Arabic Literature

Abstract The semiotic theory of "Umberto Eco" examines the symbolic systems of a text in the historical, social and cultural context of their production, and based on this, the interpretation process of each work is based on the dialectic of the text and the reader.

Works such as "Islam Bela Daffaf" written by Yusuf Idris, a famous Egyptian writer, as a realistic work in which the problems of Egypt and the Islamic world are processed and the situation of Arab countries are presented alongside the hegemonic policies of the West, are a suitable platform for the application of this theory in order to discover hidden angles. It is the effect and presentation of a new reading of it. In Eco's view, the interpretive reading of any sign
is basically a cultural and sensitive issue to the social issue, and its interpretation process should be provided in the historical, social and cultural context of the work and through the dialectic of the text and the reader. Works such as "Islam Bela Zafaf" written by Youssef Idris, as a realistic work that deals with the problems of Egypt and the Islamic world, is a suitable platform for following and discovering signs based on this approach. Based on this, the present research, with a descriptive-analytical method, based on the eco-semiotic approach, investigated the Egyptian character in the research sample and came to the following conclusion: three issues of contamination of value systems, women and their legitimate freedoms, and the ancient civilization and rich culture of Egypt. The main themes of dealing with the Egyptian personality in the book are taunting the reactionary Islamists, the author's way to deal with the dimensions of the Egyptian personality And the discussion of common themes such as the change of value systems in the works of Egyptian thinkers.

Abstract Riffaterre's theory is one of the most important modern critical methods that seeks to clarify the concepts of literary works, especially contemporary poetry, and tries to discover mysterious literary concepts and convey them to the readers of these works.  This theory is based on two types of reading;  The first reading is exploratory reading and the second reading is post-active reading, which is used to separate the basic concepts of the text in order to understand its most basic meaning. The authors of this research analyzed two odes from the poetry collection of Jassim al-Sahih, a contemporary and outstanding poet of the Arab world, which in a way represents his poetic style and circumstances by applying this theory of semiotics, in a descriptive and analytical way. One of the results obtained in this research is that the poet has borrowed a lot from the homeland, nature and living creatures in writing his poems and identified with them in order to convey many great poetic concepts to his audience.  Although most of his poetic concepts are discoverable for the readers, their complete understanding depends on the reader himself and his analytical method, which the use of Riffaterre's critical method helps significantly in this matter.  Despite the fact that he has hidden a part of his existence and history in the shadow of his verses, his poetry is alive and dynamic in the passage of time in sync with nature for the use of humans

Abstract Riffateree's semiotic approach is one of the approaches of contemporary literary criticism that provides a coherent framework for criticism and analysis of poetry. The basis of this theory is the discovery of the semantic network of the poem based on interpretation, the literary ability of the reader, and presenting a systematic method of reading the text so that the origin of the text or the main meaning of the poem can be obtained by passing from exploratory reading to retroactive reading. The current research, relying on the semiotic approach of Riffateree, aims to investigate the processes of symbolization in the ritual thoughts of Jassim al-Sahih. In this way, one can reach the most important ideology and position of the poet and present a precise and deep reading of the hidden layers of the poem. From the research findings, it can be concluded that the signs of Ashurai culture are abundantly found in this ode. However since the nature of the poem is ungrammatical, these signs must be understood through several readings and by discovering the meanings among the signs. Among the signs of the Ashura culture that are found in the ode of Zikraka Fuwahah al-Thawrat, we can mention the permanence of the memory of Imam Hussain (AS), his tragic martyrdom, and the expression of the man-building teachings of the Ashura culture

Abstract One of the models for evaluating the translation of cultural elements in texts is the model proposed by Peter Newmark (1988). Using a descriptive-analytical method and based on Newmark's theory, this article examines and criticizes the method of translating cultural elements in the 192 sermon of Nahj al-Balaghah (Qasea sermon) in Ayati and Shahidi translations. The purpose of this study is to investigate the translatability of cultural elements from the source language (Arabic) to the target language (Persian) and its reflection in the translations. The results of this study show that in this sermon, the highest frequency of cultural elements such as “Organization, Customs”, “ecology” and “Material Culture”. The most common methods used to translate cultural concepts in both translations are “Transcribe” and “Cultural Equivalent”. Of course, it is worth mentioning that Shahidi has benefited a lot in his translation from the solution of “Couplet” -which is the result of the final comments of the book; a solution that has been neglected in the Ayati translation.

Abstract Children’s literature is characterized by its orientation to a gradual age stage, as it writes language, style and logic that commensurate with the abilities and perceptions of children and does not exceed their age stages. Its beginnings appeared in Europe in the late Middle Ages. But this literature was delayed in its appearance in Palestine, and it was in the form of individual initiatives, where writers devoted themselves to writing national songs for children. It revolved around three axes: the national conflict, criticism of reality, and the restoration of history. Mahmoud Shukair is considered one of the most prominent writers affiliated with realism, especially when the local conditions in Palestinian society matured, which led to the dominance of the realist trend in the Palestinian novel. His writing became an objective extension of the real-life story, in its connection with the Palestinian child's concerns and suffering. Some of his novels were a reality full of creativity, such as "I and Jumana," "Maryam's Words" and "Dreams of the Skinny Boy". The third form in the stories is "fantasy," which is represented in the way the writer seeks to stimulate and stimulate the imagination of the child and is embodied in the child's dream of transcending the time and spatial limits… to fly into a new reality. We have come to the conclusion that his fictional production depicts reality, and conveys it faithfully, to expose it and then to change it with his new means, such as fantasy and symbol. This is what distinguishes Shukair in his narrative construction. We have sensed solutions and proposals that call for changing the reality; this in itself is positive in the narrative construction, and is in harmony with the realists’ positions, values and calls to criticize and change reality.

Abstract Intertextuality is a technique which has widely been used in contemporary Arabic poetry. According to the mentioned application and its high importance, critics have developed various definitions about it. Looking at the definitions of this concept by Western critics such as Roland Barth and Julia Kristeva, and Arab critics such as Abd al-Malik Murtāḍ, mohammad azzam, mohammad meftah, Abdollah al- ghathami and khalil mossa. we can say that they considered the concept as a methodological and structural phenomenon. However, this phenomenon has a practical function in the target text in contemporary Arabic poetry, in addition to its structural function. Therefore, the authors of this study, have sought to emphasize the practicality of intertextuality-rather than only seeing its structural role- by studying Qur’anic intertextuality in Mohammad Qaisi’s poems using a descriptive-analytic method. It is concluded from the findings of the research that the poet used the Qur’anic words or verses consciously as a means of referring the reader to the text of the Quran and subsequently confirming his own claims. Thus, by reversing the relationship and using the Qur’anic verses in a contradictory sense, such as the use of images showing hope within an atmosphere of frustration and despair, he illustrates the depth of the disaster. On the other hand, using the verses which represent the awakening, the warning and the condemnation of the oppressors and the unbelievers, he tries to wake up the Palestinians and other Arab nations, describing their enemies and condemning them. So it can be said that the poet has used the intertextuality technique in four main directions: creating a revers relationship and using Qur’anic images in a contradictory sense, using Qur’anic images expressing dead incitation, using Qur’anic images to describe the oppressors and unbelievers, and using Quarn’aic images which reflect awakening and preaching to arouse the Palestinian nation and other Arab nations.