are contrary to reality. Each of these describes and interprets the reality within the human being through visible and explicit and implicit images contrary to known principles and rules. It also transforms the original image and reconstructs it into a different and new image and profile. Ali Kanaan is one of the poets whose poems are mixed with new poetic techniques that are full of overt and covert scenography indexes to avoid old and familiar concepts. He enriched his literary genre with new poetic techniques and solid words, precise thought, and purposeful images. This research seeks to answer the following questions: What new techniques has Ali Kanaan used to create images that are contrary to reality? What are the features and characteristics of cinematography in the poetry of Ali Kanaan? The purpose of this research is to search Ali Kanaan's poetic texts by emphasizing the scenographic elements in the lab of his poems, and by referring to the descriptive-analytical research method. This research will cover all the concepts and topics related to Scenography. And its main axes are limited to the preparation of the framework of the poem, the visual effects, the decor, the lighting, the color, the movement, the transformation, and the negative images.

Focalization in narrative texts determines the point of view in movies. This also plays a significant role in advancing the events and the narrative process through the multiple effects of the focal point. It can be argued that the overlap between novelistic focalization and cinematic focalization is advantageous for both fields. Focalization in narrative texts designates the position and place of the narrator and the point of view from which he/she narrates the events while in cinema focalization means that the camera narrates each character’s point of view separately, which affects the spectator. Also, these dramatic elements increase the audience’s ability to understand the discourse in such a way that focalization becomes a dramatic technique. This argument holds particularly true for Zahran Al-Qassimi’s The Sniper. He locates the viewpoints in different places of the villages of Oman through the camera Saleh bin Sheikhan, the protagonist, carries with him. This study, based on a descriptive-analytical method, addresses the focalization techniques within the cinematic discourse and its various effects in The Sniper focusing on the image structure. The objective of this study is to examine the signs of image focalization within the novel’s cinematic discourse. It finds that the way the interaction of the camera and the narrator’s personality affects the spectator can be observed in various scenes. This study specifically focuses on visual focalization and its dimensions.

