نشریه دراسات فی اللغه العربیه و آدابها
سال دهم شماره 29 (بهار و تابستان 1398)

Spatial experience in the contemporary poetry is an outlet of the poetic expression. The significance of place as one of the essential elements of contemporary poetry stems from poetic visualizations or the presence of space in a poetic space dominated by a poetic imagination that makes the poetic space equivalent to the special elements in the poetic experience of the poet. This study aimed to investigate the presence of closed and open spaces in the poetry of Jabour Al-Jabouri and reveal the consequence of these features in his poetry. It employed a descriptive- analytic approach. The research used semiotic tools to analyze samples of this poet’s works. The research found that the place is one of the most important formal components of Jabouri’s poetry and renders the closed spatial symbols equivalent to Iraqi’s deteriorating reality or makes them representative of contemporary Iraq. It shows that jabouri was aware of sufferings under the oppression of the American authorities.  The open space at Al-Jabouri is associated with symbols such as the sea and the desert and is used by the poet at times to embody a life that is full of euphoria, warmth and life in the context of communication between men and women and sometimes represents life that is not lived because of the absence of communication between the two genders due to the dominance of male.  What draws the attention of the audience to the artistic presence of the place in the poetry of Jabouri is the strong presence of historical and religious narratives in the poetic text, where he employs some spatial and historical spatial references to create a poetic representation of the reality of contemporary Iraqi, characterized by silence and suffocation as we observe in his employment of the cave imagery, which was used by bleak images to reflect the weakness of the will of the Arab peoples and their submission to authoritarian oppression.

This paper seeks to study the effect of Quranic readings in general, and atypical readings in particular, on the formation of grammatical rules and syntax. It also tries to show the relationship between Quranic readings and the seven enunciation styles. The Quran allows the opportunity of different readings. These readings, together with the seven famous accents, constitute an important manifestation of the uniqueness of Quran. They support one another without any contradiction. Some researchers believe that Quranic readings have not received the due attention of grammarians regarding the formation of syntactic rules. Readings of exceptions in the Quran which lack systematic and coherent relation to the big whole are not less important than the mainstream of the vocabulary, rules and styles. Regular or irregular readings are standard grammatical illustrations or bases, which are probably better than the poetic examples. In neglecting those readings, grammarians missed a number of standard Arabic accents. They deemed as irregular what did not fit their analogies and preconceptions. They should have taken into consideration the Quranic readings both in the formation and modification of syntactic rules.

Poetry is capable of exploiting auditory and visual elements and potential of arts and painting. Before the appearance of the seventh art, the cinema, poetry initially influenced literary and dramatic arts and gradually developed into the present stage, which encompasses auditory and visual elements. Cinematic techniques such as scene design, camera, and mixing play a significant role in promoting the structure of Qasida. In this regard, scene design is considered to be the latest in cinema techniques, and is intended to describe event sequences, places, times, and characters. Among the most prominent poets who have employed these potentials is Saadi Yousef. The poetic structure of Saadi is very similar to the cinematic structure, especially in the poem "Jablia's Branch", inspired by the successive sceneries that surround the villages in Italy, as well as the adventures that he has undertaken along with his friends, Joanne Mari Macanelli and Fawzi al-Dailami. The scene-arrangement techniques he has employed is manifested in such a setting. This research seeks to investigate the scene-planning techniques concurring with the epic events of the Qasida (ode) “Mountain Reefs (Shoa’ab Jabila)” by a descriptive-analytical method. This research revealed that the poem "Mountain Reefs" employs cinematic scenes in a descriptive fashion to portray scenes that inspire the spirit of activity, vitality and fun in the soul. the poet focuses his camera on monitoring audio-visual scenes, which are described according to descriptive rules such as the artistic cutting of the shots and the images that the screenwriter brings in his pamphlet. And the poet mixes the poetic spirit and the beauty of the nature to convey these scenes to the recipients. The poet has used the rules of the cinematic screeplay in a successful manner. He has used verbs and grammatical tenses consistent with the time of the real- time presentation of the scenes, the voices of the characters are not abandoned and the sound of the contextual music is heard in the text.

