نشریه ادب عربی
سال ششم شماره 2 (پیاپی 12، پاییز و زمستان 1393)

Al-Fawaed-Uz-Ziya''iya «is a great book written by the Abdar-Rahmān Jāmī، the Iranian poet of the fifteenth century. Jāmī has written this book as an explanation to the Al-kafiya of Ibnal-Hajib. This is one of the classical works written on the Arabic grammar or Nahw. This book has been called» Al-Fawaed-Uz-Ziya''iya«since Jāmī has written it for his son، Ziya-od-Din Yusuf. Jāmī had great knowledge in Arabic language and especially in the Nahv. He has taken an impartial view in the explanation of the book. He has not only been reciting the grammarians'' viewpoints but also he has expressed his own opinion in grammar rules. He has never refused Ibnal-Hajib’s opinions straightly، but he has tried to present the other opposite grammarians'' viewpoints in this regard. This paper addresses and analyzes Jāmī’s viewpoints in this book and come to this conclusion that Jāmī was among the followers of the al-Basrah school in Nahw.

Onsi al-Haj tended surrealism in the beginning of his poetic life. His surrealistic poems have been told according to the unconsciousness and Automatic Writing. So his poems are written with a unconscious style of writing. Trusting on unconsciousness by Onsi al-Haj has influenced on his poems in some aspects. One of these aspects is his language; Al-haj''s language is an ambiguous language with some deconstructions in orders. Another aspect of this influence is seen in notion of time and space in his poems، so in his poems we see that time and space has a very vast sense and the third is existence principals of objective chance In vertical and horizontal field of his language. In his poems there is also another technique of surrealism which is called discrete space.

Today، it is clear that literature is an event that becomes apparent within the context of language; since it is language that gives form and identity to it. In fact language is a system of phonetic، grammatical، and lexical to express thoughts and feelings. With the coming of formalism then structuralism، critics became of the conviction that a literary work should be studied without any backgrounds. In analysing a literary work، the text should be considered on its own rather than dealing with areas outside the domain of literature. Accordingly، the present article aims to employ a structural analysis، which is part of linguistic analysis. By using theories and applying them to poetical works on two religious odes of a great contemporary Iraqi poet، Mohammad Mahdi Jawaheri، the paper seeks to explore a common structure which is due to the linguistic features of the poet. Although reaching a common and fixed structure is achievable through analysis of a large collection of literary works. Some of the findings indicate that foot and metre in both odes are related to their content. Assonance and consonance in both odes are well placed to serve the poet''s thought and affectivity and on the other hand deviation and defamiliarization leads to poetic language in both odes.

The beginning of religion is cognition of Allah and He declares his attributes in the best form in Quran. The holy Quran also is accepted by all Muslims as the most significant of religious cognitive resource. The attempts to protection of interpretation cause the codification and arrangement literary sciences in Arabic language. It was done because of interpreters place these sciences as principles of interpretation of Quran. However، various schools come up with different ideas from same verses to prove and accede what they have in their minds. There are various point views in literary analyses of God’s attributes such as set upon reality or metaphor، irony، homologous، eliminate and etc. which comparison of literary analyses of interpreter with their theology principles، can show the rate of loyalty to their mental basis. This article attempt to illustrate the impact of principles of interpreters on literary analyses of attributes verses.

Syntax complexity and various ideas of syntax proponents created challenges to teaching it from first centuries of Arabic language development. therefore، most of scholars attempted to resolve problems planning new models and compilation of new effects. one of them include of Ehyah al-Nahw that is written by Ebrahim Mostafa in 1937. publieation of this book leads to create challenges to opposites and proponents. In 1938، Egypt culture ministry established committee to simplify Ebrahim Mostafa syntax using consultation of Taha Hossein and some of the linguist’s. after syntax book confirmation، the ministry act to generalize and distribute among Arabic countries. By this related ideas of syntax scholars have been achieved. Iraq government appointed sheikh Mohammad javad jazaeri to evaluate it. But sheikh desire to traditional syntax lead to not attention to this modern plan and rejected it. Then traditional syntax was preferred to modern type. But his critique was superficial. Egypt syntax committee plan combined syntax training that is more extensive than Arabic language and its training.

