مجله اللغه العربیه و آدابها
سال شانزدهم شماره 44 (ربیع 2020)

It was said in the literary, historical and religious texts of ancient Iran that the owl was a blessed bird loved by them. It was said that a large part of the Zoroastrian Avesta was singing on his tongue; so that when he was reading this owl (Avesta) the demons and the Ahrman fled from his annoying cry, For fear of it. The Arabs considered the owl to be an ominous bird in general, absolute, as it suggests misery, misery and death, according to their intellectual and cultural resources. This pessimistic view was gradually leaked to the Persian, and was rooted in the perspective of the optimistic Persians and the writers and poets until they replaced them. The Persian literature and the Iranian poets' literature remained only a small fraction of that usual optimism. After Islam entered Iran in the Sassanian days and their beliefs in the Persian society, In this study, we seek to shed light on the influence of the culture of the pre-Islamic Arabs on the Persian poets in pessimism based on the theoretical principles of the French school in comparative literature as we try to show the motives of pessimism in the Persian literature influenced by the Arabs of pre-Islamic. One of the most important findings of this study is that the pope has an optimistic view of the ancient Persians, so that they attributed it to the blessed asceticism and sanctified the sanctification of the gods and raised it to the level of sanctification and worship. But this bird lost its positive face in the Persian literature gradually during the fifth and sixth centuries AH and beyond influenced by the Arabs of the pre-Islamic. We now do not see the optimistic spirit that is required to be present in the Iranian writers and poets except in some very rare cases we often meet negative images of the face of the owl completely.

It was said in the literary, historical and religious texts of ancient Iran that the owl was a blessed bird loved by them. It was said that a large part of the Zoroastrian Avesta was singing on his tongue; so that when he was reading this owl (Avesta) the demons and the Ahrman fled from his annoying cry, For fear of it. The Arabs considered the owl to be an ominous bird in general, absolute, as it suggests misery, misery and death, according to their intellectual and cultural resources. This pessimistic view was gradually leaked to the Persian, and was rooted in the perspective of the optimistic Persians and the writers and poets until they replaced them. The Persian literature and the Iranian poets' literature remained only a small fraction of that usual optimism. After Islam entered Iran in the Sassanian days and their beliefs in the Persian society, In this study, we seek to shed light on the influence of the culture of the pre-Islamic Arabs on the Persian poets in pessimism based on the theoretical principles of the French school in comparative literature as we try to show the motives of pessimism in the Persian literature influenced by the Arabs of pre-Islamic. One of the most important findings of this study is that the pope has an optimistic view of the ancient Persians, so that they attributed it to the blessed asceticism and sanctified the sanctification of the gods and raised it to the level of sanctification and worship. But this bird lost its positive face in the Persian literature gradually during the fifth and sixth centuries AH and beyond influenced by the Arabs of the pre-Islamic. We now do not see the optimistic spirit that is required to be present in the Iranian writers and poets except in some very rare cases we often meet negative images of the face of the owl completely.

The study of narrative and its elements has been reported by lots of researchers of narratology scope so far as they proceeded to the investigation of different types of literary works with a narrative-criticism approach. With the expansion of narrating works the literary-critics theories have been developed including the famous Russian theorist' approach, Vladimir Propp, that proposed a regular method with a reliance on "character". He studied the Russian folklore stories and concluded that each of these tales had a constant structure with constant functions and just characters changed. In over past decades works related to childish literature has a special place and take into account by lots of critics including childish poem, among other types of contemporary literacy, is a "toddler" in the Arabic and even world literature. Among authors and poets interested in childish literature, Suleiman Al-Isa is a Syrian one. In the present research, the elegy "I narrate my childhood for you, children" was selected and discussed using analytic-descriptive method focusing on Vladimir Propp method in the "Morphology of the folk tales" book. After mentioning theoretical discussion, the elegy was studied and concluded that Al-Isa applied important features of narrating elements like character and its function and characterizations that is a base of Vladimir Propp while the context and narrator was stated simply, childishly and easily understandable in order to be understandable and tangible for his addressees, children. In addition to characterizations special for the processing of hero characteristic, the exchange technique was applied as one of the main narrative elements.

