نشریه ادب عربی
سال یازدهم شماره 1 (پیاپی 21، بهار و تابستان 1398)

Abstract One of the most prominent features of the self, regarding the innate dimension and identity, is manifested through the negotiation and encounter with the other as an effective and opposing element. Cultural and civilized encounter and relationship with the other, firstly depend on the nature of the self, its problems with the other, and on the problems of the society in which it lives. Therefore, the other is reflected and manifested through establishing communication with the self. This communication might be demonstrated in various forms, for instance, a positive and friendly interaction, negotiation and dialogue, or dialectic. Whatever this communication is, it results in leading the self to the manifestation and interpretation of itself.  The poems of Ezzeddin al-Manªsserah are the vast realm of the manifestation and emergence of the self and the other and the interaction and dialectic between them. The reason for this feature of his poems is that he is rejected by his country at a young age and lived in another country for a long time where he had close relationship and interaction with the other and has portrayed various types of the other in his works. In this study, after reading Ezzeddin al-Manªsserah’s poems in the area of resistance literature and through emphasizing on imageological concepts and applying descriptive-analytical method, the image of the self and the other in al-Manªsserah’s works were investigated. The results demonstrated that Ezzeddin al-Manªsserah has depicted the self in three different types, including individual, group, and human, in most of his resistance poems. Particularly, the individual type of the self is manifested more than the other types in his poems. Moreover, he has portrayed the other in two types, namely the stranger and opponent other and the fellow other which is merely in disagreement with the self about beliefs. However, it is important to note that the other has not been depicted vividly and independently in his poems and cannot be addressed.

The pronunciation mechanism in the human vocal system enables the production of linguistic sounds of various types, and at levels of performance characterized by accuracy of language in transmitting the code sent from the brain to perform the sounds with specific waves understood by the members of speech community, and based on this the human pronunciation device is capable of  producing linguistic voices of different types in all the languages of the world, and the lengths in vowels and consonant sounds commensurate with the nature of the production of language in each speech community. The difficulty in producing language voices in a language is by speakers of other language, that is how to train speech organs to produce the voices of language B just like the manner in which native speakers pronounce sounds. The languages of the world differ in the distribution of the phones and tend to use the easier in the areas of the center and the introduction of the mouth, unlike the Arabic language, which is witnessing the distribution of the output of the use of all areas of the pronunciation machine in the alphabetical voice. This research highlights the problems of the performance of sounds In the Arabic language of non-native speakers, despite the availability of the appropriate environment for language training on the production of the sounds of the Arabic language through the spread and transmission of the production of the Koranic text in some Aryan languages, and we chose the Persian language as model in the analysis of acoustic voices problem Producing a number of solutions that contribute to the education and control of the voices of the Arabic language in the production.

Polyphonic narrative technique (multivocality) appeared remarkably and manifestly in Modernism and Postmodernism, because unlike the classical novel, it is dependent on the diversity and multiplicity of narrative perspectives that eliminates the dominance of the novelist and the omniscient narrator, and allows the views of different characters to be appeared in the way that characters are able to express their intellectual and emotional potentials freely and extensively. The polyphonic narrative technique represents different patterns of consciousness and diverse ideologies that are democratically appropriate to the complexities of the modern age and their effects on the narrative structure of modern novels and other elements. The addition of fictional characters leads to the multiplicity of text levels, the mobility and dynamics of characters, the exchange of roles, and the development of the meanings of narrative discourse, that gives the novelist freedom and ability to hide behind the mask of their characters, thereby removing monotony (Immobility) and static of text. Russian critic, Mikhail Bakhtin, is the first to refer to the "polyphonic narrative" by studying the works of Dostoyevsky, who cares about the complicated and diverse aspects of contemporary man's psychology and social life. In this regard, using a descriptive-analytical method in the light of Bakhtin's theory, the present study tries to analyze this issue and express the most important features of Polyphonic narrative in the novel "The Desolate Time" (al-Zaman al-Mūhish) by Syrian novelist Haidar Haidar. One of the most important results of this study is that this novel reaches the principle of polyphonic technique through dialogue and dialectics of characters with different and heterogeneous voices using techniques and mechanisms including: the multiplicity of ideologies, narrative perspectives and artistic methods can be setting, hybridisation, parody, stylisation, and expressive forms that reflect the internal and external crisis of characters which symbolizes the Arab community.