One of the themes of the poem has a significant presence in almost all periods in the history of Arabic literature is wine poem. During the fourth and fifth centuries A. D، the Arabic language which had become the official language of the land of Khorasan، wine composition poem among the poets of this land had significantly grown. Wine poets in their tremens had described many details such as the color of the wine، smell، taste، wine، drawer، and the influence of wine on spirit of bibulous which represents a status of wine and wine composition poem and its great popularity among the poets of this land. But this grows and expansion was in numbers but not about quality، becuas they donot add new meaning for previous wine poetry (Al-A''sha، Akhtal، AbuNuwas)، they just Proffer same meanings likes: simile، metaphor، pun and returning the second hemistich to first hemistich.

M. Darvish، the contemporary poet of resistance in Palestinian، has written poems، similar to Persian poets، in “sepid” and “Azad” poems، with freedom from the rhythm and rhyme of the traditional poems. Vindication of the Oppressed people and hostility to jewish regime of Zionist، has shadowed on his odes، he has gifted his poems epic soul and warding off. In this article، stylistics of Darvishe’s poems considered with a very outspread gamut knowledge. The music derived from repetition of vocabularies، repetition of letters، paying attention to letters، paying attention to the sounds of letters، its rhythm and deserving “Tafeile”، using rhythmic words and sometimes rhyming words، verbal arrays، innovation in pleasant combination، using non-Arabic terms، abundance of verbs to make an active poetic space، insight in association of meanings and sounds that has gotten up from vocabularies، artistic game with pronouns، diversity in the topics of poems with the centrality of vindication and warding off، inclination to Symbols، inclination to metaphor and simile in creation a fantasy place، paying attention to the nature and exploitation from its element. These are all the most important determinatives of his style، that he has pointed to them.

Magical realism is a new method in fiction. In this method the author uses the technique of magic and fantasy that mixed with reality. Najib Mahfouz and Gholam Hussein Saedi are the pioneers of this style. One Thousand and One Nights and Mourners of Bayal are examples of magical realism method. This paper attempts to examine these stories. Magic and fantasy، myth and the duality of the two stories are common. But Sufism and familiarization are special of the story thousand nights and night and Noise and odor and descriptions expressionism and surrealism are special of Mourners Bayal. Therefore، the study of magical realism in the fiction of the nights thousand nights and night Written by Najib Mahfouz and Mourners of Bayal written by Gholam-Hussein Saedi the both can be considered successful in Persian and Arabic fiction literatures. Although the two elements of magic and illusion in terms of quantity and quality is the most used in Najib Mahfouz story. But the symbolism of duality has been used more and more tangible in the story Mourners of Bayal.

New techniques of storytelling are applied in the novel «Ma Tabaqqa Lakom» written by Ghassan Kanafani، contemporary Palestinian poet and novelist. It is one of the first modern novels of Arabic fiction which has played a considerable role in the innovation and flourish of Arabic fiction. Since the technique of stream of consciousness is used in this novel; and as a result of interruption of time in this kind of fiction، the story is narrated in different scenes، by various narrators، and from several points of view; it is expected that the dominant traditional form of point of view and narrator، in contrast with classical fiction، be in a constant fluctuation in this novel. Therefore، this study attempts to examine narrator and the degree of canonization، among elements of fiction، according to the views of some of structuralist critics such as Gerard Genette and Todorov. In this paper، stream of consciousness and narrator، different kinds of narrator and point of view are explained briefly. Then، it uses these elements in order to challenge the novel.

Literary commitment is an imported concept from western literary review which has found great place among Arab scholars and critics in the last decades، because the critical، political، economic and cultural conditions of Arab world and the domination of cruelty and exploitation caused the writers and poets to accompany the revolution of innocent countries. Farouq Jowaida، an Egypt poet، is one of those poets who has used poetry techniques to talk about lack of freedom، injustice poverty and deprivation and stimulated his targeted people in order to resist cruelty by humanistic feeling and honors and put the dictators'' position in danger. He has all the time been one of those fighters and is the messenger of unity among the countries with the same language and religion who has mixed the politics and poetry with his magical writings and fought for liberty. The concept of poet''s literary commitment has Islamic Arabic and patriarchic gravidity and attracts its reader far from any slogans or mottos. The aim of this article is analyzing the aspects and concepts of Farouq Jowaida’s literary commitment in political، economic tribal and ethical categories.