We have chosen from the broad manifestations of postmodernity in Adonis' poetry, his violation of the grand narratives, because it is the central axis in the emergence of relativism in postmodern philosophy, which Adonis has emphasized in the Concerto Al-Quds collection. We have found that the image of "Al-Quds" is surrounded by many questions and doubts about its historical facts and the grand narratives that it carries in the consciousness of Muslims in general. What we intended by this paper was to examine the impact of postmodernism, as a Western thought, on the addressed poet leading to re-create the meaning of Al-Quds, as it was not just a place in a geographical spot, but rather a symbol of religion and a place of truth in which blood sheds in and for its sake. Accordingly, we found the poet's emphasis on the movement of history, perfectly suited to his position on the truth, and the evidence of its proportionality and its perpetual movement, as well as his deep call to reject the "fixed meaning" in favor of "convert". This is what his poetry coverts in its own networks, as it carries decency through its belief in relativism. The denial of the grand narratives is of particular significance in postmodernity, in which Adonis minimized traditional ideas and beliefs about the truth and the meaning. This results in the role of a questioner about the truth that revolves around it. Thus, in its general sense, the truth becomes completely relative. One of the most important of these comprehensive narratives is the "history" that Adonis skillfully undermines it in the Concerto Al-Quds. He calls to reconsider the history and to question the extent of its merits. Through this limitation of history, Adonis argues that "Al- Quds" is only a "linguistic" image painted by many religions and their authority over cultures and vessels. It is only a picture that slides on the land of the mind without ceasing a final stop at a specific station of meaning. This is what has been studied in this article, in the framework of the methodology of criticism of new historicism, which is one of the most critical frameworks of postmodernism.

The semiotic science was given great care of the title as an open threshold that determined the identity of the text, its production method, and its intuitive and intriguing content that could be derived from its superficial and profound implications. This title, for its important functions and levels of poetic poetry, transcends and oversees the poetic text in a single form, composition or phrases with coherent parts to preserve its unity, contribute to the appearance of its theme, define its vision and symbolize its significance. The functions and thresholds of the title threshold are activated in the poetry of Mohammed Afifi Matar. This study attempts to follow the most important functions of the title and its common toxicity levels in his poetry. The overall result of which is that the poet makes most of his concentration in the assignment of the main and sub-sections on a unit and a series alternately in form, and seeks to take into account this proportionality in many aspects with its texts, both verbally and verbally, but what is important in achieving the object is the way it reaches the content More than the content; the poet wants the method of Ennizha Beni Annawin and refused the hierarchy in order to achieve the function of the Greek.

Stylistics is a new approach to the study of the style of writers and poets, thereby distinguishing artistic speech from ordinary speech. This term attracted the attention of the critics in an effort to examine the technical structures and techniques used by poets and writers of the technical beauty of the text. This research focuses on the style of one of Hashem Al-Rahai's poems, the "Nahj Al Burda" ode; The poetry that the poet has written to imitate busiri and it speaks of the miracles of the Prophet and the events that happened in their time. The present study is descriptive-analytic and, based on the statistical method, it is intended to examine the structure of the "Nahj Al Burda" ode at three levels: phonetic, hybrid, and rhetorical and through this the beauty of the hidden beyond these levels is explained. The results of this study indicate that the abundance of acoustic and violent voices has had a great influence on the creation of the inner vocabulary of the verses, and has created a magnificent and magnificent affinity that is in line with the theme of the verse, the prophesy of the Prophet (pbuh). At the combined level, the current sentences, which indicate the increasing virtues of the Prophet (pbuh), have a higher frequency than nomadic sentences, as well as the poet at this level for the bowing and honoring the dignity of the Prophet (pbuh) on the Neda formulation, which leads to the approximation of Manda Becomes a reader, he has a lot of emphasis. At the rhetorical level, the poet has also benefited from the expressive manifestations of the Prophet (pbuh) and his approximate representation of the reader as well as his emotional expression.

The school of Realism has made heavy discussions among the critics, but it is accepted by almost all the sources that this school expresses the social and political realism without the exaggerated impressions. Moreover, the applied style of poets is what distinguishes each one from another and gives them a specific tone. Based on these two, we decided to study the styles of impression in the poems of Ahmed Matar who is considered to be one of the most prominent poets of the current era. Matar touches upon various political issues such as the weakness of the nation and their being oppressed. He highlights the injustice and crimes of the government. He also mentions the colonialism and the occupation of Palestine. The approach of this study is historical describing and critical analyzing to reach its results, including that Ahmed Matar has used several methods of prose to express the features of the political realism. He also uses riddles which are often used in popular literature; and descriptions that he sometimes uses reversely. Matar uses manipulation of letters, which is not common in poetry. And finally, using of symbols. For instance, he uses “cancerous tumor” as a symbol for Israel, in the body of the nation. So, Ahmed Matar could possibly be a voice for the fighting groups against the oppression and tyranny.