Knowing the “other” paves the way for the rise of a new discipline named the science of image or imageology. This discipline is one of the branches of Comparative Literature, and it studies the picture of the “other” in literary texts. The image of the “other” is formed through the familiarity of the scholar under the name of “Me” with the other under the name of the “other”, and its analysis is based upon the tenets that imageologists have laid down. The most important of these tenets are as follows: modes of reading the “other”, and the influential factors in image-making. Since the study of imageology gives way to the knowing of different peoples and the awareness of their culture and civilization, therefore it is of prime importance in literary studies. The present paper studies the image of Bahª al-Dawlah in Sharif al-Raḍi’s poetry, so as to show, how his image is formed. Bahª al-Dawlah was one of the rulers of Būyids, an Iranian dynasty that ruled over some parts of Iran and Iraq during the fourth and fifth century A. H. Sharif al-Raḍi was his contemporary and had a very close contact with him in Iraq for 24 years, that is why Sharif depicts his image in his poetry. As this study shows, the poet has pictured the “other” while his pictured image is mixed with the partiality to his race, with the prejudice to “Me”, with pride of him, with anger towards the “other”, and with resistance against him. However, he has not deformed the image of the “other”, and his image in his Divan is very close to historical realities. Also, in his image-making, the poet has been under the influence of personal, social, political and religious factors like his attribution to Bani-Hᾱshim, injustice in the distribution of richness, trespassing the other, the conflict between Būyids rulers, and the tension between Sunni and Shiite.

Al-kunya “Allusion” is a linguistic and cultural manifest by which Arab people are distinguished from the other nations. Indeed, it is an ancient manifest and whatever is its origin. It existed and was practiced among Arab’s traditions and was preserved and saved by Islam. As well, The subject of Al-konaa “allusions” includes not only human but also all positions of life and entity of animals, plants, substances, and concepts. Until present, many studies have dealt with this phenomenon from different aspects. This study seeks to find Al-konaa “allusions” in a linguistic cultural framework in order to reveal their cultural and historical roots through the study of the connotations of allusions. The second aim of this article is to find ways and means used by the Arabs in order to achieve what is the purpose of applying allusions. This article examines these methods according to the semantic relationship between genitive and sub-genitive in allusion and what is called allusion. The method used here is based on descriptive and analytical method. Accordingly, those allusions contained the old sources have been extracted and then in an analytical study and based on the desired goal it has been argued that among the methods of allusion it can be mentioned of allusion of the child in human and others. This method is the most method found in allusions. The word for allusion here is father and mother. which is contrary to what has been added here to son and daughter or place and time. So it is not limited to a thing or counter and antagonism and this is what we see in naming or a specific adjective by which the subject of allusion or origin and principle or product and child or place and circumstance can be known. Hence, in conclusion, allusion is an affair that has method. conditions. and ways with specific purposes.

Characters represent the main role in dramatic works of art. As characterization paves the way to know about the life of real characters, the characters undertake the task of narrative acts and they seeking to outpouring these actions to the definite end. It is an important element for the perception of reality through the its movement and works and emotions that penetrate the context of the novel and framed from the beginning to the last words and it must be the details of physical character and historical, cultural, ethnic and social characteristics that paint the general impression about the character to be included in the text of the novel; Because the novel aims at reflect human meanings. Thus, the present paper aims at review the semiotics of the characters in the novel "he Asked me to Dance" (Yutªlibuni Bi al-Raqsa al-Kªmila) by Kuwaiti novelist Munª Shᾱfei. the present research followed  the descriptive analysis, and chosed the  A.J. Greimas’s model for Semiotics of Characters in the novel, based on this model the characters (subject/ actor) have goals in novels, they also have incentives to achieve their goals, according to this the characters are driven by their motivating incentives toward their goal which is effect )object) and maybe these actors/subjects (characters) faced with assistance factors in reaching their goals. The novel is full of feelings and love. The novel "he Asked me to Dance" (Yutªlibuni Bi al-Raqsa al-Kªmila) is about female characters in families that a husband has multiple wives. This novel as a feminist novel investingtigates woman’s concerns and issues clearly, it considers women as the main subject to show her relationship with men and society. In the end, the article reached that Munª Shªfei gave the character of the novel a super importance and it’s visible,  psychological and social  dimensions have emerged clearly. In other words, The characters were presented through several methods in the novel  "he Asked me to Dance" that including: reporting style and  psychological and imaginative ways,  Moreover, the names of the characters are are not arbitrary  but chose by writer for narrative and certain reasons which deter the location of each character in the narrative text; each character has different subjective, replacement, virtual or aesthetical roles in the story.

