جستجوی مقالات مرتبط با کلیدواژه « نزار قبانی » در نشریات گروه « ادبیات و زبان ها »

Nizar Qabbani and Simin Behbahani are renkowned as famous and stylish poets in Arabic and Persian literature. These two prominent poets have utilized the states and characteristics of children as a tool to express their feelings and emotions aligned with their tendency towards romantic style. As decleared by Nizar, childhood is considerd as the key feature of his personality and literary life and, accordingly, he has expressed the joys and sweet experiences of childhood in these poems. Furthermore, he never finds himself distinguished from the states of childhood. In opposition to that, Simin has spent a bitter childhood and this bitterness is reflected in his poems, although the childhood memories of two poets, one is sweet and the other is bitter, both of them are full of the characteristics and moods of children, such as love for play and mother. They have integrated features like innocence, beauty and tenderness, honesty and hopelessness, etc. for their romantic depictions. In this article, irrespective of the exisiting distinctions between the two poets in terms of their gender and nationality, childrens' moods and traits have been used by both as a vehicle to express their romantic feelings and emotions due to their shared human feelings.

Nizar Qabbani (1923-1998 AD) is considered one of the most famous and popular contemporary Arab poets in the 20th century, who seriously turned to political and stability poetry after the defeat of the Arabs in June 1967. The ode "Rasheel and Sisters" is one of the prominent odes of Nizar Qabbani, which was written after the bombing of Qana by Israel in 1996, and the symbolic appeal of various religious, historical, mythological and literary figures has given a special effect to this ode. Undoubtedly, the cultural, political and social conditions of the Arab world and the various intellectual and cultural springs that the poet used and the dynamic mind and vision of her critic were effective in calling these characters. This symbolic presence sometimes includes religious figures such as Christ, Imam Ali (a.s.) and Imam Hussein (a.s.), and sometimes it includes Arab and non-Arab mythological figures such as Don Quixote, Antart, etc. With the symbolic use of these characters and their hidden and obvious existential meanings in a positive and sometimes transformed and negative way, Nizar tried to express his attitudes, messages, pains, experiences and criticisms on his enemies and the Arab society in a literary format. convey to the audience.

Semiotic analysis of the ballad ‘"Havamesh Ala Daftar Al Naksa" by Qobbani based on the Reifatore's theoryBased on Rifater`s theory, poetry has an indirect function. This theory requires a different process in poetry reading. The basis of this theory is discovering the semantic network of poetry, by passing heuristic reading and reaching to retroactive reading. In the second reading, the reader investigates ungrmmatically elements and discovers the internal communication of text elements, by finding forms of accumulation and descriptive systems. the reader receives the holograms. these discussions lead to the reception and discovery of the structural network of the poetry. This study is based on a descriptive-analytical method and aims to read the "Havamesh Ala Daftar Al-Naksa" by Qobbani.The heuristic reading of this poetry expresses the frustration and sadness of the Arab lyric poet about the unhealthy situation of some Arab countries. retroactive reading shows that Hawamesh's poetry has 3 accumulations and 2 descriptive system."old and rusty elements", "despair and failure" and "the need of uprising and changing" are 3 accumulations of this poetry. The descriptive system of this poetry shows the suffering of Arab nations after defeat of Arab countries, which the poet symbolizes it in "words without work" and "Arab nations". After defining hypograms of the poetry, we reached to the Structural tissue and the origin meaning of the oetry. It is the necessity of getting up and doing something to get upKey words: Qobbani, Rifater, Havamesh ala Dafrae al Naksah, Semiotics, Heuristic& Retroactive reading

Comparative literature is a means of crossing political, ethnic and cultural boundaries, where subjective data find the opportunity to develop and break out of their confines paving the way for getting acquainted with similar works among other ethnic groups. Indeed, the result will be the discovery of commonalities, the study of each can not only reveal the effects and interactions, but also unveil the influence of external and contextual factors in the formation of similar works. Comparative symbolism is beneficial in this framework and can pinpoint the factors influencing the formation of each. Obviously, resorting to symbols is in fact avoiding clarification, which is done due to various reasons. One prominent reason is to multiply the induced image by the number of audiences, and this breadth and multiplicity of the created image is one of the main reasons for durability of symbols in literary works.

This study follows a comparative descriptive approach to investigate the poems of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, and the impressionability of each of these two poets in terms of use of symbol. It is obvious that symbols are used to avoid direct perspective was used to investigate the works of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, in a library and descriptive manner, with the purpose of pinpointing the influence of symbols on these two poets.

Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.Death is one of the natural phenomena that has always been a challenging issue for humans and according to their cultural and social environment, people have had different dealings with death and the anxiety caused by it. Kubler Ross is one of the first psychiatrists who tried to define a systematic method and framework for death and how come face to face with it. In his theory, he considers five stages namely denial, anger, bargaining, depression and acceptance for terminally ill patients so that they can accept their death by knowing and applying these stages and continue their lives with calmness and without fear or anxiety. Kubler Ross's theory can be applied to all bereaved people and those who have experienced spiritual and emotional failures in their lives. Nizar Qabbani's "Balqis Ode" is one of the texts that can be adapted to the mentioned theory. This ode, which was written as an obituary in the description of "Balqis al-Ravi", is a full-view mirror of Nizar Qabbani's mental and emotional turmoil and sharp views on current issues in the Arab society. The present research tries to analyze the mental and psychological states of Nizar Qabbani in the mentioned Ode by descriptive-analytical method and based on the theory of mourning. According to the results of the research, in this ode, the poet goes all through the five stages of the theory of mourning in an irregular manner and finally reaches its highest stage, which is the stage of acceptance and accepts the death of his wife. At each stage, he returns to the stage of anger and shows his anger at the factors involved in the killing of Balqis.

The poem's phrases possess significant semantic depth, with each one conveying numerous concealed and enigmatic connotations. Therefore, comprehending its meaning necessitates a meticulous analysis of the poetry. An effective approach to comprehending word meanings is to analyze them through the lens of the theory of conceptual relations. In this theory, we aim to comprehend the precise significance of each word by analyzing the correlation between words. Synonymy is a relationship between words in which they have the same or similar meanings. When analyzing meaning through synonymy, the goal is to gather and compare terms that have the same meaning. This process helps to refine and clarify the semantic boundaries of each word by considering additional synonymous words. Synonymy can be applied in the translation of poetry and its criticism. This article critiques the equivalence of terms in the book "To turn green from love" by utilizing the notion of synonymy. This book features a compilation of Nizar Qabbani's love poems that have been translated from Arabic to Persian by Musa Aswar. During the analysis of equivalences, the initial step involved extracting the denotations of the words under discussion from the dictionary. Subsequently, the extra-lexical meanings of these words, such as their emotional and stylistic connotations, were decoded by taking into account the context of the poem. In the following, the process of selecting the most similar equivalent to the source text by gathering counterparts with the same meaning is described. Additionally, the translator's equivalence is evaluated and criticized. The research findings indicate that in certain instances, translation equivalents do not align with other terms within the context of the poem. Furthermore, many counterparts in the translation exhibit reduced emotional intensity compared to the words in the original text, while others possess a broader and more encompassing significance than the words found in Nizar's poems. Additionally, certain equivalents have caused the translated text to be unclear or open to interpretation.

Nader Naderpour, a Persian pictorial poet, and Nizar Qabbani, an Arab romancer, are famous contemporary figures. Naderpour's poetry is a pure image. Qabbani expands love in the concept of all attachments and creates magnificent and pristine images. The reflection of his petition against the rampages and trampled women's right is shown in romances with new images. The theme of two poets' poems is sadness and love; Both of them moved away from their homeland and depict the time and place of exile. This research has a descriptive-analytical method and evaluates and compares the prominent images of two poets' poems by classifying them and criticizes the use of nature effects in the structure of the images. Naderpour is very masterful in creating atmosphere and gives a narrative form to the poem. The findings show; Phenomena play a fundamental role in their image structures. Reflection of romantic feelings and depiction with beautiful pictures of creation makes their poetry attractive. The depth of thought affects both humans and beyond the ideal world, extensive sadness and love in the images and creates empathy. The free thought of two poets plays a prominent role in the formation of images and they achieve innovation with the modern structure. Naderpour's and Qabbani's poems are consistent and compatible in terms of themes and image structures.

The waiting for Godot has inspired many works in different countries. Among them is the story of "Waiting for Godot" by Nizar Ghobani, a contemporary Syrian poet, as if it were a regular translation of the play by Samuel Beckett. A comparative study of the play by Samuel Beckett and the story of Nizar Qabbani reveals both of them in how they describe human expectation. The present study is a descriptive-analytical one with the aim of discovering the similarities and differences between these two works through a close reading and comparison between the authors' method of presenting expectation futility and the element of Absurdity. The findings of the study show that Beckett created the work after World War II and colonized his country, Ireland, and Qabbani after the Arab-Israeli war. The main theme of the work, Waiting, is interpreted as a negative. Beckett and Qabbani have been urging their nation to give up on this situation and to strive for unity and change in their lives.

