مجله الجمعیه العلمیه الایرانیه للغه العربیه و آدابها، فصلیه علمیه محکمه
سال ششم شماره 4 (پیاپی 17، شتاء 2010)

The importance of intertextuality in the expansion of the textual context of Maghamat is realized through different sources as well as the harmony of absence and presence relations inside it. Therefore, the use of classical and traditional texts, especially poetry, inspires a reader toward the cultural pattern of Hamedani’s era, the issue that leads to the most impressiveness in the process of appreciation of the text, and resultantly, to more effectiveness of the ode.That is why Hamedani tries to use as many religious texts, oral traditions and poetry as possible, hence; provides vast horizons to the heritage of the past. This article tries to answer two major questions:1. What are the main styles of intertextuality in Hamedani’s Maghamat?2. In what ways did Hamedani use intertextuality to make connections with other texts?Our research which is a comparative criticism is to suggest some types of intertextuality in a unique text of Arabic literature, Maghamat of Badi-o-Zaman Hamedani. The author of this work is the pioneer of narration and essay writing with newspaper style in Arabic literature and he tries to create a setting vaster than the world of personal experiences, limited to his own time and place and he does this through the application of intertextuality. The important point is that discourse and intertextuality have not been given much consideration and, as far as we know, no research has been pursued so far to base its main concern on such criticism. There have only been some scattered considerations based on personal and superficial judgments, without any clear and specific plan. The present article includes the following issues: 1.Determining research specimen and reasons for their selection.2.Presenting main forms of intertextuality in the specimen and comparing with the text.3.Results through dividing codes of the text and their criticism.

Drama is a Greek word meaning "mode, action, dynamism" which in the beginning was related to Greek exhibition and theater. However, in the contemporary period, it was not merely limited to shows rather applied to other techniques as well such as poetry along with moving elements (dynamics), squabble (conflict), reciprocity, character, dialogue, monologue, description, mask, rhythm, narrative etc, which interpret as the highest form of expression in the new literature which can be remembered after lyrical poetry, drama on the institution. Al-Sayyab’s odes have been compiled with both lyrical and dramatic approaches together in the long and the short forms. Here, first, all elements and tools of drama are employed so that a complete lyrical story is written hence; this kind of poetry is very few in the contemporary period. Second, some elements of drama are employed and description and reporting are avoided although these kinds of poems are in abundance. As a result, the proposed poet bases his poems on two aspects of dynamism and conflict (especially between life and death) from inside and the elements of description, speech, masks and rhythm from outside. Hence, most of his poetry – based on the acquired result – has employed dramatic phenomenon in the form of successful poetic expression although, little defect - as it is described – could be seen in some part of his odes. So, before anything else, we assume that the poet while working with new dramatic form, practically he may have faced link between action and content and while looking at works complete new technical elements of expression, his poetry seems successful.

Proficiency in the four fields of sounds, words, compositions and sentences are considered to be the most essential and fundamental needs of non-native Arabic learners. Following are some of the important points while preparing scientific or educational structure for Arabic training and learning: -The most problematic aspect for non-native Arabic learners is the field of compositions.-In the language learning process, learners must take into account the difference between linguistic contents and the manner of language application.-Selection of contents is essential for non-native Arabic learners.-While selecting contents in the Arabic learning, collection of composition is needed e.g. sound, conjunction, composition rules.-The lingual skills are obtained through gradual learning process.-Teaching educational contents plays key role in the success of Arabic language learning.

The word “aya” is one of the ancient Arabic dictums and it is manifested by its wider use in early Arabic literature. However, when this word entered into the holy Quran, it encompassed religious concept in association with other Qur’anic words. That concept was not unknown to contemporary Quranic addressees during revelation. In other words, idolatrous and people of Books across the Arabian Peninsula were familiar with this notion which had been used in the Old Testament with twin Hebraic word אות ('ot). The religious concept of "aya" in the Old Testament implies a divine act which affirms and emphasizes revelation content – including religious instructions and insight as well as future predictions. This concept at least constitutes part of Quranic view of aya; therefore, it should be considered in Quranic semantics of aya.

As literature is subjected to criticism, the critic must be studied and assessed as well, hence; correctness of processes and methods are assessed based on the scale of experience and reason. The critic as theory, in this way, is called the critics of critics’’ and has been enjoyed the considerable attention.Literature is the expression of logos and psyche and the manner of psychological analysis which focuses on human psyche has entered into different fields including literature and has much importance in literary criticism. One of the ways we come across in the criticism of Ehsan Abbas is the psychological attitude. Besides, he uses historical, Marxist, Formalist attitude and its related schools such as structuralism and post-structuralism.In his psychological criticism, Abbas focuses on the currency of literary reaction and the act of innovation. During his search, he does not forget changes and moods of audience. He was much influenced by the theories of Fruid, Young and Maud Bodkin. He, however, didn’t go beyond their theories and accused to be absolutist. It can be said that he is not related to the any particular psychological school but through constructive effect from famous theorists, he chosses an attitude of his own.

The epic poem "The Dice Player” by Mahmoud Darwish, a poet of Palestinian resistance movement, has been published in his last poetical work entitled "I don’t want this poem goes to the end". The Dice Player reveals the poet's perspective toward fundamental concepts of existence. The components of contextual structure can be achieved through stylistic analysis of this poetry at linguistic literary and philosophical levels.The style of Mahmoud Darwish has gone through a number of creative periods, from very catchy texts to highly complex word constructs charged with myth and symbolism. The epic poem "The Dice Player" combines the best of both periods and styles. The current paper, first, gives a brief description about style and follows with the stylistic analysis of "the Dice Player" which in stark contrast to its simplicity and clearness, is overshadowed in vagueness especially in its philosophical level. The most sophisticated feature of its style markers are symbolization and intertextuality of religious texts and myths.

Eulogy is the most prevalent literary genres in classic Persian and Arabic poems. So far, some studies have been carried out on this genre. Since, eulogists (Eulogy poems) lack any moral responsibility for society and people; they are often regarded as nonsensical words written for flattering kings and those holding powers. Taking into account the sociological perspective, the present study attempts to analyze eulogy in general and Ibn-e-Rumi's (a third century poet) poems in particular. It aims to specify the role of eulogy texts in the past and to determine the responsibility of modern readers while going through such texts. Furthermore, through discovering the utopia of poet and that of people in the poems, the authors are able to come up with the ideas and aspirations of the people and the authorities at those particular periods of time. The present study opens a window to better understand and perceive such a literary genre.

Usually, lack of scientific arena of MA «ما» leads to error in its identification. Some times, it cannot give the exact meaning to the one intends to. With scientific analysis, we reach to the conclusion that “We” is employed about a dozen ways among which, seven kinds are noun and five types are other letters. The nouns justification includes: definite authoritative (marefehe tammeh), definite imperfect marefehe nagheseh), conditional (Shartiyeh), interrogative (estefhameyeh), indefinite authoritative (nakareh tammeh), indefinite adjective (nakareh mosofeh), indefinite participle (nakareh vasfeyeh) and justifications letters are: like Laysa and one in infinite adverb and one infinite non-adverb, in kaffe and zaedeh. The paper tries to show the application of “we” through a graph highlighting the mode of its use to understand it easily.