Abdullah al-baradouni and Jalal ad-Din Muhammad Mawlawi suggest Some common ontological themes which are represented in themes like “Freedom”، “astonishment”، “estrangement” “death”. There are lots of similarities between two poets. Two poets represent these themes with a sincere mystical approach. Theme of freedom is represented in the poems of two poets by a mystical approach and it means being free from the mundane world which is made in a simile to soil، mud، prison. Theme of astonishment is carrying a mystical signification and both of them represents the subjects like the human beings is coming from where and where is going to go? And what is the identity of him. the other common theme between two of theme is estrangement which is represented in the poem of al-Baradoni by two existential and mystical approaches but in Malwawi’s poem، it has only a mystical signification and both of them are feeling in this world as a stranger who do not belong to this mundane world called never land. The last theme is death which has been adapted from Islamic skepticism and two of them believe that this world is very limited for fulfill their hopes.

Since language is one of the most important arenas for face saving actions، each language has its mechanisms for it. This article tries to study the use of the demonstratives as a face saving device in the Quran and sheds light on how translators deal with this phenomenon. In this research، which has been conducted on the basis of a descriptive-analytical approach، relying on the conceptual metaphors theory، researchers have come to this conclusion that the Quran has used distal demonstratives as a face saving device and utilizing this mechanism is based on an orientational metaphor that «all good and valuable things are inaccessible»، and this inaccessibility could be in a horizontal or vertical axis. Some translators have considered this linguistic phenomenon، and employing different approaches have tried to translate correctly، while others have disregarded this fact.

Befitting with various experiences of literary figures، Sandbad who is one of the significant figures of «one thousand and one night» in contemporary poetry، has gotten different images. Amongst literary charactersthat paid a lot of attention to this mythical figure، is Khalil Havi (1919-1982)، contemporary poet، from Lebanon and BadrShakir al-Sayyab (1926-1964) from Iraq could be mentioned. Recreating this mythical figure in a symbolic and indirect aspect، they have tried to express their own thoughts. Their Sandbad performed the human''s desire for adventure and exiting from the current flow of life. In the present study، the authors make an efforts to criticize and make a comparative analysis of «Sandbad in his eighth adventure» written by Khalil Havi and «the day departed» written by Badrshakir al-sayyab. Meanwhile the definition of this myth and the reason of contemporary literary figures''s tendency toward applying this myth in their poems and expressing his adventures are also elaborated on. What is important in this respect is showing reasons of applying this myth، the way of recalling and applying it، investigating literary and poetry features، and more importantly application of this myth in poems of the two mentioned poets. The conclusion is that both poets tried to «Demythical» or «Deconstructing myth» and somehow tend to «mythmaking». And all these have been done for the purpose of immortalizing their personal and political-social thoughts. Using «frequency» technique to emphasize their wanted meaning and content was in line with improving language music in vertical axis.

Location، is an effective element on human life and is also a motivating element on his feelings in relation to his past and present. Location is not an end in poetry; otherwise، it would become political geography. Therefore، location is an instrument and its realization in poetry rather than being objective is often psychological and artistic and full of various meaningful contents. Different values and thoughts give location meaningful codes from varying aspects and compatable with temporal fluctuations. One of the frequent locations in al- monasera''s poetry is Canaan. This study aims at surveying various connotations such a term has taken during the time in the poetry language of Monasera. Therefore، studying meaning changes and conceptual distinctions in al-monasera''s poems necessitates this survey. The research method involves mentioning Canaanite and epistemological analysis of this location term with its different connotations. First، we present the positions of authorities in this regard and later we analyze those positions. In al-monasera''s poetry، Canaan becomes the same ancient land which ancient Jews attacked it; moreover، the poet introduces his identity through Canaan. In some cases، Canaan is a myth with the help of it، the poet deepens his poetic discourse and also its content. In some other case، he illustrates Palestine with its refugee’s sufferings. Thus، the meaning mobility continues and a distinct meaning amplifies through this term، Canaan. By the way، the poet looks for his identity through a mixture of the past and present and finally invites the reader to do the paleontology of this land.