Pragmatics is a newly emerging science, concerned with the usable and communicative aspect of language, which appeared as a result of the shortcomings of previous studies in their procedures and results. Pragmatics has emerged to combine structures, semantics, and context, and the latter is a new field born from the heart of linguistics. It is the most important linguistic field developed and flourished in Western linguistic culture with the aim of studying the meaning and adjusting it in a context of use. It focuses on linguistic functions and their characteristics and is more concerned with communication procedures in general. It tries to answer the following questions: What do we do when we speak? What do we say exactly? What should we know in order to remove the ambiguity from the sentences? Discussions of pragmatics have multiplied and diversified, but they are studied for one purpose, which is to reveal the meanings intended by the speaker, and the most important of these topics is the dialogic implication that the focus of this research is on because it is an important element that the speaker resorts to in order to express his intentions using indirect language. The listener infers from the meaning intended by adopting his mental abilities, as well as the communicative context in which language is used. This theory was based on the principle of cooperation, which was endorsed by Grace. He saw the need for the interlocutors to follow it and follow its guidance in the dialogue. This principle has branched out from four rules that control the course of the dialogue, namely: the quantity rule, the quality rule, the occasion rule, and the method rule, so any violation of one of these rules leads to a disruption of the dialogue process. The interlocutors’ speech shifts from the explicit meaning to the implicit meaning according to the denominator, or the context of the case. As a result of this divergence, the dialogical imperative appears, which changes with the change of the context in which it is mentioned, provided that the principle of cooperation is respected.The Quantum Rule: Make your contribution to the dialogue to the extent required, without adding to or detracting from it. “This rule is considered a semantic limit intended to prevent the interlocutors from increasing or decreasing the amount of interest required” (Taha, 2000, p. 103).A poetic model for violating the quantum rule" in Walid Seif's poems:Salma is a body that opens from the mud and oozes secrets / Salma is not a moon that rises from the sphere of poetry / Salma is a brutal moon that rises from Falak buttons / Salma is a flower of fire blooming in the fever of prices / Salma be a bomb that opens the prison doors / And a hurricane is released from my chest (Saif, 1971, p. 20).The poet has violated the quantum rule in this poetic text. As if the poet was asked who is Salma, it is assumed that the poet should respond to the required amount without adding to or detracting from it. But the poet's answer was more than required. His answer came by repeating the name Salma, assuring the questioner that he had nothing but a kind of obsession. The poet violated the principle of quantity by verbosity through the appendix, fulfilling a psychological need for the poet who liked to expand and lengthen the words.The Rule of Quality: Do not say what you think is incorrect, and do not say what you do not have evidence for. Its intent is to “prevent false allegations or prove falsehood. For this reason, the speaker is asked not to use any of the phrases except those that have been based on evidence proving their sincerity” (Salah, 2005, p. 88).A poetic model for "violating the rule of quality" in Walid Seif's poems:And the detective in the room takes a puff of his cigarette.He looks through the window at a woman bursting like a ripe plum (Saif, 1979, p. 160)If it is assumed that one of the poet's friends asked him this question: What was the appearance of the informant in the interrogation room? Then, the poet replied to him, claiming that he had a cigarette in his mouth, taking a breath from it, and looking at the woman who exploded like a ripe plum. The place of implication here is in the poet’s answer when he said: (Like a ripe plum). Breath trance the breach of the quality rule was achieved through the poet's use of simile.The Appropriate Rule: This rule states the need for: “Your essay fits your position, and aims to fit what is required at every stage” (Baateesh, 2014, p. 108). Make your speech relevant to the topic. This rule relates to the need to adhere to the topic of the dialogue.A poetic model for "violating the appropriate rule" in Walid Seif's poems:The sun is still shining there, and the informant / breathes the smell of roast meat / speaks! A drop of blood falls in the memory of the buried woman / Now confess/ What?!/ That the flowers of Palestine/ Bloom in my body, that the knife/ Don't bite Turn away from my skin color of the earth / and the gunpowder of rejection (Saif, 1979, pp. 61-62)The detective's personality insists on extracting something from Zaid Al-Yassin's memory, and the act of the matter in the dialogue included rebuke and insistence, revealing a psychological component that the informant practices in the interrogation room. The recipient imagines that he is in front of a scene of violent representation. An executioner stands with his whip over the victim’s head: Speak, … Confess now! The victim replied: With what? Because she has nothing to admit. And if we look at the answer of the victim (Zaid Yassin), we find that what he said is not an answer to the question of the informant. Because it violates the principle of appropriateness by subject.The rule of method This rule “is not related to what was said, but to what is meant to be said, and the manner in which it should be said. Its aim is to avoid turmoil, boredom, and brevity. It is linked to the basic rule that we express by “commitment to clarity” (Fadl, 1992, p. 199).A poetic model for "violating the rule of the method" in Walid Seif's poems:And I saw an old woman staggering in the streets / looking for her share of this world in piles of rubbish / carrying in her basket a moon. And the remains of an apple and a newspaper/ talking about floating the currency on the waste mountain of butter / and the price list (Saif, 1979 AD, pp. 66-67).The poet here depicts the movement of a staggering old woman, looking for her share in the piles of waste, carrying in her basket a moon from a tin, in this passage the recipient is surprised when he finds this old woman talking about the floating of the currency, the price list, and how the moon can carry her in a basket from a tin. Here, we see an unexpected response, how an old woman is looking for her share in piles of waste, how this old woman is carrying the moon in her basket, and how this old woman is talking about floating the currency and the price list. All of these responses were not explicit and the phrases are full of ambiguity and lack of care for brevity and clarity in speech. In this dialogue, the poet penetrated the principle of the method, which stipulates the necessity of adhering to clarity in speech and avoiding ambiguity, ambiguity, and vagueness.The speakers, especially the creative ones, frequently resort to expressing their goals, purposes, and positions, through the metaphorical use of utterances, and they rely a lot on the dialogue imperative. The poet Walid Seif resorted to the dialogic imperative because the thoughts that he wanted to express do not fit the literal meaning of the words, and for this, he resorted to implicit meanings and distant interpretation.