Recognizing popular and superstitious beliefs as an important part of popular culture introduces the behaviors of people and their ways of thinking and living. Sometimes beliefs set the course of life for the masses to guide them what to do in different aspects of life and what to turn away from. In fact, the positive and negative effect of these beliefs from the past to the present in people’s beliefs and lifestyles cannot be ignored. Human beliefs, generally logical or irrational, scientific or superstitious, are rooted in the ancient culture of any nation which have either remained intact in the same way or have undergone changes over a long period of time. These beliefs are sometimes rooted in the fears of the people of the past and sometimes in the lack of knowledge and insight of the past. They include doing things that have no rational roots. It can be acknowledged that all these beliefs originate from popular thoughts, feelings and emotions, and the belief and acceptance of these beliefs depends on the type of insight and thinking of each person about them. The purpose of writing this article is to examine the modernist view of love as one of the most ambiguous and attractive topics in the works of the famous romantic poet Nizar Qabbani in the field of Arabic literature. Thanks to his valuable cultural treasure, he has been able to express many of his romantic feelings by using superstitious notions. Thus, with the connection between modernity and tradition, it has gained a high position in the field of literature. Factors such as poetic talent and experience, proximity of the poet’s poetic language to the language of the masses, understanding the importance of popular culture and literature, people’s way of life in the eyes of the poet, the attractiveness of these beliefs, and people’s desire for these beliefs have provided a background for the use of popular and superstitious beliefs in the layers of love poems to unite the audience, which is the general public.
Assuming that the culture and life of people was one of the greatest sources of inspiration for Nizar’s poems. This research has examined his works with a descriptive and analytical method. It has been shown how Nizar’s view of popular and superstitious beliefs is reflected in his poems and how he has used these beliefs to reflect his culture, depicted love as the most ancient phenomenon and the most complex subject in the lyrical literature, and used the spice of popular and superstitions beliefs such as coffee divination, giants, magic, etc. With these items, he has created a new realm in depicting romantic concepts such as the complexity and ambiguity of love, the glory and power of love, sincerity and loyalty.
Nizar as a modern and anti- superstition poet tried to create a new atmosphere in the Arabic poetry and to engage his audience, which is the general public devoted to a significant portion of his poems, to popular and superstitious beliefs. Since the poet was fully acquainted with the beliefs of the common people and completely fluent in the terms and language of the people in the street and the bazaar, he got the language of his poetry close to the language of the masses. He understood the appeal of these beliefs and the passion that people had for them. He had an eloquent and powerful pen to express the complexity and ambiguity of love, the glory and power of love, the value and importance of love, sincerity and loyalty. The description of the pain of love and the suffering of the lover has been successfully performed through popular and superstitious beliefs such as coffee divination, jinn, giants, magic rugs and hand palm lines.
The beauty and sweetness of the concept of love in this research is due to the connection of traditional beliefs and the poet’s new perspective on love. He has very skillfully put the two together and made his love popular. Nizar has used these beliefs as a basis for analyzing emotions and expressing inner states, which is a new step in portraying love and the beloved and the states of the lover. In his personal view, in fact, the high frequency of such beliefs in his poems and language has little to do with the acceptance or non-acceptance of these beliefs. Nizar has tried to pass a wealth of information about popular beliefs and superstitions through the filter of his poetic and romantic imaginations and paint them with a poetic glaze. By doing so, he creates romantic images to praise and describe love. The beloved and the states of the lover, who are full of spirits and feelings.

Identity is a personal and mental idea that a person presents in response to the “who and what” question of their life. In the context of society, this concept makes the individual think about knowing their personality and leads them to display a representation of the quality and quantity of their intelligence, actions, and behavior. It causes man to better understand different conditions by being influenced by their and society's mental and psychological issues. In the first place, identity is considered one of the most basic cultural-personality themes that, regarding its different types, can be harmed and cause crises for the individual and the society. In contemporary Arab world, crucial events and changes have raised several conflicts in Arab identity, resulting in undesirable harms and consequences such as identity crisis for Arab individuals. As one of the most prominent Arab poets, Nizar Qabbani has widely focused on identity crisis in his poetry. The significance of this study was identifying the factors in Qabbani’s thought which have set the stage for exploring identity crisis, the perplexity of human and the Arab world, and their helplessness and contempt in the world. In this regard, this descriptive-analytical study aimed to examine the different aspects of identity crisis (individual and national-ethnic) in Qabbani’s poetry and view. The research findings reveal that: 1. the chaotic and tense political, social, and cultural atmosphere, 2. the incompatibility between the interests of the ruling system and the individual is one of the important factors in the formation of a personal identity crisis. 3. Besides the Arabs’ suffering from a personal identity crisis, Nizar presents his poem as his identity through which he seeks to revive the original identity of the Arabs. 4. The incompetence, passivity, and inefficiency of the Arab leaders; 5. Being defeated by Israel, the occupation of some lands of Arab countries, and the intrusion of foreigners into those lands; 6. The economic problems are among the factors contributing to the national identity crisis; and 7. The disintegration, wandering and losing the past glory of the Arabs and their ethnic symbols play an essential role in creating the ethnic identity crisis in this poet’s poems.