Most of the Eastern people who have traveled to the West have been fascinated by the progress of the West. Thus. they mainly turn aside from the East and its cultural manifestations and try to compare the East and the West to conclude the cultural superiority of the latter. Although such a comparison comes along with some factual details. it shows essentially the fascination of these people with the West and the way they exaggerate in expressing its cultural development. This article is an effort to make a comparative study of Mirzª Sªleh Shirazi’s Travelogue and Rifa’a Al-Tahtªwi’s Takhlis Al-Ibriz from Egypt based on the Slavic school and elaborate on the conflict between the oriental “Me” and the Western “Other”. The results show that both writers believed that the despotic political system. illiteracy and widespread ignorance and superstition were the main reasons why Eastern countries were left backward and undeveloped. Moreover. the research shows that Mirzª Sªleh was more fascinated with the European culture and civilization than Rifa'a al-Tahtªwi. though the latter endeavored to describe impartially the West in its positive and negative features. Finally. Rifa'a al-Tahtªwi's language and literary style and objective description are more solid and effective than those Mirzª Sªleh Shirªzi. Tahtªwi depicts the West with his strong literary style and exaggerates it in his articles but implicitly refers to the East's preference for the West in its aspects of civilization. civilization and culture in its lines of journeys. and tries to convey to the Egyptian or Arab interlocutors that it is necessary to look for the causes of its ancient civilization in its rich heritage Taking advantage of the civilization of the West. especially the French. Mirzª sªleh is also an exaggeration in the portrayal of the Westerner and his exaggeration in mentioning his material to the Eastern Iranian nation. The book of Mirzª Sªleh Shirªzi’s Travelogue is characterized by the positions and stories of the owner and his meetings and dialogues and discussions with others and the incidence of accidents and surprises and joys and sorrows. while introducing Rifa’a Al-Tahtªwi’s Takhlis Al-Ibriz on such things and was more likely to be an analyst describing without going into the positions and stories that were presented on his trip.

The strategy is a way for the speaker to choose the best method of discourse. Each poet and writer tries to use appropriate strategies in his discourse, according to his goals, texture and audience. These strategies are divided into two categories of direct and indirect strategies. One of the tools of indirect strategy is metaphor. Since metaphor has an indirect effect on the listener, it is the best way to convince. Therefore, the poets use it to influence the audience. This study seeks to check the metaphors that Abd al-Muʿti Hejazi has used in his poetry to communicate with the audience. Since this study requires attention to the internal and external context of the text, the best way to achieve this goal is through the pragmatic. What matters in this way is to pay attention to all the factors that make up the text, what external factors and internal factors. According to the research results, Abd al-Muʿti Hejazi, in his poems, seeks to change the situation of the Arab community using this strategy. this poet that has changed his religion poetry from Romanticism to the realism school, communicates with audience using metaphor. In fact, the poet's goal of metaphor is not only to make poetry beautiful, but his goal is to communicate with the audience, So he sometimes creates a new metaphor, and sometimes communicates with the audience by removing what is important and paying attention to the common ground between himself and the audience. The metaphors in poetry of this poet  have two meanings: One of the meanings is appearance and the other is hidden. To understand the hidden meaning of metaphor, should pay attention to the context of the poet's text and his goals. The poet uses personification according to his thoughts and makes it a means to convince the audience not a means to escape to nature.

