Arabic Literature

Abstract Geocriticism is a modern, interdisciplinary literary criticism approach that studies the complex link between literature and space, emphasizing pluralism and shifting perspectives. It also calls for a humanistic approach to shaping urban spaces and fostering a culture of empathetic and ethical coexistence among citizens. This descriptive and analytical study seeks to examine and analyze the geocritical mechanisms in Mourid Barghouthi's autobiographical novel "Ra'aytu Ram Allah", based on Bertrand Westphal's theory. The present paper attempts to demonstrate how the urban space of Ramallah in this novel transcends being a mere backdrop and becomes an active ground for the representation of identity, memory, and exile. The findings indicate that Barghouthi utilizes Westphal’s fundamental principles: Firstly, “Spatiotemporality” (chronotope) intensifies a sense of perpetual displacement and “existential alienation” through the convergence of the present time of return and the past of memories within a single location (such as the Allenby Bridge). Secondly, the concept of “Transgressivity” is reflected through the depiction of the hardships of crossing checkpoints and occupied borders, as well as the breaking of genre boundaries (combining memoir, travelogue, and poetry). Thirdly, “Referentiality” is reinforced through the interplay between the harsh reality of the occupation and the author’s imagination of his lost homeland. Furthermore, complementary mechanisms such as “Multifocalization” (especially the "migrant" or "Thirdspace" perspective) and “Stratigraphy” portray Ramallah as a “polyphonic and wounded city” where historical layers of occupation are intertwined with individual nostalgic layers. Ultimately, the geocritical analysis shows that "Ra'aytu Ram Allah" is not merely a literary document about the literature of exile, but a prime example of “writing the city” in the context of crisis and resistance, transforming the urban space into a central character and a foundation for the reconstruction of the displaced subject.

Abstract Modern poems are full of different techniques, including irony, as the scope of this technique has expanded, and many studies have included this type of literature to reveal the aesthetics of the poetic text. Irony has its literary beauty in contrast and disagreement with the familiar. This study attempts to shed light on the paradox of the situation in Zahran Al Qasimi’s poems, and focus on Poetic language, condensation, linguistic shifts, metaphor, metaphor, metonymy, and simile. We rarely find in contemporary poetry a paradox that carries different colors, according to Miwick’s theory, such as drama, predicament, event, and simple, which is called the paradox of the situation. Miwick tries to give definitions of the types of irony to distinguish between them in order to reach the position of the victim of irony or the irony of the situation, and most of them were extensively employed by the poet Zahran Al-Qasimi in his poetry collection “The Cytoplasm”, which deserved study, along the lines of the descriptive and analytical approach, to show the extent of the text’s effectiveness with irony. And describing the density of images immersed in literary intertextuality. The research attempted to combine ancient rhetoric with modern techniques to clarify the various paradoxes in Zahran’s poetry, and wants to answer two basic questions: What are the obvious paradoxes in Zahran’s poetry, and how is the paradox of the situation characterized in Zahran’s poems? The research reached several results, after giving poetry its due due by analyzing the poems and showing the irony of the situation in each of its types - that Zahran tends toward pictorial irony, especially dramatic irony, more than others.