Greimas factor model is one of the basic components of Greimas propositions about the surface structure of the text. The factor model is based on three models of factors: essence/subject, sender/ addressee and helpen/opponent; And from these factors emerge three relationships. Julian Greimas uses the factor model in analyzing the concept of factor and highlighting the relationships that connect the text. Since the novel is classified in literary genres which embodies the image of man in the struggle against life and is an expressive space , the author uses it to convey his feelings and thoughts based on a set of harmonious elements. This study intends to examine the factor model in the novel Al-Sinbad Al-Aama written by Buthaina Al-Issa based on Greimas factor model and Structural method in the framework of critical research that considers personality. In this research, we intend to explore the text of this novel based on the factor model and deal with the characters and analyze the functions of the characters in the narrative body and focus on the main characters  through  their names and communications. They take place with other characters. The results of the research show that this novel goes through various stages that help to visualize it. There are elements of motivation, competence, achievement and punishment in the behavior of the characters of the novel, as well as factor roles in this novel appear in a significant way .Therefore, we were able to complete the narrative schema in this novel.

One of the applied theories in the field of psychological criticism is the theory of Alfred Adler. There are similarities between the main characters in the “Weelan al-Dawla” by Muhammad Ali Jamalzadeh and “Shurti” by Mikhail Naima from the viewpoint of psychological criticism, which provides a basis for their comparison according to Adler's individual theory. Therefore, this study aims to further acquaintance with the authors and their short stories and seeks to examine their main characters according to the descriptive and analytical method and within the framework of the American School of Comparative Literature and of course based on Adler's psychological theory of personality. The results showed that the character of the two stories is formed under the influence of the environment and social conditions. The research also showed the severe contempt complex of “Weelan al-Dawla” and “Shurti”, that in “Weelan al-Dawla “returns to tenderness and neglect, while in Shorti it arises from physical problems. The character of the two stories follows two different paths to reach the final goal,

Implicit Model is a fundametal concept on which cultural criticism is based as it deals with the function of a model in texts and discourses and examines the textual subconscious, and dismantles the academic rhetorical language that is far from social problems and facts of the social life. This model may be present in songs, costumes, fables, and proverbs, as it is in poems, stories, novels, and other forms of art. Beneath all these elements is a cultural system perceived by the listener, viewer, or reader because of its hidden adaptation to an older model fixed in the mind. Regarding the cultural approach examining hidden Implicit Masculinity Model, the present study seeks to examine and analyze the hidden model of masculinity in the novel Tishrin by the Iraqi novelist Wafaa Abd al-Razzaq. In the sub-topics, the representations of masculinity in the novel Tishrin, such as: love, the desire for control, elimination, covering masculinity with religion, and the fear of shame, were examined. The study reached a set of results; The most important ones: Wafaa Abd al-Razzaq is consciously at times, and sometimes unconsciously created a conflict between the authority of male discourse and rebellion against this discourse behind an aesthetic and literary modelو so she sought, to fill her novel with the pattern of implicit virility, so her novel no longer concerned only the central, but the margin became the focus of her attention as well.

To study the deep structure in the text to analyze the discourse in it, it is necessary to study the first semantic structures. The lexical images are a constructive and essential factor to begin to understand this structure; These vocabularies are the cornerstone of the process of revealing the general connotations in each text. These lexical images are used in nuclear morphology, as a tool for formulating formal paths that help in extracting the basic elements in it. The process of morphology contributes to deducing the first conceptual encounters, playing a prominent role in reaching rhetorical groupings in the general semantic field. The French scientist Algirdas Greimas worked on employing the outcome of the nuclear morphology process, to reveal the network of opposite relations in the text within the semiotic square that he created for this purpose within the framework of his semiotic theory. The semiotic square identifies the semiotic categories that form the semantic axes in the elements of the text and that shape the narrative discourse in the text. the poem “Scattered Spaces” by the poet Karim Maatouq contains many different and opposite letters and structures, three general discourses are revealed in the poem through two semiotic squares: the square of sadness and pleasure, and the square of fear and security. The research also dealt with the different networks of relationships that make up the discourses of the poem.