For the analysis of a literary text, there are several critical approaches, each of which approaches the text from a particular angle, and it is the text that invites the critic to choose the method of critique; Because each text, although it can be examined in different ways, but it is more consistent with the method than the others. Stylistics is an intra-textual method that focuses on the structure of the text, the text being both a tool and a goal. Numerous perspectives on stylistics eventually lead to the text, which consists of levels. The three levels of phonetics, composition and semantics are the most important, although other categories can be encountered. Stylistics as a branch of linguistics that considers language as a systematic set of signs and relations, defines the text as a systematic structure consisting of related components. The results of the stylistic study of Nizar's poetry indicate that the poet's choices are implied in three levels of the text and have an aesthetic burden. The stylistic features of the poem as well as the type of the poet's attitude can be seen in the choice of letters and the rhythm of the poem, the types of sentences and semantic domains, as well as in the use of the mythical symbol.

Iconicity which represents the aroused link between a significance and a signifier, considers the language structure influenced by human's emotional perception from the outside world as a metalanguage factor. This principle is considering the sign of a cognition from the most important beautification elements and the most main tools of transmission of meaning in Nizar Qabbani's poem. In this regard, the present research is accomplished aiming to be characterized different levels of phonetic arousal in the poet's poems on an appendix from the highest to the lowest degree of clarity in the framework of phonetic symbolism theory by Hinton & et, al.The analysis of Qabbani poems based on the continuum proposed by Hinton and his colleagues is important because by relying on this method in an objective and coherent way and based on modern scientific principles, we can examine the phonetic significance of signs and determine their degrees of arusal. Explained the linguistic forms with their examples in real world; therefore, in the present stydy, we try to examine different types of arusal from the highest to the lowest degree of clarity in Qabbani poems according to Hintonˈs phonetic symbolism pattern and answer these qustions. Be: what are the types of principal signs in Nizar Qabbaniˈs poem? Can signs be placed on a continuum from the ultimate arusal to the ultimate symbolism? Dose the imagery of Qabbaniˈs signs and poetry contradict the principle of optional words? The research results represent that different kinds of phonetic symbolism in Qabbani's poem are: objective, imitative, combinational and conventional. The objective signs in the poet's poems include emotional sounds and expressions of interjection, surprise and ... contain the most level of iconicity. Then, sequentially, imitative symbols in the form of words, onomatopoeia,  combinational signs which are observed in the form of vowel repetition or special correspondency, and conventional symbols which are formed with sequence of certain phonemes, are ranked in second, third and fourth position of the continuum.

One of the effective factors in strengthening the artistic and aesthetic image of Nizar Qabbani's odes is its beautiful and appropriate musical structure. This famous poet strengthens the musical unity by artistically applying verbal and spiritual arrays. The significance of this study is to examine the aesthetics of the failure image in the poet’s poetry and to indicate its connection with music. The aim of this study is to demonstrate the effect of the beauty of harmonious musical phenomena in the ode. The study also tries to examine the role of music in the failure poetry of Nizar Qabbani. To this end, the descriptive-analytical method is used to analyze the inner music of the failure poetry. The research findings indicate that the poet singles out words and letters appropriate to the his current situation and utilizes verbal and spiritual arrays such as pun, symmetries and contradiction along with the use of symbol and myth to strengthen his musical unity and through which reveals his inner and intellectual challenges in the failure poetry

What is examined in this article is the method of selection and composition on the "paradigmatic axis" and "syntagmatic axis" in the poetry of two contemporary Persian poets "Shamloo" and the Arabic poet "Nizar Qabbani" from a linguistic point of view, The method of aesthetics of these two poets should be examined and compared. In this goal, we have explained the study of literature from a linguistic point of view and we have examined the book "Aida Dar Ayene" from Shamloo's poem and "Belqis" from Nizar Qabbani's poem. The results show that Shamloo wrote his poem in such a way that the understanding of each verse depends on the reader's thinking and his achievement of the poet's choices from paradigmatic axis, while the audience in Qabbani poems is often The poet's compositions are on the axis of companionship, and this factor has made it easy to understand the poems and their concepts. Finally, Shamloo's inclination towards the selection process on the paradigmatic axis causes a special atmosphere such as creating implicit meanings in the verses, complexity, ambiguity, meaning and distance from each other, and Qabbani's inclination towards the combination process causes the explanation of the poems, the proximity of the meaning and the instance and Easy to understand poems.

