نشریه ادب عربی
سال چهاردهم شماره 1 (پیاپی 31، بهار 1401)

The manuscripts are the written heritages and possessions of our predecessors and their maintenance and retention is of great importance. The “Zobdat al-E’rab” manuscript, which is written by “AbdAllah-Ibn-Muhammad”, is a book including Morphological and syntactical topics, which in particular deals with the grammatical analysis and brief description of the “Ezhar al-Asrar Fi al-Nahv” that is written by “Muhammad-Ibn-PirAli-Ibn-Eskandar Berkavy”. Besides the technical, educational and scientific worthiness and importance, this book worths noting, correction and criticism since it is the first grammatical analysis of the “Ezhar al-Asrar” book. It should be emphasized that the “Ezhar Al-asrar” book is among the important and significant morphological scientific and educational books which is taught in most of the religious schools of Turkey. Four copies of the “Zobdat-al-E’rab” have been found in the libraries all over the world, which one of them preserves in the library of the Islamic Parliament of Iran. Other copies of this valuable book exist in big libraries in the world such as the French National library and library of the “King Faisal” university. Using a descriptive, analytical approach, this paper provides biographies of the authors of the “Ezhar al-Asrar” and the “Zobdat al-E’rab ” books and introduces the “Zobdat al-E’rab” manuscript completely. Also, the excellences, shortcomings and technical issues of the manuscript have been presented which are obtained during the collation, investigation, and correction. The exact writing dates for two copies of this manuscript are unknown to us. Also the writing dates of the two other copies are much later than the writing date of the original copy. As a result, determination of the first and the original copy seems to be difficult. One of the important results which is obtained and reported by this paper is the best way which can be used in order to correct this manuscript.

Metafiction is the author's writing style and the style of consciously and deliberately playing on narrative structures and subjecting the skills of writing. By deviating or escaping from the established norms of traditional narrative and even adhering to it, metafiction tries to introduce the previous literariness and self-consciousness as a hollow  deviation, And expose the narrative tricks of claiming to be truthful - for the unrighteous purpose of absolute truthfulness - in order to prove that it is impossible to resolve the conflict between voices and ideologies by subjugating them under the voice of an omniscient and God-like author, And happily demonstrates the impossibility of the ultimate understanding of truth in the light of one-sided domination. Metafiction as a sub-genre, with its mentally processing and self-evaluative and dialectical annotations, seeks to clarify the truth with an enlightening reflection on the processes of creation of the story, and relying on Heisenberg's uncertainty principle, along with clarifying the nature of the story. Combined with the concept of relativism, game theory, as a way of properly understanding world routines, contributes to the realistic achievements of literature in the metafiction as a self-founded activity with definite value in the real world. By pretending to play roles and contracts of the game, the unstructured and arbitrary nature of the game, helps metafiction -while exploring the functions and seemingly known but practically unknown nature of the story- to shatter dysfunctional traditions and unpopular worldviews. In recognizing these Attitudes of recently known paradigm in metafiction, relying on descriptive-analytical research method and processing metafiction theory data, we intend especially from the point of view of "Patricia Waugh", to understand the efficiency of the components of metafiction and explain its qualities and the role of play in the promotion of making metafiction, in the novel The Game of Forgetting  by “Mohammad Baradeh”, to recognize the innovations of the first Arab step in the migration from the absolutist ideas of modernism in fictional factology. Researching these cases we found out that M.Barrada, in the application of tricky techniques like short-circuit, trick revelation, character rebellion, metafictonal collage, and arbitrary naming, he always acting gamefully, owes much to the principle of relativism and the multi-faceted nature of truth and and thus establishes a solid basis for Arabic metafiction.