In the middle of the 20th century, a new approach emerged in linguistics that focused on the whole text and not the sentence. Robert de Beaugrande proposed seven criteria for recognizing the text, which were: 1) Cohesion, 2) Coherence, 3) Intentionality, 4) Acceptability, 5) Situationality, 6) Intertextuality, and 7) Informativity.These seven criteria consist of:Two cases are related to the text itself: the criteria of Cohesion and Coherence.Two cases are related to users of the text: the producer of the text and its recipient. That is, they include the criteria of Intentionality and Acceptability.And three of them are related to the external context of the text: Situationality, Intertextuality, and Informativity.According to de Beaugrande, the text is a meaningful unit that is formed for the purpose of communication. It does not necessarily consist of several sentences, but it may consist of several sentences or several single words or include elements that do not meet the conditions of a sentence (for example: road signs, announcements, telegraph, and so on). According to his definition, traffic lights such as ‘no stopping’ are texts like a huge novel of three hundred pages, so he considers each one as a text regardless of its length or size.Intentionality includes the position of the text creator to produce a text that has coherence and cohesion and thus pursues a goal. According to de Beaugrande, the text is a means to achieve a goal. To this end, the text must have the necessary cohesion and coherence. This criterion is related to the sender or the speaker of the text who sends his text with the intention. Every written speech or non-written text contains a purpose, which can be clear or ambiguous. The purpose of every linguistic event is to convey a specific meaning and purpose to the receiver, so every text has a message. There is no text without a message. Of course, to get the message better, you should pay attention to the whole text.It seems that a large part of the interpretation of the Qur'an is to understand the sender's intention and the interpreter tries to inform the receiver of the producer's (speaker's) intention after each verse. He divides his verses into similes and analogies, and considers the understanding of similes to be dependent on the provision of conditions, the failure to comply with which will cause deviation and misunderstanding in the message of the text.Some researchers of Qur'anic sciences consider the Qur'an as a connected whole, and the condition of mastery and reaching the correct understanding depends on familiarity with all the verses. They consider this fact as the basis for understanding its generalities. For this reason, most of them divide the Qur'anic purposes into two categories: direct (express) and implicit (indirect) purposes. On the other hand, as long as we look at the Qur'an as a coherent and integrated text, then we can divide its purposes into main and secondary purposes, and among the main purposes, we can point to the guidance of man and the call to worship God as the most frequent purposes of the Qur'an.According to de Beaugrand, Intentionality is closely related to the criteria of Cohesion and Coherence, so if the sender meets these two criteria in his text, he will reach his goal. As a result, the Qur’an is the open text that carries within itself messages sent in several types, some of which are brief, some are general, and some are detailed in their statement. This diversity coincides with the shifts of the human mentality in time and place through the ages, as it is the miracle that remains in all its details until the end of the world and its goal is to enable the delivery of divine goals and purposes.Acceptability means that the text is accepted and answered according to a set of standards, rules, and consumer premises. This is a standard related to your location in the country. This criterion is closely related to the criteria of consistency and harmony, and in addition to that, sound and acceptable texts are those that take into account the horizon of the reader’s expectations and respond to his reading, artistic, aesthetic, emotional, and subconscious desires. The sequence may cause the message to be ambiguous and the receiver unable to understand it. The acceptance factor is relative to the recipient. The Arabs were known as the owners of the language and the masters of the language, so their souls were in the Qur’an, and whoever deviated from it accused the holy prophet (PBUH) of magic and madness, and the Qur’an called them to challenge in many places. And when they were unable to come up with a verse like it and were perplexed about it, they embraced Islam. One of the most important types of evidence of their acceptance of the Qur’an was their use of the verses of the Qur’an as witnesses for their writings in the investigations of morphology, grammar, and rhetoric. The Arabs understood that the Holy Qur’an is miraculous in its style, clarification, information, guidance, wording, meaning, and impact on the addressee.