In this article, first, Jacobsen's theory about function of linguistic and his definition of the "paradigmatic axis" and "syntagmatic axis of language are described. Then, by explaining the function of these two poles in the poetry of Shamloo and Nizar Qabbani, the difference between the performance of these two processes in the poetry of these poets will be examined and compared. In the following, the industries that operate on the "paradigmatic axis" and "syntagmatic axis will be examined. Speech figures such as "simile", "metaphor" and "irony", which create implicit meanings, are on the.The paradigmatic axis. Speech figures of "ambiguity", "paradox", "antonymy", " Synonyms " and types of "paralelism" are on the syntagmatic axis and further  explain the meaning of the phrase. An example of the performance of each of these. Speech figures has been analyzed in a book of poems by two contemporary poets, Shamloo and Nizar Qabbani, which are given below for examples of these poems. In fact, the purpose of this article, after achieving the type of metaphoric poles and metonymic poles in the poems of these two contemporary poets in Persian and Arabic, is to analyze the stylistic features of contemporary poetry based on these two metaphorical and virtual poles.

Discussion :

Based on the analyzes, we find that the use of the "paradigmatic axis" and "syntagmatic axis"  in Shamloo's poetry tends to the paradigmatic axis with a difference of 6%. Although the percentage achieved is not high, but it can  be significant in examining the poet's style. The statistics obtained from Qabbani's poems also show his tendency towards the combination process. Shamloo, by using metaphor, and irony according to choice, shows the ultimate function on the paradigmatic axis in verses, and with these works, it creates implicit meanings in verses, and on the other hand, by using ambiguity and paradox, and antonymy, they have presented the ultimate performance on the syntagmatic axis in parallel with the paradigmatic axis in each clause and explained their meaning. The lack of significant parallelism in  Shamloo poems has caused the relative tendency of these poems to the paradigmatic axis. While the widespread use of the phonological parallelis, along with simile in Qabbani's poems, has made it easier to understand his verses and tend towards the combinaition process. Uses and functions of the paradigmatic axis and syntagmatic axis have included the complexity of his poetry. Whereas in Qabbani's poems, the performance of the Sensory sides of similes has caused the proximity of the referent and signified and finally the easy access of the audience to his choices. The ironies used in the verses of these two poets, although they have caused an implicit meaning in the verses, have been selected in such a way that the reader, in dealing with their combination on the paradigmatic axis, reaches the same choice as the poet Has chosen based on the axis. Carefully in the verses under consideration, we find that Shamlou mentions in a poem an almost single subject: "This unity has increased the subject of the vertical connection of the verses with each other. In other words, the poet has selected a single theme from among the themes in Persian poetry on the paradigmatic axis and has combined it on the syntagmatic axis of poetry.

Based on the analysis of the research, it can be concluded that in each of the studied sections of Shamloo and Qabbani poetry, the two "paradigmatic axis" and "syntagmatic axis"  have acted together. The tendency towards the performance of the selection process on the "paradigmatic axis"in Shamloo poems has caused the distance between the signified and the referent, as well as the increase of the implicit meanings in the text and the difficulty of the meaning of the text. While the tendency to the performance of the combination process on the "syntagmatic axis"in Qabbani poems has caused the approach to the signified and the referent and easy understanding of the meanings of the verses.Performance of Speech figures such as Synonyms, paralelism, simile,  sensory direction of similes and metonymy on the "syntagmatic axis"in Qabbani poems in proportion to contemporary Arabic poetic features such as simplicity of poems and easy understanding of meanings, use of everyday topics, etc. In Shamloo poems, in accordance with the characteristics of contemporary Persian poetry such as its generality, dealing with worldly issues, the use of words and combinations of modern Persian language, the freedom to use all words, the existence of natural literary speech figures, music and natural tone And the language is familiar to people, which indicates the performance of the process of composition in the poems of these two poets. Therefore, the function of the metaphoric poles and metonymic poles in the poems of these two poets has made the verses easier and their direct understanding by the audience.In Shamloo poems including the performance of speech figures such as irony, metaphor and simile with a tendency towards rational parties on the paradigmatic axis in proportion to the characteristics of referring to private issues of life, intense attention to social and political issues, ambiguity, similes and new metaphors, emphasis The use and importance of the symbol, and the creation of new relationships between the sensible and the rational, and in Qabbani's poems the performance of these speech figures in proportion to the characteristics of contemporary Arabic poetry such as the  variety of rhetorical methods, exaggeration in the use of imagination and style, To take refuge in the symbol in the structure of the ode is to hide the meaning, complexity and ambiguity. These proportions in the poems of these two poets express the performance of the selection process. The function of the metaphorical pole and the selection process in the poems of these two poets has caused secondary meanings in the text and difficult understanding of the verses by the audience. Finally, based on the statistics and frequency of speech figures based on selection and combination processes, we found that the frequency of application of the combination process in Qabbani poems is higher than the selection process, in Shamloo poems, the frequency of the selection process is higher. Therefore, the tendency to use the combination process in the syntagmatic axis in Qabbani poems has made his poetry easier and the tendency to use the selection process in the paradigmatic axis in Shamloo poems has caused the complexity of his poetry.

