Arabic Literature

Abstract Carnival, the dynamic center of joyful spirit of debate and libertarianism of people, always shows power in the face of the absolute thoughts, with its solubilization and making solutions. Literary representation of carnival tradition and the anti-ban spirit of folk festivals, later in the Caniavalesque literature in the form of several techniques such as parody, relativity and binary opposition, crowning/uncrowning, lower urban language, the Themes of Death and mask, and banquet imagery were manifested, each of which was an artistic carnivalized response to the spirit of one-sidedness and self-sufficiency of the authoritarian party. Bakhtin's narratology project in the analysis of Novel-tendent prose considers carniavalesque as the keyword of modern novel developments by emphasizing the exploratory method of this idea in beliefs constructed carnival. The importance of paying attention to carnivalesque literature from the perspective of Bakhtin's critical approach lies in its ability to study and re-read the strategies of these works in objectifying the Liberal tendency of anti-dogmatic modern narrative discourse. Relying on the method of descriptive-analytical research, by observing the examples of carnivalesque of the novel "The-Game-of-Forgetting" in the form of the above components, we try to measure the success of the Moroccan "Mohamed Berrada" in dialogizing his work and promoting the spirit of polyphonic democracy in Arabic novel writing. The study of the novel from the perspective of carnivalesque literature indicated That: Berrada, with methods appropriate to each of the components such as: desecration, degenerating the transcendent enumerated concepts, inversion and replacement of oppositions, refutation of perfectionism and pre-recognized bases of rulers; It overturns hierarchical norms and seemingly inviolable rank-oriented relations, and by emphasizing multipolarism, will centralize rejected discourses once again. It'll leads the audience to the status of subjectivity and knowing the state of polyphonic nature of the universe, in the shadow of democracy, and has ultimately made his novel a successful example of global carnivalesque literature with a local twist.

Abstract Metafiction is the author's writing style and the style of consciously and deliberately playing on narrative structures and subjecting the skills of writing. By deviating or escaping from the established norms of traditional narrative and even adhering to it, metafiction tries to introduce the previous literariness and self-consciousness as a hollow  deviation, And expose the narrative tricks of claiming to be truthful - for the unrighteous purpose of absolute truthfulness - in order to prove that it is impossible to resolve the conflict between voices and ideologies by subjugating them under the voice of an omniscient and God-like author, And happily demonstrates the impossibility of the ultimate understanding of truth in the light of one-sided domination. Metafiction as a sub-genre, with its mentally processing and self-evaluative and dialectical annotations, seeks to clarify the truth with an enlightening reflection on the processes of creation of the story, and relying on Heisenberg's uncertainty principle, along with clarifying the nature of the story. Combined with the concept of relativism, game theory, as a way of properly understanding world routines, contributes to the realistic achievements of literature in the metafiction as a self-founded activity with definite value in the real world. By pretending to play roles and contracts of the game, the unstructured and arbitrary nature of the game, helps metafiction -while exploring the functions and seemingly known but practically unknown nature of the story- to shatter dysfunctional traditions and unpopular worldviews. In recognizing these Attitudes of recently known paradigm in metafiction, relying on descriptive-analytical research method and processing metafiction theory data, we intend especially from the point of view of "Patricia Waugh", to understand the efficiency of the components of metafiction and explain its qualities and the role of play in the promotion of making metafiction, in the novel The Game of Forgetting  by “Mohammad Baradeh”, to recognize the innovations of the first Arab step in the migration from the absolutist ideas of modernism in fictional factology. Researching these cases we found out that M.Barrada, in the application of tricky techniques like short-circuit, trick revelation, character rebellion, metafictonal collage, and arbitrary naming, he always acting gamefully, owes much to the principle of relativism and the multi-faceted nature of truth and and thus establishes a solid basis for Arabic metafiction.

Abstract During the period of modernity, Arabic poetry acquired a kind of objectivity that saved it from pure lyricism, drawing inspiration for its techniques from the core of dramatic and narrative art, in which the degree of intensity increases as a result of the dialogic characteristics and the predominance of tension and the various linguistic levels and conflicts. With it, the dialogical theory of Bakhtin was divided, which constituted a decisive turning point for the creation of a new vision of the world that shook the foundations of the monist and hegemonic vision of self-direction. The polyphony phenomenon, as a main branch of it, reinforced the plurality of perspectives and visions and heralded the conflicting opinions and positions and ideological dialogue in a vast democratic space, so that every voice and consciousness could freely express itself in light of bilateral dialogues and acceptance of the other. In this research, we focus on the technical components of the phenomenons such as the multiplicity of ideologies represented in the multiplicity of personalities, the heteroglosia and plural language patterns, parodies, interfering genders, and intertextuality. We conclude that the multiplicity of voices is taking place in modernist literature in full swing. Whether it is poetry or prose, the point is the plurality of discourse as the writer strives sincerely to use the dialogue spaces to provide a visionary democracy that is honest and not false, and that the dominant ego is broken into conflicting subjects in free and heated dialogues that save poetry from subjectivity.