مجله الجمعیه العلمیه الایرانیه للغه العربیه و آدابها، فصلیه علمیه محکمه
سال دهم شماره 3 (پیاپی 32، خریف 2014)

A contemporary poet should attempt to look at tradition from a new and modern perspective. In his or her poetry، tradition should not be restrained by poetic structures and formats، but rather should be dealt with from a humane perspective. The present study explores tradition and its technical components in Boland Al-Heidari''s poetry، the contemporary Iraqi poet، to see how he uses tradition in his more famous poems. The paper also deals with a link that the poet establishes between the past and the present. It also analyzes literary، historical، popular، and even contemporary characters in his poems in an attempt to familiarize the reader with the close relationship between him and his Iraqi heritage and to show his love of his nation. This work، in addition، discusses Al-Heidari''s artistic thoughts and methodologies through an analysis of some poems from his books of poetry. This research seeks to analyze the structure of tradition in Al-Heidari''s poetry in a descriptive and analytical method. The findings show that the poet deals with tradition in a creative and modern way، a fact which indicates his deep awareness of culture. Furthermore، his tendency to include historical characters in his poetry is an indication of his breadth of poetic vision and innovative viewpoint. It was also found that Al-Heidari has a broad and humane world view and has a sound grasp of reality. The poet mixes his approach to tradition with his philosophical view of modern life and present-day human beings.

Stylistics is a new critical, literal and lingual method. It considers the literal texts by themselves. Its real duty is centralization on fundamental and internal elements of an artistic work, and revealing creativity criterions which are counted as the basic signs of literal work especially poetry. As you know, poetry is the reflection of human`s thinking and emotions by language. Poetic language by using literal elements like simile, metaphor, and sign in form and meaning views attracts human`s heart. Al-Sayyab have been known as a creative poet, and he was influenced by the political and social opinions governed his society. He rebelled against the traditions govern his time. His poems describes a human`s conscience and nation`s spirits, so he has been chosen, and one of his poetry "a strange on the gulf" is considered stylistically in three levels including: lingual, literal, and intellectual. The results show the poet uses different types of repeat phonetically, and he uses them as an aesthetic means for the poetry subject. Al-Sayyab uses this method in a way we can count it as a stylistic element of his poetry. The poet literally uses artistic images of poetry like defamiliarization in simile and metaphor as a means to describe his emotions. In the intellectual level, we can refer to the subjective unity of poetry, expressing the elements make mankind personality like love, emotion, wisdom and its appurtenances, and also describing the grief and sorrow for the colonialism and musty people.

The literary text contains crucial strategic parts such as the title, the beginning and the conclusion that reveal its secrets (laden powers) and aesthetics. The beginning is the most important of these parts because it establishes the text as it is that linguistic sign from which textual connotations are generated. Therefore, studying the workings of textual beginning discloses the way textual connotations form. Besides, after the title the textual beginning is the first encounter between the reader and the text, either it allures him to continue reading the text or distances him/her, hence comes its importance. This reading aims at unveiling the capacity of textual beginning to establish the text: is it capable of establishing the text or is it just a linguistic sign like any other textual signs? If it can, how are textual connotations formed then? This reading presupposes that the beginning is capable of forming textual connotations as it is the sign from which all other signs, structurally and semantically, emerge. This reading while posing the issue of textual beginning is informed by the semiotic approach which studies the interconnection and correlation among signs of the text as a whole network. In order to disclose the workings of the beginning the nature of textual beginning including its definition, types, functions and limits are discussed. Then the textual beginning in Mahmoud Darwish’s poem “Qubar Al-Qauafil” will be studied to explore its capability of establishing the text. The study shows that it is a pluralistic beginning that establishes the text both structurally and semantically. As far as structure is concerned, the vocabulary of the beginning appear in the body of the text in the same wording or synonymously. As for the connotation, all themes of the text derived their connotations from the main focus of the beginning: forgetfulness, with variations the relation between the beginning and the textual themes.