Directing the thoughts and ideas is regarded as one of the.objectives of the literary scholars of the Resistance field.Given the desperate and stifling contexts in.the society,they have attempted to employ a variety of expressive methods to establish an influential communication and express the resistance ideas more efficiently.The basis of.communication,in addition to.the methods based on.the word,also relies on non-verbal signs,and the meta- linguistic expressions in the text, with their functions and influential roles,can be used to determine the meaningful scope of the communication process.The message in this form of communication is.transmitted to the audience by means other than words and channels such as gestures, eyes,non-verbal soundsetc. In this article due to the appearance of non-verbal communication identifiers in the poetry of Nazar Qobbani(1923-1998)descriptive-analytic and interdisciplinary approach)Semiology,Resistance literature,psychology(to its related codes are discussed and with the analysis of these elements.We investigate the know-how of the human relationship in the occupied Arabic lands At the same time,the literary trend taken by.Ghabani.As to the surrounding abnormalities are elaborated on.The findings indicate that the poet tried to create similarity and thought through the non-verbal signs Including Face modes and behaviors,living environment phenomena and more with his audience about the liberation of the Arab territories from occupation,and his use of the ethics of body language and outsourcing in poetry of perseverance on rhetoric.The poetic and dramatic language has increased its views,and this has made him aware and point-blank in applying the modes of induction of mental concepts in order to encourage and influence the message recipients.

In literature, Reminiscence nostalgia or homesickness is actually the poetic regrets that the poets talk about for a sense of nostalgia or regret over things or those who have already been lost for any possible reasons (Mousavi et al., 1391). This process, which is rooted in psychology, is said to be a form of writing, which the poet or author applies in his own work in order to remember the memories of the past with the grief and pain or describes what he his has lost. Usually the memories of the homesickness or reminiscence encompasses a wide area which includes the memories of relatives, neighbors, childhood land, the past prominent values and everything that makes the poet to regret about losing it.One of the Arab poets, whose poems make a significant contribution to reflecting the feeling of homesickness, is the contemporary poet “Nazar Ghabbani”. In this paper, the authors tried to reveal the process of "homesickness" in his poems after analyzing the poet's poetry. The purpose of this study is to uncover some of the unknown aspects of Nazar Ghabbani 's poetry, including his attention to Arab lands and his childhood. We aim to fade the suspension that all his poems are related to the love and women exclusively, and the role of grim themes and poetry containing homesickness in various forms is also expressed in the excellence of his poem, which seems to be necessary. In this research, the following questions have been answered.-How has the content of  "homesickness" or "Reminiscence" revealed themselves  in the poems of "Nazar Ghabbani"?-What are the factors leading to the formation of  homesickness in Nazar Ghabbani and its manifestation in the poems of this poet?

This study is based on the descriptive-analytical method and the library resources. The authors initially devoted their work to the definition and the description of the “homesickness” or “Reminiscence” and its factors and its types. Also, in the rest of this paper, we present Nazar Ghabbani’s biography and then, consider the social and political life of him from the "homesickness" perspective.For this goal, the poems of the poet were repeatedly studied and with considering the theoretical foundations of the research, the samples of poems and the various examples of homesickness were extracted from Nazar Ghabbani’s poems. In addition, its main reasons have been analyzed.