Time is one of the significant features of narration that links the events of a text together based on stylistic choices. Time, in terms of analopsis or prolepsis, can create anachrony in a text. Ghassan Kanafani, utilizing this technique in Return to Haifa, attempts to narrate the confusion and displacement experienced by the characters. This study, adopting a descriptive-analytical framework, examines the role of anachrony in introducing characters, presenting information, and affecting readers. The study identifies 31 instances of analopsis in the novel. The characters’ analopsis appears in forms of conversations and reminiscences of war and displacement as the result of stimulating of senses and attending a specific place like such as the beach, streets, and houses. In this regard, the author narrates the 20-year experience of displacement and forced migrations of people since 1947. Saeed, a character in the novel, uses prolepsis 7 times in his speeches, which probably crystallize the 1967 awareness (enlightenment) among people. It can be concluded that Kanfani expresses his optimism towards the nationalists’ movements and the Palestinian people by relying on preliminary analopsis and reporting future events, believing that people are ready to pay high costs to fulfill national goals.

Writing in the manner of "stream of consciousness" refers to a narrative technique in which the thoughts and emotions of a narrator or character are written so that the audience can follow the course of continuous changes in that character's mental state. The audience can hear the characters' inner thoughts when they are written in "stream of consciousness" form. In this technique, language is frequently employed in unconventional ways to re-create the intricate path of a character's various thoughts. Dreaming is another technique of this type of narrative that, as an emotional potential, reveals essential aspects of the mental and psychological life of the characters and aids in reconstructing a character's various thoughts. A critical language stimulus that aids the dreaming process (unconscious) in this type of novel, the use of language stimuli is a way to demonstrate the fluidity of human thought. It plays a pivotal role in advancing the narrative and enhancing the meaning and comprehension of the text. This descriptive-analytical essay seeks to enter the world of narration in the Iraqi author Sinan Antoon's Wahdaha Shajarat al-Rumman (The Pomegranate Alone) by analyzing the role of linguistic stimuli in reconstructing different thoughts of personality and introducing them to the readership. Therefore, the concealed unconscious angles of the novel's characters are disclosed through the use of linguistic stimuli in the narrator's dreams. The dreams indicate the psychological emptiness of the personality or the feeling of anxiety and fear toward his wounded homeland to understand the process of creating meaning in the novel with a symbolic analysis.Sinan Antoon's novel Wahdaha Shajarat al-Rumman (The Pomegranate Alone) is founded on stream-of-consciousness narration. Imagination and imagining are two of the mechanisms employed in this work. The authors also attempt to introduce the audience to the nuances of this technique and the author's talent in employing it by illuminating comparative examples taken from the novel, which is based on the dream and imagination of the protagonist's mind.This descriptive-analytical investigation is based on Sinan Antoon's The Pomegranate Alone (Wahdaha Shajarat al-Rumman). From the very first chapter, it is clear that this novel devotes special attention to mental fantasies. Furthermore, 14 of the novel's 54 chapters contain references to fantasizing. Through statistical and analytic analysis of comparative examples of imagination in this novel and the use of linguistic stimuli from the narrator's dreams as comparative examples, this study intends to disclose the concealed unconscious angles of the novel's characters.According to the reviewed comparative examples, dreaming in Wahdaha Shajarat al-Rumman (The Pomegranate Alone) manifests on two levels: directly (dreaming during slumber) and indirectly (dreaming during wakefulness). A visionary is a narrator who is inspirational on both levels. Based on a stream-of-consciousness style, this dreaming has effectively shaped the narrative texture of the novel. The mental experiences of fictional characters, which are concealed in the subliminal strata of their minds, are revealed in the narration by the narrator. This dreaming resembles a mental drama with a strong presence in the novel's structure and a pivotal role in formulating the novel's theme, which is the narrator's sense of nostalgia.The results of this study indicate two levels of dream manifestation: dreams in the state of sleep and dreams in the state of waking up to the verge of nightmares, all of which are associated with the agonizing social and political phenomena resulting from occupation and sectarian tensions. The passages where the narrator employs the dreaming technique also serve the novel's narrative. This technique is utilized to visualize repressed desires and as a psychological retreat and objective correlation between the hero's life and tragic catastrophes. Finally, the author used a variety of language stimuli, including language fragmentation and lexical nostalgia.Keywords: Current novel, dream technique, language stimulation,  Sinan Anton,  Alone pomegranate tree.ReferencesThe Holy Quran.Abdul Rahman, Abdul Hadi. 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contemporary poets Have devoted some of their poems to subject of Islamic Awakening. One of the issues that is being Considered globally and especially by the Islamic countries and societies is the accurate know edge of The dimentions of the Islamic Awakening as a new thought that has been brought up in recent decades. Said Matuq is amony the new and contemporary poets who has used poem as an expressive literary Genre to express his thoughts and ideas and to learn the Islamic Awakening as a valuable goal in his Society. He has used xeffective concepts which based Very on original values and explanation of national identity will smooth the way of Moslem people to eternal happiness or hereafter bliss. This research answers the guestion of which concepts exists in the Emirati poet Saeed Matuq which are positive for compre hensively streng thening of Awakening movement in the history of Islamic civilization. for this purpose the descriptive analytical method ased on he has been able to successfully reflect the political and social mood of his people and the other Islamic countries in the path to worship and awakening and anti-colonialism.

