جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 A Study of the Contemporary Vertical Poem in Light of Statistical Stylistics and Semantic Fields (An Application to Selected Poems by Ahmed Bakhit and Aref Al-Saadi) القصيدة العموديّة المعاصرة في ضوء الأسلوبيّة الإحصائيّة، والحقول الدلاليّة (تطبيق علی نماذج من شِعر أحمد بخيت وعارف الساعدِيّ) 1 37 8494 10.22075/lasem.2023.30476.1373 AR علي حيدري طالب دکتوراه في قسم اللغة العربیة وآدابها في جامعة تربیت مدرس، طهران، إيران. عيسى متقي زاده أستاذ في قسم اللغة العربیة وآدابها بجامعة تريیت مدرس، طهران، إيران. كبرى روشنفكر أستاذ في قسم اللغة العربيّة وآدابها بجامعة تربيت مدرس، طهران، إيران. فرامرز ميرزائي أستاذ في قسم اللغة العربیة وآدابها بجامعة تربيت مدرس، طهران، إيران. Journal Article 2023 04 27 In the early twentieth century, linguistics became closely associated with literary studies, serving as a bridge between the writer and the ideas embedded within the text. One of the most significant outcomes of this interaction is statistical stylistics, which focuses on the detailed analysis of literary texts through statistical tools and mathematical formulas. Semantic field theory, on the other hand, concerns groups of words that share a common conceptual relationship and fall under a comprehensive semantic category encompassing related sub-meanings. Its importance lies in examining the relationships among lexical items within the same field and analyzing their meanings and interconnections in order to understand systems of perception, customs, traditions, and social relations in both their material and spiritual dimensions. Within this framework, the present study selects two major poets of the contemporary vertical poem in the Arab world: Ahmed Bakhit from Egypt and Aref Al-Saadi from Iraq. A corpus of fifty-five verses was chosen from the most recent poetic works of each poet. These samples were analyzed using Yule’s index within the framework of statistical stylistics to determine lexical richness and patterns of word-frequency distribution. The resulting statistical data were then applied to semantic field theory in order to extract dominant semantic domains in each poetic sample and to examine the distribution of vocabulary frequency in relation to external cultural, social, and ideological factors. The study concludes that the level of lexical richness in Ahmed Bakhit’s poetry is higher than that found in Aref Al-Saadi’s poetry. Both poets employ a variety of semantic fields, repeating them in accordance with their intellectual orientations and poetic visions. Bakhit tends to evoke the glories of Arab civilization before and after Islam while seeking to escape what he describes as a shameful present, which he metaphorically labels as “hell.” Consequently, semantic fields related to place, historical figures, despair, and numbers are recurrent in his poetry. In contrast, Al-Saadi focuses on depicting the lived reality of Iraq and the suffering and aspirations of its people. His poetry abounds in expressions related to the Iraqi environment, collective Iraqi identity, and body-related vocabulary that functions as a means of conveying his message. Keywords: Statistical stylistics; semantic fields; contemporary vertical poem; Ahmed Bakhit; Aref Al-Saadi Extended Summary Introduction This study examines the phenomenon of semantic fields in contemporary Arabic poetry through the combined application of linguistic theory and statistical stylistics. A semantic field refers to a group of words unified by a shared conceptual framework and organized under a broader term that governs related sub-meanings. In poetic discourse, semantic fields serve as a crucial analytical tool for understanding how poets encode experience, ideology, and emotion through lexical choices. Investigating these patterns provides insight into the poet’s worldview and the cultural context shaping poetic imagination. The research focuses on two prominent figures in modern Arabic poetry: Ahmed Bakhit from Egypt and Aref Al-Saadi from Iraq. Both poets have