Defamiliarization is considered as one of the manifestations of the modern linguistics that deals with removing the monotony and Defamiliarization from the standard language as well as methods of using language in literary works. Hence, it is considered a Defamiliarization of the speech from its usual pattern, which is crystallized in the composition and formulation of speech Which is subject to the principle of selection which creates different connotations It breaks through the law, where the first signifies the possibility of multiple meaning. Accordingly, not consider just a communication tool, rather, the poet is guided through his employment to the aesthetic and the extension of the significance of the poetic achievement to enter into the circle of creativity and novelty. The present paper is an attempt to analyze the indicative Defamiliarization and its manifestations and reflections in the poetry of the contemporary Jordanian poet, Ayman al-Atūm, who is one of the resistant poets against Zionist Regime. Applying this technique, the poet tries to pass the standard language and to leave it behind; the language that is disable from expressing his emotions and feelings which are mixed with his soul. Relying on the stylistic method, this study aims at analyzing this subject in the poetry of this contemporary Jordanian poet. Finally, the study came to this conclusion that the poet has used this technique within his poems to show his psychological suffering, poetical experience and emotions; accordingly, he has applied  Defamiliarization as a strong tool to change meaning, highlighting the concepts, and getting released from the domination of language on the one hand, and on the other hand, it is used to rebel against standard language and the ruling political system his poetic text makes a special language different from the familiar language.The most important representations of indicative  Defamiliarization in his poetry include metonymy, metaphor, simile and irony.

The historical narrative is a story about the past and its events in a specified time and space. al-Yaum al-Mawʿūdnarrated by Egyptian writer Najib al Kailªni. He wrote this classic historical novel with an epic idea andnational motivation. This novel talks about an era in the history of Egypt during the cruciate period. In this article studied the novel and these elements and how to employ elements of narrative in the structural constructionbecause we show the important technical characteristics of this novel and the flaws in its narrative structure as a traditional historical narrative. The author was interested in the element of dialogue in concise language. He employed the novel art to attain the historical knowledge in a clear manner to record the time of events and characterize the characters and expresses their ideas directly and indirectly according to the analytical method. The relationship between content in the events of the novel and its historical reference is identical. In this novel there are technical problems as a traditional historical narrative. These problems are:the Employment of characters and how to attend the story and also the number of attendance and the loss of a realistic view of some characters and therole of characters in the novel. The author of the historical novel takes away the characters of reality. The author has not used the semantics of discourse in this novel and he has not used the Literary rhetoric methods such as alms and permissible in the prose. In the title of the novel there is no appointment. because the text is not specified today or deduced from it multiple dates as we mentioned in the article. So because of these problems in the narrative structure, the receiver falls into the technical writer's type from time to time.

The symbols linked to the world of dreams and consciousness are considered the psychological issues which are functioned in the plot of modern novel. Then, modern novel is a kind of interior monologue by the characters who are expressing non coherent ideas from their past and present which is called stream of consciousness. This is a narrative device that attempts to give the written equivalent of the character's thought processes, either in a loose interior monologue or in connection to his or her actions. This writing is usually regarded as a special form of interior monologue and is characterized by associative leaps in thought and lack of some or all punctuation. The stream of consciousness and interior monologue are distinguished from dramatic monologue and soliloquy, where the speaker is addressing an audience or a third person, which are chiefly used in novel. in stream of consciousness, also known as interior monologue; which is a narrative mode or device that depicts the multitudinous thoughts and feelings which pass through the mind. the novel “Mᾱ tabaqqᾱ lakum” (what is remained for you) by Qassᾱn Kanfᾱni and “Shᾱzdeh Ehtejᾱb” (Prince Ehtejᾱb) by Hooshang Golshiri are narrated by of stream of consciousness and this technic is seen in the prementioned novels in the influencing of concerns and activeness of tension in the dreams and the psychological damaged in the characters of story. Qnfani in this novel deals with the issue of occupation of Palestine while Golshiri presents a person (Shazdeh Ehtejab) who is at the verge of dying. The two novels had the common points in plot, so the characters in both, are concerned to their own interior world to such an extent that the dispersed ideas of the character are dominat on the narration. This research at first, aimes to put light on the style of stream of consciousness in the two novels and clarify how the authors could make themselves free from the criterias of the common plot. The second aim of research is comparing the contents and mental actions of narration. The result indicates that the function of stream of consciousness in the both novel is same in general. But in details there are some differences like the time of the novel Shazde Ehtejab is during one night and the addressed ones, during the novel, become aware of the past of the main character by following the dispersed narration presented. and the content time is intertwined with the mental time. Bothe novelist doesn't present themselves directly in the novel and characterization but take a neutral positon in actions of story, so the characters have the main role in narrating of story and the main narrator is free in telling the actions of novel without accepting any intervention from outside of novel.