Cultural criticism, unlike literary criticism, does not seek the beauties of the text and its functions, and does not even pay attention to coherence and imagination, but seeks to discover hidden thoughts and everything inherited from cultures that lies beyond the beauties of words, and seeks meanings. Which does not appear next to the text, but is hidden to show the influence of continuous cultures on the authorchr('39')s psyche. Womenchr('39')s rights and status are linked to modern culture and the ideas of modernism, and contemporary literature has always been committed to the realization of womenchr('39')s rights and held itself accountable for the well-being and security of women. The purpose of writing this article is to research and re-read the novel "Curse of Kane" and to find cultural practices and implications and to discover the face of a gypsy woman in this novel and the apparent and hidden text and everything that the author hid inside and adorned the text with words. This research is based on a descriptive-analytical method to try to discover the procedures in the novel.
The covert practice with regard to the gypsy woman is that it first places the novel in Al-Kamaliyah, which is the center of the gypsy gathering, then we discover the gypsy woman the worker, then the gypsy woman the prey of the eastern men, and the illiterate and ignorant gypsy woman respectively , Then we will describe the weakness and inability of gypsy women and their insecurity.

The dictionaries used by learners of Arabic who speak Persian are generally not written on the basis of needs analysis and a comprehensive comparison between the learners L1 and the target language. These dictionaries also lack interesting images. Such issues lead to ambiguity and create problems and obstacles in learning Arabic for Iranian students. This study discusses the main criteria for compiling an Arabic learner dictionary for those learners who speak Persian as their L1. The study is based on a comparative analysis of the common vocabulary in Arabic and Persian in the field of linguistic needs in order to provide a lexical material with common and popular vocabulary that summarizes the time and effort required to learn Arabic words and meanings. The study then reviews the progress achieved in the design of the glossary of the words common to Iranian learners of Arabic, with the aim of making an active contribution to the teaching of the Arabic language to speakers of Persian. The conclusion of the study is that providing a list of words divided into different areas as images of an educational dictionary will have a significant impact on students’ learning of writing skills. The comparative analysis between Arabic and Persian languages and knowledge of similarities and differences through sentences and scripts from both languages will contribute to speeding up learning Arabic and its skills by Iranian students.