gained wide recognition through Arab and international literary awards and festivals. Their poetry is characterized by symbolic density, cultural depth, and rhythmic innovation, making it particularly suitable for comparative stylistic analysis. By integrating computational techniques with linguistic theory, this study aims to identify how each poet’s lexical choices and thematic organization reflect personal, historical, and geographical contexts. It further explores how vocabulary frequency, diversity, and repetition reveal underlying semantic orientations. Ultimately, the study seeks to propose an analytical model capable of quantifying poetic meaning without compromising its aesthetic value, thereby contributing to the interdisciplinary field linking linguistic science and literary criticism. Materials and Methods To ensure a balanced comparison, fifty-five verses were selected from the most recent poetic works of both Ahmed Bakhit and Aref Al-Saadi. Each verse was chosen for its representativeness of the poet’s mature stylistic and thematic tendencies. The study employed Yule’s statistical stylistic index, a quantitative tool designed to measure lexical richness, word dispersion, and repetition ratios. Following the calculation of statistical values, semantic field theory was applied to classify the vocabulary of each poem into conceptual categories such as place, time, nature, emotions, characters, and linguistic connectives. This combined statistical-semantic approach allowed for both numerical precision and interpretive depth. The analytical process proceeded through several stages. First, lexical items were extracted and classified based on semantic proximity. Second, their frequencies were calculated to identify dominant semantic domains. Third, statistical measures were used to assess word concentration and recurrence within each domain. Finally, correlations were drawn between lexical density and external cultural factors, including geography and ideology. By integrating computational stylistics with close textual analysis, this methodology bridges traditional literary interpretation and data-driven linguistic analysis, enabling a more objective understanding of poetic style while preserving sensitivity to cultural and emotional nuances. Research Findings The comparative analysis revealed clear lexical and semantic distinctions between the two poets. In Ahmed Bakhit’s sample, the lexical richness index reached 53.87, indicating a high degree of verbal diversity accompanied by moderate repetition. In contrast, Aref Al-Saadi’s poetry recorded a value of 69.67, reflecting a more limited lexical range but stronger thematic cohesion within specific semantic fields. In Bakhit’s poetry, the most prominent semantic fields included place (44 occurrences), time (22), characters (18), fear and despair (25), nature (22), animals (7), writing and literature (12), and connectives (52). These distributions reflect his engagement with Arab history and civilization, evoking ancient cultural centers such as Babylon, Andalusia, and Baghdad, often juxtaposed with contemporary decline. The recurrence of these fields demonstrates a poetic consciousness rooted in nostalgia and collective cultural memory. By contrast, Al-Saadi’s poetry is dominated by semantic fields related to visual imagery (39), nature (48), place (15), time (35), body parts (22), characters (11), environmental vocabulary (15), and connectives (88). The extensive use of connectives contributes to syntactic cohesion and thematic continuity, linking nearly every verse to the central theme of Iraq’s suffering and resilience. While Bakhit’s imagination transcends geographical boundaries, Al-Saadi’s poetry remains firmly anchored in the local Iraqi context, reflecting the collective struggle of his homeland. Discussion and Conclusion The findings demonstrate that both poets employ lexical repetition, semantic selection, and structural organization as deliberate stylistic strategies reflecting distinct ideological