Since violence represents suppressive aspect of power, a violent relationship between the inferior and superior parties is inevitable. By combining philosophical and everyday life concepts, Žižek depicted different dimensions of violence. The novel At the ISIS table narrates the suffering of the Izadi people who encountered the invasion and genocide of ISIL. Using Žižek's model, this study had an attempt to explain the different layers of ISIL violence against Izadi people to show how the author has represented different dimensions of violence in the events of the story and has applied the issue of violence as a narrative theme. The results of the research showed that all types of violence in the novel are influenced by the violence of the gods mentioned by Žižek. By applying systemic violence, ISIL intends to de-institutionalize the family and other social foundations. ISIL's methods for repressing women are active and symbolic, and at the same time, it has not neglected active methods such as using women against women. ISIL used takfir of the "other" to justify violence against its members, and the Izadis were doomed to destruction as a manifestation of infidelity that hindered the realization of the caliphate's objectives. In the present novel, women are the biggest victims of violence, and their inferior position has historically added to ISIL's power to commit systemic and absolute violence against women.

The novel Sharafat al-Aar narrates the lives of characters with different inherent and acquired capitals and talents who compete and play together in the common field of cultural production based on their character and capitals, or on the opposite side. They play a role to achieve a symbolic status in the social space. The nature of this research method is descriptive-analytical, relying on Bourdieu's sociological concepts. Findings show that the discourse of debauchery is weak in terms of ownership of cultural capital and very rich in terms of social and symbolic capital. Negative social capital in this discourse becomes actions that reproduce betrayal and violence, and the true discourse of religion, despite its intellectual character, achieving social status and the acceptable richness of cultural and economic capital, Faced with a hot crisis of stigma, the “murder for the defense of dignity” rule is removed from the scene under the rule of legitimacy.

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.

In the contemporary era, along with his changing thought and feelings, human being has transformed story writing ,as well and unlike the past, has hidden the meaning under beneath layers of the narrative. In this regard, the place and its meaningful reflections are among the capacities where various elements could be decoded by probing in its aspects. Phenomenology with expanded theories, has attracted the attentions into this meaningful element rather than other sciences. One of the most prominent theories that has been presented about place by phenomenologists is the theory of “sense of place”. This sense transforms the space into the place with special sensual features and is considered an important factor for identifying people. A factor which has caused the authors to attribute the targeted positioning in their works to that. ʻAicha Arnaout', is a Syrian – Albanian author and poet, creator of psychological novel I lead you to others  where the place carries the novel meanings and concepts which corresponds to the sense of place. The current research attempts to study the mentioned novel relying on the descriptive-analytical method and based on the mentioned theory, so that it finds information about latent conceptual layers in the place element of this story. Some of obtained results suggest existence of new models in places like home, school and cafes where by receiving the inner sense of place, the author has prepared the ground for a new reading of them.

The expression of postmodernism in written texts is not limited to content and subject matter; Rather, part of the postmodernist arrangement of literary works relates to the physical elements of the text, namely the page of paper, the lines, the letters, the words, and the margins of the text. These arrangements are made in line with the postmodernist principle of uncertainty and the creation of doubts and suspicions in the ontology of the audience. This leads to the confusion of genres, the collapse of the geometric order of the text and the creation of chaos in the traditions of writing and poetry, especially the arrangement of words and lines, as well as reducing the centrality of the main text and focusing on the margins of the text. Kamal Abu-Deeb, a contemporary Syrian poet, writer, and critic, is one of the figures in contemporary Arab literature who is particularly familiar with postmodernist thought. In the collection " Adhabat al-Mutanabbi fi Suhbat Kamal Abu-Deeb wa al-'Aks bi al-'Aks", he tries to rewrite the narrations, currents and various events of Mutanabbi 's life that have been mentioned in previous texts with a postmodernist mentality. The present paper tries to analyze these mechanisms and their role in creating meaning in the above collection based on the descriptive-analytical method. According to the author, this work does not fall into the category of fiction or poetry, because it is a combination of all literary genres and form-based arts. The results of the research show that in this work, Abu-Deeb tries to portray the tensions of his inner world and the philosophy of personal and social life in the Arab countries with an emphasis on postmodernist form-based tricks. By emphasizing form-oriented tricks, he intends to direct the audience's mind to the hidden angles of his story formation in order to challenge the great narratives at the visual level. To convey this message to the audience, he uses form-based mechanisms such as blank verse, painting, geometric shapes, vertical writing, parsing, and font change, each of which plays a prominent role in creating doubts in the mind of the audience about his real affairs and proven intellectual and epistemological patterns.