After reviewing the Nazar Ghabbani’s poems, five aspects of the manifestation of “nostalgia” or “Reminiscence” were identified in his poems, including nostalgia for his homeland”, “nostalgia for his childhood, “Mom’s grief’s Reminiscent”, “the reminiscence of failure in the society” and “ the reminiscent of losing ideal society” which are discussed below. In order to investigate the manifestation of nostalgia for this poem, “Nazar Ghabbani”, we should mention that, in one of his works “Al-Dameshghiat”, he felt intensively dependent on one of the Arab cities, and the intensity of his feeling was expressed as Mother. He considers himself to be descended (the birth) of these cities, and it seems that his metaphor of Arab cities to Mother was the expression of his anguish (distress) for his homeland and reunion.One of the manifestations of homesickness is the return to his childhood and the memories of those times. In one of his poems, Nazar Ghabbani, recounts the natural beauty of his hometown in his childhood. And perhaps it can be said that seeing plenty of these phenomena in those days and living in an environment full of these beauties and blessings has left such a pleasant effect on his memory, which, after many years, is also one of the most important factors in provoking the poet's nostalgia.He also had a hard and intensive homesickness for his wife and in one of his poems; he used the metaphor for describing his love. He resembled his feeling and his children’s feeling to trembling of the leaves of the trees and then he resembled it  to a feather which is exposed to the rain. And at the end, with the phrase "the sweetest home" addressed to his deceased wife, he would like to point out that even the Arab homeland, with all his popularity with the poet, cannot stop the moment of grief resulting from the death of his wife. Among the issues that raised the regret of Nazar Ghabbani is that he did not have the right to express his thoughts, which made him so annoyed. Moreover, he felt saddened because he could not perform his intellectual and guiding role.In many cases, the sadness of the poet is due to the social problems which were made by politicians who did not have enough knowledge. One thing that caused more grief for Nazar Ghabbani about the homesickness and the separation of ideal land was related to a stifling situation and the coercion of tyrant on his land. Because the people were harnessed by the security officials strictly, they did not have the right to do the slightest manipulation in their lives, and Nazar Ghabbani was very sad about this.

One of the dominant features of most of Nazar Ghabbani’s poems is a feeling of nostalgia and regret, either an anguish for the past events, or for events that had to occur at the time of poet for his country and his countrymen, but never occurred. All of this caused the deep feeling of deep sadness in the poet's soul and made him to write poems with the theme of grief and regret. These poems, known as reminiscent of the poet, have a special place in the Nizar’s book. In an special classification, we can distinguish the most important manifestation of reminiscence in five parts: away from homeland, childhood, wife’s death, a social failure and loss of ideal society.  The most important and efficient factors in manifestation of Nazar Ghabbani’s poems is about homesickness; we can express the wife’s death, being away from homeland, reviewing the childhood memories, seeing the problems and existence of the anarchy in the society including the intolerance of tyrant’s oppression against the people and interference in their lives and also the great grief for people’s silence against the injustice.

“Patriotism” is in humans ‘nature and contemporary poets and authors utilize the concept in their works or poems. This article, in comparative and based on American schools analyze two points of Ahmad Shamlu, Persian poet, and Nizar Qabbani, Arabic poet, in order to examine either differences or similarities of thoughts of these poets. There are many similarities in the ups and downs of social and literary life of the poets. “Love of the nation” have been put in their poems and there is a hope in them for their future of homeland to get better and brighter. They also have named various cities of their country in their poesies. Both of them have suffered from being far away from their home and have reflected the feeling in their works. Nizar feel ashamed for his country that is divided into smaller component and against him, Shamlu distinguishes between heavenly and earthly love.

   Patriotism and devotion to one’s country is a laudable and natural feeling. Poets and contemporary authors have expanded upon this concept in their works and poems in a variety of ways. Nizar Qabbani and Ahmad Shamlou are among poets who have addressed the concept of homeland in their works, and they share many similarities in this regard.  In addition to romantic poetry, like other committed poets, they have focused on political, ethnic and national issues. In the works of Ahmad Shamlou and Nizar Qabbani, love is not confined to physical love or expression of love to the beloved and mistresses; rather, it is extended to deeper themes such as love for man, beauty, homeland and freedom of thought. Both poets look for a new image of their mental world in the search of justice, freedom and respect for human beings, and both of them have experienced two major events in their social and political life. Qabbani witnessed the defeat of the Arabs by Israel in the Haziran in 1967 and Shamlou saw coup d'état of August 18, 1953 in Iran. Undoubtedly, there are some subtle differences in the expansion of any subject between poets and authors, the unravelling of which could be fascinating. Exploring the similarities and differences of poets in description of the same subject is one of the functions of comparative literature, and since the goal of comparative is to draw a comparison between a certain literary style and the literary traditions of other nations, or compares a literary work in one language with its counterpart in another language, this paper, drawing on the American school of thought, which is irrespective of any historical relationships or influences and rests solely on the principle of similarity and authenticity, seeks to analyze poems of Nizar Qabbani and Ahmad Shamlou in terms of the concept of homeland. In every country, poets often utilize the weapon of literature to defend their history and culture, thus contributing to ethnic solidarity of their own country. One subject that has been the concern of many poets is homeland. Nizar Qobbani, the Syrian poet, and Ahmad Shamlou, the Iranian poet, are among poets whose works are rift with the expression of love and interest in the homeland, though there are subtle differences in their manner of displaying this love. The poems of these two poets are largely inspired by and mirror the incidents and events in their country. By examining the works of these two poets, we not only learn about these two prominent literary figures in the literature of Iran and Syria, but also explore the political and social situation of these two countries as well as the intellectual ideology and concerns of the two poets. This paper, based on the framework of "comparative literature", which rather than being restricted to interaction of literary figures on each other, focuses on the outcome of sharing the status and way of thinking, examines the concept of homeland in the works of these two poets and seeks to answer the following question:1. Are there any similarity between Ahmad Shamlou and Nizar Qabbani, two famous and contemporary poets in Arabic and Persian literature, with regard to the concept of homeland?

