پژوهشنامه نقد ادب عربی
سال یکم شماره 2 (بهار و تابستان 1390)

Colors in Arabic poetry as the main means of illustration earn a specific application. So perhaps it said that the best images so that those have been using the colors. Omar Abu Rishah, the Syrian poet; who has well-known love and homeland. He by using different colors in the images in his poetry has been able to create exquisite images. Red has the highest frequency among the colors used by the poet. Then we see black, white, green, yellow, blue and purple. The symbolic meaning of colors in many cases has been used to refer to concepts more deeply. The cases also have been used only in its original meaning. In this paper is a summary of poet's life, then it studies the colors used by poet, and for them has been written the poems separately and they are analyzed.

Translation specially of literary texts besides its vast importance in information transforming and cultural-literary exchange amongst the nations it also has peculiarities and elegances of its own with many difficulties. People who work as translators should enjoy particular qualifications that need a somehow comprehensive and thorough knowledge and control of and over relevant tongues in order to transfer the exact meanings of literary texts to the aimed language. As is noticed translation of Farsi short stories into Arabic by those Arabs who are acquainted with Farsi carry sometimes their own difficulties and weaknesses with, which make the main subject of this very essay. This essay deals with the Arabic translation of two short stories of Jalal Ale Ahmad, titled; the Postman and The Porcelain Vase, according to the relevant evaluation criteria of translation, comparing the rendered version with the original text to find out and show the differences between the both concerning meaning questions, literary ornaments, unreasonable changes and style diverities. The essay concludes that correctness standards of translation have not been well considered in many cases while translating these short stories into Arabic.Nada Hassoon as one of the translators despite her success in organizing the general framework of the stories, fails, more or less, to transfer the same weigh of meanings, the spirit which governs over the stories of Jalal Ale Ahmad and his particular style in her translations. She depite her extraordinary adherence to the original text surpasses some structural reles of its language and as a result of that the reader of the translation can not essily get the clue to the story.

Dodging the right and the straight path of language has been always one of the most effective ways of rendering poetry language into bombastic one.This phenomenon has been significantly adopted in contemporary Arabic poetry to such limit that the comprehension of poetry as a whole circulates round its axis.Izz-ul-din Manasrah; the Palestinian contemporary poet is one of those who widely surpasses the limits of language various rules of syntax, inflection, and philology. Furthermore he sometimes by using archaic phrases and sayings innovates constant poetical subject mater endows wonderfully a distinguished feature to his poetical style and freshness to his diction that result sometimes to increase the difficulty of understanding and to lengthen the time during which sensational understanding takes place.Dodging language straightness by the poet despite making his poetical dialect distinctive and mostly positive but on the other hand, because it entails, in some cases, ambiguity in speech and in the way of words articulation, it damages the language structure and therefore brings criticism about. This research by means of the descriptive-analytical method and Leach's relevant pattern attempts to study the mentioned case of this poet in all the aspects shown above.

Contemporary poets try by using symbols, to bestow new concepts and meanings to some historical characters and events. A symbolist poet, with regard to the depth of his culture and knowledge looks for mythical and hereditary symbols, in old and recent histories, to blend them to his thoughts and views, in relevance to and in concordance with the extant situation of his society. Whenever such a poet intends to invert the meaning of what he says he should use his words in a way to let his readers get the clue right to the opposite of what he expresses.The Egyptian symbolist poet AmalDonqol tries to express his thoughts and views about different socio-political subjects poured in a symbolic mold, hoping to discover and reform those disorders that Arab societies suffer from specially in Eygept.He uses three types of symbols;, - religious(Imam Husain, Josef the Prophet,...), "-mythical (Uzirise, Oedipus, Sisyphus...) and historical (Spartacus, Haniba' I, Kulaib,...) Arabs glories and grandeurs, uprising against oppression and atrocity, Palestine and resistance against Zionist occupiers, death and resurrection plus hope in life and future consist the poet's pivotal symbols.This essay attempts to give a somehow detailed analysis about AmalDonqors religious symbols.

The word "qarn" was employed in the most old semiotic languages with slightly different pronunciation. Although qarn has been used in the meaning of "horn" in these languages, it has had other figurative meanings which differ from language to language. As an example, we can mention the figurative meanings of qarn in Arabic which are different from the ones in Hebrew. Since the question of Dhul-Qarnayn has been raised by the Jews of Yasrib - that its origin is in the Old Testament- the key point for precise conception of the compound Dhul-Qarnayn lies in the word "qarn" and its denotations and connotations in Hebrew, especially in the Sifrei of the Old Testament. Of course the finding could also help us determine the reference of Dhul-Qarnayn. Referring to the several Sifrei of the Old Testament, we find out that "qarn" (קֶרֶן) as well as "horn", has implied power, strength, glory, child and governorship. On the other hand, in The Daniel’s Sefer, Dhul-Qarnayn describes a two-horned ram which first butted the West, then the North and the South, i. e. it has dominated the West, the North and the South and in the same Sefer, the ram was construed as the kings of Persia and Media. So we must look for the referent of Dhul-Qarnayn, among the kings of Persia and Media. Since this study is in the field of comparative studies between Arabic and Hebrew languages, the method of comparative criticism has been used in the present article.

Maqamat Badi' az-Zaman Hamadhani is one of the masterpieces of ancient Arabic literary fiction. The hero of Hamadani is a literary beggar, That Creates his discourse with a variety of methods & taking advantage of his emotional intelligence. One of the Psychological characteristics in the discourse of the hero in Maqamat Hamadhani is Using the dimensions of emotional intelligence. This study attempts with Descriptive – analytical & applying semiotics to review Dimensions of emotional intelligence in Creation of discourse of Maqamat, s hero. Research findings show that the hero has used two major aspects of emotional intelligence. One of the two aspects is Management of personal emotions & other is Manage other's emotions.

Social capital means Yfhat eve_ n(Jlvldualm society shares andparticipates in interests, positive activities, creation of social relationsout of socio-economic systems besides human interchangeable associations such as mutual credibility, social deal, collective and group sense of identity, and having common picture of future with its basic elements.Retrogression of these elements usually produces abhorrent and atrocious human groups and entails the reproduction of anti capital and social traps.As long as literature as a social institution is similar to family, economy, etc., its impact on the social life as an art of expression is regarded as the manifestation ground for social phenomena, norms and abnormalities and it can act as a source of both positive and negative developments of individual and social life and to display their facts. Such characteristic of literature urges poets to utilize poetry as a vase for social thoughts and ideas and to reflect throughout their verses the social norms and abnormalities.With regard to the above viewpoint about poetry and literature and the direct and indirect impact that Persian and Arabic literary works could have on social ties, the fact of the abundance of existing mutual socio-political relevancies in these works and the lack of research from social point of view in this field, this comparative study that the extant paper presents about some poems (Nima's "Frog" and "Oh, People" and Al-Sayyab's "Rain Song") may really explore the extent of visibility of the social ties in the "Rain Song" of Al-Sayyab and the manifestation of the opposite in the two other Nima' s poems, show that the both verses have signs of social symbolism and suggest a stage of socialism that the two poets lived.