This article investigates the meaning of the symbols of resistance in the poem of Mohammad al-faitūri (1936). The poet has used many symbols and signs for his warrior purposes. and has sought to invade the Arab real existance of the Arab world through the Arab magnificent and brilliant past from the ravaged and repressed contemporary world. and liberate it from its long-awaited pudle life to promote and guide the Arab community through these symbolic components. From this point of view, we can say that these symbols in his poem are full of inspirational themes and deep implications of internal text, and as a result, numerous interfrence of these symbols and encodings can be presented; By investigating his poetry it can be find that he is cleverly try to link his Islamic and Arabic society heritage to the conflict in the contemporary world. This discussion begins with the preconditions that are required in accordance with the principles of modern writing. Then. they deal with different symbols of resistance and their artistic alloys in faitūri's resistance poetry; so far, we divide these symbols into five main sections: 1. Religious symbols 2. Historical symbols 3. Mystical Symbols 4. Urban and national symbols 5. Sparse symbols that can not be categorized as single title. This article with a descriptive-analytical approach aims at precede the symbols of the axis and objects with the focus on the most important properties of the symbolic elements of faitūri's poetry. Most noteworthy achievements in this article are that the poem of faitūri goes beyond the borders of Africa and his issue is not only Africa but also includes all Muslim nations. In the poem of resistance he has used religious and historical figures cities and various countries to express his revolutionary thoughts. these symbols have played an important role in provoking the spirit of revenge and in ignite the flames of resistance in the sentiments of the public. The symbols used in faitūri's poetry are often proportional to the problems that experienced by Arab countries to the extent that they are inspire by these symbols in the fight against autocratic and authoritarian regimes.

Pluralism is rooted in the long history of Arab thought, as in the Abbasid era, to the extent that its consequences were manifested in the emergence of contradictory ideas, parties and personalities engaging with one another in order to attain power by exploiting religion and ethnicity. Contractions that often did not have any rational logic beyond them but only to achieve power. In this way, we sometimes see the emergence of intellectual and sometimes reactionary thoughts. The dialectic was conducted in a narrow worldview focused on "self" and the commemoration of "me" and the "other" rejection in a closed loop. A discourse that was fueled by power struggles, religious and ethnic affiliations, the rise of tribal strife and, ultimately, civil wars. But in the contemporary era, the link between thought and civilization and science provided the basis for using the intellectual achievements of the world for Arab thought to establish a rational link between tradition and modernity in the Arab world. Just as the atmosphere of an open contemporary discourse, in line with the new needs, provided the ground for emancipation from the absurd thoughts and long-suffering ideas that had long been shadowed by the collective thought of the Arabs.  Though today, this idea is facing obstacles and challenges, it is in line with modernity and its positive and negative consequences. So its manifestations can be seen in the thoughts of the intellectuals of the Arab world in many countries and undoubtedly its implications in the social sphere of the Arab world will be reflected and found, so that the Arab Spring can be considered part of the intellectual outcomes in the Arab world. The present article seeks to use the descriptive-analytical method of contemporary Arab thought and how the emancipation of such scholars as Aedounis, Mostafa Hejazi, Hassan Hanafi and others from the fatalistic self-centeredness of their era, which had destroyed all the modernist effects of the past.