This is a descriptive research that adopts the comparative approach endorsed by the American school of thought. That is, by analyzing intertextual evidence, it attempts to elaborate and explore similarities and differences in the attitude of two poets towards the concept of the homeland.

Qabbani mingles love for women and homeland in his poems and occasionally portrays his homeland as an enchanting woman. He makes use of natural phenomenon of his homeland like clouds, stars and dates, expressing his love to cities he had inhabited while exhibiting a sense of resentment and shame for the disintegration of his homeland.  The feeling of alienation and distance from the homeland abounds in poems written in the last years of his life. Nazar mentions the name of cities he has lived in, like Damascus and Sham, describing them as the most beautiful and wonderful cities in the world, with a penchant longing to return and visit them again. Despite the fact that he is disappointed with the reality of the Arab community, he expresses hope that one day his homeland will reclaim its past glory and solidarity, while stripping off the vile of colonization and occupation. Shamlou, unlike Nazar, believes that the love for homeland is transcendental and beyond the love for worldly mistresses. He disassociates the heavenly love from the earthly love, pointing to the culture and cultural heritage while his expression of love for the homeland is associated with a sense of affinity with the people and his compatriots. In some cases, his poems assume an epic tone while elsewhere he imagines his homeland without any vile with a particular innocence. In addition to bringing up the name of Iran in his poems, Shamlou refers to different cities and these poems instill a religious and humanistic sense in the reader. Both poets hope for a better and brighter future for their homeland. Shamlou adopts an ambiguous or sometimes clear and direct tone in portraying a brighter future for his homeland, arguing that disappointment will be tantamount to annihilation.

Nazar Qabbani and Ahmad Shamlou have both expressed love for their homeland.  In statements and phrases that exhibit love for his country, Qabbani exploits natural phenomena and manifestations of his homeland like clouds, stars and dates. On the contrary, Shamlou posits that the love of the homeland is transcendental and heavenly, referring to the cultural and cultural heritage such as "Hoze Khaneh" and "the thousand mirrors of the six-cornered tile". Although their love for the homeland is not the same, it has bestowed a distinctive and unique feature to their poems and carved their names on the pages of history. It seems that mere expression of love for the homeland is more tangible in the poems of Nazar Qabbani and Shamlou has intertwined the love for homeland with love for other concepts. They both have specifically referred to different cities in their poems, which illustrates the experiences of living in those cities.  

Statistical stylistics is one of the most important branches of statistical stylistics which has been recently taken seriously. The statistical stylistics determines literacy of given piece of work, in terms of mathematics and statistics. Busemann equation is one of the researches which has been considered in statistical stylistics. Busemann equation is an emotion measure which determines literacies of given piece of work. In current paper, Simin Behbahani and Nizar Qabbani are respectively Iranian and Syrian poets who are being studied with analytical- statistical methods and stylistics approaches. The main point of the paper is studying their literacy of their styles. Results showed that Simimin Behbahani’s style enjoys more literacy than Qabbani. This is mainly because of feminine emotions of Behbahani which leads to more literacy. Furthermore, the internal and environmental factors were influential.

Semiotics is one of analytical approaches devised in the second half of the twentieth century. A French-American critic, Michael Riftard, wrote a book on poetry semiotics and suggested that a poem can be dealt with through exploratory and reciprocal readings. The first reading examines the central meaning of the poem. In the second reading, with regard to linguistic implications, after the elements of negation are examined, the inner connection of the elements of the text is explained in the form of accumulation and descriptive systems. Then, the reader receives the holograms. Ultimately, these discussions lead to the reception and discovery of the structural network of the poem. This study is based on a descriptive-analytical method and aims at the reading of a part of the Belghyse poem by Nizar Qobbani, a Syrian poet. The exploratory readings of this verse indicate that the poet refers to the death of Belghyse so as to express his love for the beloved with romantic words. The reciprocal reading, however, shows that this poem has two accumulations and descriptive systems. In the first accumulation, the beloved is intended, and the descriptive system of that is homeland. In the second accumulation, Arab nations are intended, and the descriptive system of that is Arab identity. The poet refers to his community with symbolism. Finally, the structural network comes to help the reader. The findings of the research show that Reifatore's approach is in line with the Belghyse allegory, which can be used to take deeper insights into such issues as love, woman, national identity, homeland, freedom, struggle against despotism and backwardness.