Drama is a folk art that motivates the addressee. It is based on an incident involving movement and tension. All literature of all times including Jahilliyah poetry has this art. In Jahilliah Poetry drama has a simple plan, because it is based on simple life of that time. The hero has a simple and uni-dimensional character in this type of drama and pursues just one purpose. The protagonist is against this character in the dramatic event. In drama the elements of the chorus (those include human and non-human character) help the hero. Time and context in this type of drama have the common feature of “fear”. The poet uses lexical items, visual and auditory imagery, and imaginary elements to make fear tangible. In Jahilliah Poetry, conflict is divided into horizontal and vertical types. The the former, the hero fights the morals of his society. In the former, the hero attacks death illustrated in the shape of “hunter” or Jinn. The hero is victorious at the end. The purpose of the present study is to analyze the dramatic structure of Jahelliyah poetry and its components. The paper explores the respresentations of this art in Jahilliah literature and shows its manifestation as one of the fundamental dramatic forms based on Ektansyl Model.

"Self-sacrifice" as the highest degree of faith, has a wide range of lexical and idiomatic meaning; But commonly, the scope of its meaning has been so limited that it has appeared more in the meaning of "forgiveness and sacrifice". This paper, deals with the etymology and lexical meaning of self- sacrifice. Besides, it deals with different meaning of this lexical in Quranic verses and its and its application is compared before and after Islam. Then, place and its semantic relation in Quran are surveyed according to semantic fields. For this purpose, contents are presented in the name of "historical and descriptive semantics" and it is also stated with "descriptive analysis".Its lexical meaning includes any preference, both positive and negative self-sacrifice. In pre-Islamic era, its idiomatic meaning was common more than Lexical one, and it was more limited to tribal and individual motivation; But, Quranic verses, put it in service of new religions aims, and gave it divine intention and motivation. Considering the context of the Holy Quran, by maintaining idiomatic and lexical meaning, this word finds semantic relation with many moral and religious concepts: In idiomatic meaning, it and concepts like "goodness, sustentation, forgiveness, martyrdom" are placed in the same semantic field, In contrastive meaning also, it is located in the same field with words like" Stinginess, miserliness, curmudgeon, Stinginess spiritual", Considering relative synonymy, it is placed in the same semantic field, with the words "selection, preference, choice and choosing".

In teaching writing, methodologies play a major role in language learning and since the aim of writing is to keep the students away from making mistakes in speech and writing, applying the methods which teach writing practically, play a major role in language learning. Inspite of assigning six units of writing for Arabic literature at B.A level in Iran, students still fail to use this knowledge practically, because writing is taught by using old methods for many years and the instructors dont use appropriate teaching methods. The current srudy tries to analyze the determined syllabus, methodology and the relationship between writing and the other language skills (speaking, Read, etc) by using surveys and questionnaire and presenting appropriate solution.The subjects of this research include Eighty semester students at B.A level and Arabic literature instructors at universities of Tehran,Allameh Tabatabaye, Beheshti and kharazmi.The research findings indicate A major challenge in the teaching of writing: the lack of language skills of the teachers interact with each other, disregarding the various techniques for teaching writing, and limited laboratory facilities and equipment.

Language is an expandable and generative phenomenon which can cooperate with other new sciences and expand the scope of its terms. Arabic and Persian also are not exceptional from this principle. Therefore, in the light of word knowledge by which one can recognize the creativity and capabilities of a language, knowledge of new terms (or neologism), and the manner of their formation can be obtained and then applied for finding equivalence in translation. To achieve this goal, the present study aims to show how one can use morphology knowledge for translation in Arabic and Persian texts. Accordingly, focusing on scientific texts, the aim is to show the importance of word formation knowledge and its effects on finding the suitable equivalent for neologism mostly derived from English. To achieve this goal, different processes of compounding and derivation and various types of borrowing used for the equivalent formation are analyzed and compared in these two languages. The results show that among many various equivalence processes, compounding and derivation are more common. However, Arabic uses derivation, infix, more than Persian. Also, among different processes of compounding, genitive and adjectival kinds are used more than other types of it.