As an effective instrument in functional linguistics for examining the factors affecting the inference of meanings, situational context probes the relationship of words and sentences to instances outside the language system. The study of this context leads to an understanding of the meanings of literary techniques, including epithets. epithets are the artistic use of adjectives in the speech that has different meanings in the context of literary speech. With a descriptive-analytical method and the American school of comparative literature, the study seeks to analyze the semantics of epithets in the poetry of Hafez Mousavi (1954), the contemporary Iranian poet, and Wadī‛ Sa‛ādah (1948), according to Halliday’s Functional Linguistics. The results showed that the meanings of the epithets in two poets’ poetry could be divided into two categories-- dark and light. The frequency of dark epithets was higher than light ones due to the depiction of social issues. However, there is often a glimmer of hope throughout their poetry. Narrativity and appropriate verbs are the most prominent features of the stylistic epithets in the two poets’ poetry. The poets’ choices as the prominent participants in the clauses caused their direct presence in the poetry space. The Notification mood is frequent in the clauses, inducing the concept of probability and commonality in the form of the dependency aspect element because the two poets choose epithets as an arena to express their biographies and societies.

Recently, the modernist novel was based on the visual data taken from the visual arts, especially the seventh art, so the features of the cinematic image appeared in the narrative depth engraved on a large scale. Employing the visual image in the narrative has several effects, which are reflected in the movements of characters and objects in the narrative space, or the framing of scenes depicted by specific techniques. Zahran Al-Qasimi's novel "Al-Qafar's Alienation" is considered one of the most important novels in which the writer uses vocabulary related to the cinematic language.This study relies on the descriptive-analytical approach to reveal the common windows between the cinematic elements and the narrative text, through which junctures emerge that include vocabulary that characterizes both arts. From this point of view, this study aims to show the extent to which vocabulary and narrative paragraphs are subject to cinematic techniques, and to emphasize the two functions of the snapshot; Reading and visual and the reflection of the semiological connotations of them, so the results obtained from this convergence is the transcendence of the fictional text towards the narrative text. With this work, the writer may give the recipient the opportunity to enter into a visual world that adopts the idea of depicting the scene and directing it. The focus of this study revolves around five techniques that intersect with the written narrative. Action and reaction shot, witness

The character is one of the most important elements in any novel, especially in meta-narrative studies in which this element come fictionally, or the character of the author in the text, and determines the problematic of the narration which may be studied within the narrative studies. As a sequence, this technique, known as Meta-narration, repeated frequently until the fiction overlaps the reality or a text comes within another text. The Sudanese author, Amir Taj Alsir, has very often applied this technique in different ways in his novels, especially in Taqs (Climate) where the narrator of the text is meanwhile an author of the novel. Accordingly, we find the novel Hunger Wishes inside the Taqs. As a result, develops the technique of Meta-narration which represents “a story taking place within another story.” As the reading of the novel proceeds, we’re going to introduce and distinguish the characters from the beginning to the end, for the reason of not reducing the surprise element and to give a clue of the ambiguity of the Meta-narrative plot. This article aims to study the meanwhile fictional and real character of Nishān Hamzeh Nishān who was created by the main character’s phantasy and entered in his real life, a technique that oriented this study to concentrate on meta-reality of the novel’s characters. Finally, the article studies Meta-narration, meta-narrative events of characters, fictional and real character, the internal and external structure of meta-narrative writing, meta-characteral fiction, meta-character and meta-narrator. Through this study, it turns out that the meta-character affects the navel plot and takes it beyond the narration. This study is carried out according to analytical-descriptive method and has come to results, the most important among which is that the character oscillates between the fiction and the reality in the meta-narrative text and helps the realm of the imagination until the illusion. It is also possible to use the expression “meta-character” as an independent technique, a process noticed a lot in Taqs (Climate) novel for the character Nishān Hamzeh Nishān.