Sakhrat al-Joulaan authored by the Syrian writer, Orsan, attempts to convince the audience to accept the idea of the unity of humans and their homelands. To this end, Orsan applies literary figures to deepen the concept of unity. The abundance of literary images is a vivid feature of this novel, which includes monologues, free associations and stream of consciousness. The present paper investigates the relationship between human and homeland in the context of literary images. It employs a descriptive-analytic method and identifies the elements of the image and interprets them. The results show that the interactions between human and homeland are frequent through similes, metaphor, myths and symbols. The smiles and metaphorical elements sometimes appear in isolation or in a merged format and both of them complement each other. This feature is considered to be the author's style of presentation of mixed images. The author adds to the depth of thoughts by resorting to symbolic images embedded in the context of different concepts. Sometimes, the “cliff” in different interconnected context is symbolic or representative of homeland, objects and individuals. The word “cliff” is therefore, a signifier having various signified concepts and is a representative for fundamental symbolic images.

Postmodern thought in its cognitive system considers language to be superior to existence and knowledge and considers it the basis of the creation of values. This view does not accept any absolute belief in its epistemological system. Language dominance and, consequently, post-structuralism and deconstruction, separate the sign from the signifier and do not give it a specific meaning. In this language game, language is a set of slippery slopes that have no centrality. In our reading of the poetry of Adonis, we have seen this intellectual tendency in his rich and creative works. Adonis believes in the supremacy and control of language, without a doubt, and rejects the centrality of meaning, something which is very clear in his poetry. What is important to know is how Adonis used language to reveal its power and how he employed it to create truth and change reality. We found that Adonis showed in his creative poetry that language is a set of signs with infinite connotations, and that it is these signs that make up what Jacques Derrida called “difference”, which makes meaning continuously open-ended. More importantly, Adonis's poetry leads us to the fact that meaning and truth are relative and are only made by the linguistic mechanisms. Thus, the meanings in Adonis's poetry come to light and gain multiple levels. This notion of multiple meanings has faced many challenges in Islamic circles and contemporary literary criticism.

This article discusses the descriptive discourse-- the subject and poetic language-- in one of the hunting diaries of Abdul Hamid Al- Kateb. The article is also concerned with the internal scheme of description as well as the specific logic of the diaries with regard to the order of elements and in the diary its structure. This article seeks to show that a study of description goes beyond looking at it as a mere artistic and semantic product, which is a burden to the literary text and threatens its structure with idle redundancy, adding nothing to its effect in this epistle or diary; it seems description generates meaning or construct images. This article will clarify the term description in old and modern usage and will also consider the construction of this epistle in relation to description and its employment in the formation of its artistic and semantic components. Besides, this study examines the descriptive system, its specific logic, the descriptive units as well as their characteristics.

Jewish identity is based on the historical, cultural, and religious heritage of the Jews, and the poetic elements which draws the poet's attention to particular events and inspires him to record those events. This research is based on the analytical and adaptive method, the purpose of which is to investigate the concept of Jewish identity and its conceptual structure in Nayman Bialek and Mahmoud Darvish poetry. Mahmoud Darwish compares the Jewish identity with the Arabic identity in order to remove the Jewish-only quality from the Jewish identity and emphasizes on the resistance of the Jews and their help and assistance. In this way, Jewish prophets are portrayed as the heroes who can save the Palestinian people from the Zionist oppression. Bialek's genius has taken many steps in the transformation of Jewish poetry. He employs the myths and religious teachings of the Jews in the service of Zionist philosophy, which leads to the consolidation of the concepts of racism, patriotism, and atheism. This research reveals the Jewish identity in Bialek's poetry and shows that Bialek does not apply the religious teachings of the Jews to serving the glorious purposes, education or poetry, rather he uses it as a means to focus on the concepts of "displacement", "legacy" and "cruelty" to compare the Jewish past and present painful situations such as ghettos, and holocaust. The Jewish identity in Darwish's poetry is based on the story of Hajar, Ismail, and Habukhuk to show the occupation of Palestine by the Zionists and the distinction of religious Judaism and Zionist extremism.