Arabic Literature

Abstract Macro metaphors are a kind of conceptual metaphor that is not present in the structure of the text; Rather, it appears in the whole text in a conceptual form and forms the mental structure of the text. the macro metaphors give coherence to all the micro metaphors used in the text and gather them around a fixed axis. the widespread use of machine and machine learning algorithms in football and their increasing influence on player selection and training design made the connection between football and machine in language more visible, and this caused the machine to appear in the conceptualization process of many metaphors related to football. In this research, with an emphasis on the descriptive-analytical method, an attempt is made to investigate the mechanism of the macro metaphor "football as a machine" in the Arabic language, and to extract and analyze the methods of mapping the concepts of the source domain to the destination domain in this macro metaphor. for this reason, the reports and oral and written words of football analysts were examined and the most important propositions that somehow express the relationship between football and the car were collected and their metaphors were extracted. The results show that in the metaphorical chain of football language, a significant part of what is related to the world of football has a mechanical nature. also, in this chain, the conceptual metaphor "football as a machine" was recognized as the most prominent conceptual metaphor

Abstract 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.

Abstract The discourse of literary texts can be viewed from a variety of perspectives and all the dimensions of their various levels can be evaluated. Discourse analysis provides an opportunity for a deep understanding of the text. It helps highlight the author’s discourse and linguistic interactions with ideological structures. The parodies of Jerir and Akhtal are among the texts of Arabic literature based on foregrounding and backgrounsing. These two poets use specific discursive tools in most of their parodies, seeking to foreground their own identity and to background the identity of their rival. This paper discusses some principles of critical discourse analysis, such as the explicit socio-political stance of discourse analysts, and focuses on the dominance of the elite and institutions as they are enacted, legitimated, or reproduced by text and speech. One of the crucial elements of this analysis of the relations between power and discourse is the patterns of access to (public) discourse for different social groups. This article argues that in order to be able to relate power and discourse in an explicit way, we need the “cognitive interface” of models, knowledge, attitudes, ideologies and other social representations of the social mind, which also relate the individual and the social, and the micro- and the macro-levels of social structure. This argument is illustrated with an analysis of parliamentary debates about ethnic affairs. The article attempts to refer to the “ideological square” of van Dijk in order to check out the discursive levels of two parodies by Akhtal and Jerir. The results demonstrate that highlighting negative aspects of the other is of a very high frequency in both texts (66 percent in Jerir’s and 71 percent in Akhtal’s). The difference is that Jerir has been more successful in the use of discursive levels of meaning, formal structures, and grammar.

Abstract The western symbolism that characterized in France at the late nineteenth century invaded the Arabic modern literature and had great effect on development of its forms and genres especially on the theater. Actors arose in Arab world take principles of symbolism in their productions among them Ali Oqla Orsan who is truly master of writing, presenting and criticism of theater in Syria. His symbolic theaters include “al-Sheikh wa al-Tariq”, “Zowar al-Lail” and “Tahawolat Azef al-Nai”. In this research we try to analyze symbolic aspects of “Zowar al-Lail”. This theater tells us about psychological conflict that suffers Ahmad, hero of theater, and drags him to suicide for he was committed bad works to his beloved (Hend). She loved him and trusted in him but he leaved her alone before her achy fate. From this viewpoint we extracted the symbols and analyzed modality of its inspiration from its title and thought and then its characters, time and place. At the end and by reliance on technical method we conclude that Orsan in this theater and in its semantic employment, try to talk about human psychological conflict that arises with his sins during his life.