orientations. Ahmed Bakhit articulates a transnational poetic vision aimed at reviving the grandeur of Arab civilization and transcending the disillusionment of the present. His frequent references to historical figures and lost civilizations function as symbols of continuity, pride, and cultural memory. Consequently, the semantic field of place in his poetry operates not merely as a spatial marker but as an intellectual metaphor for unity and renewal. In contrast, Aref Al-Saadi grounds his poetic discourse in the immediate social and emotional reality of Iraq. His emphasis on nature, body-related vocabulary, and connective structures conveys endurance and interconnectedness, mirroring the persistence of suffering and hope within Iraqi society. The repetition of conjunctions in particular reinforces rhythmic cohesion and emotional continuity. Methodologically, the integration of statistical stylistics with semantic field analysis proves effective in quantifying subtle poetic phenomena and enabling an objective evaluation of artistic style. The study concludes that this combined approach offers a replicable framework for future research in Arabic literary studies, bridging qualitative interpretation and empirical analysis. In doing so, it advances the scientific study of poetic language and cultural identity in the contemporary Arab world. الأسلوبيّة الإحصائيّة هي إحدَی الاتجاهات اللسانية الحديثة التي تُعنَی بالتحليلات التفصيلية للنصّ الأدبيّ بواسطة الإحصاءات والمعادلات الرياضيّة. والحقل الدلاليّ هو مجموعة من الکلمات تربط فيما بينها علاقات لسانية مشترکة وتوضع تحت لفظ عام يشمل کلّ تلك الألفاظ الثانوية. وهي تبحث عن العلاقات بين مفردات الحقل الواحد، وتنظر إلی معاني الکلمات وربطها. وعلی هذا الأساس، انتقَينا شاعرَين من کبار شعراء القصيدة العموديّة المعاصرة في العالم العربيّ ممن حازوا علی المراکز الأولی في العديد من المسابقات والمهرجانات العربيّة والعالمية، وهما أحمد بخيت من مصر، وعارف الساعديّ من العراق، واخترنا 55 بيتاً من آخر أشعار کلٍّ منهما. ودرسَناها في ضوء مقياس يول في الأسلوبيّة الإحصائيّة بغية الوصول إلی الثروة اللفظية وکيفية توزيع تکرار المفردات. ثمّ عرضنا نتائج التطبيقات الإحصائيّة علی نظرية الحقول الدلاليّة، واستخرجنا الحقول والدلالات لکلٍّ من العينتين، بهدف معرفة کيفية توزيع تکرار ألفاظها وربطها بالعوامل الخارجية علی أساس المنهج الإحصائيّ والتحليلي. وقد توصّلت الدراسة إلی أنّ نسبة وجود الثروة اللفظية في شعر أحمد بخيت أکثر منها في شعر عارف الساعديّ. کما استخدم کلٌّ منهما أنواعاً من الحقول الدلاليّة، وکرّرها وفق تفکّره ورأيه. فبخيت يحاول أن يستذکر أمجاد العرب وحضارتهم قبل الإسلام وبعده، ويتهرّب من الحاضر المخزي الذي أسماه جحيماً. لکنّ الساعديّ سعَی إلی تقديم صورة عن واقع العراق ومعاناة أهله وآمالهم في شعره. وهذا يدلّ علی أن شاعر القصيدة العربيّة العموديّة المعاصرة يجاري أفکار شعبه ويوظف الواقع الذي يوظفه زملاؤه في أدبهم المنظوم والمنثور.

https://lasem.semnan.ac.ir/article_8494_93bf6ec74ff4c386d5a304b188b5f551.pdf

جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 Poetic Themes and Modes of Expression in the Poetry of Lutfi Zaghloul مضامين الشعر وأساليب التعبير في شعر لطفي زغلول 38 74 10376 10.22075/lasem.2025.38210.1493 AR عسگر بابازاده أقدم أستاذ مشارك في قسم اللغة العربيّة وآدابها بجامعة العلوم والمعارف القرآنیة، قم، إيران، حسين تك‌نبار فيروزجائي أستاذ مشارك في قسم اللغة العربيّة وآدابها بجامعة قم، قم، إيران. Journal Article 2025 07 05 Content is regarded as the driving force behind linguistic formation and stylistic impact, carrying the depth and distinctive characteristics of a literary work. Form, however, is not merely a superficial manifestation of textual structure; rather, it conveys multiple connotations, expressive possibilities, and unique features of its own. This study explores poetic language and style through an examination of the dynamic interaction between form and content, which forms the basis of the title “Poetic Themes and Their Impact on the Linguistic Formation of Lutfi Zaghloul’s Poetry.” Adopting a descriptive-analytical approach, the study arrives at several key findings. Most notably, the diversity of themes in Lutfi Zaghloul’s poetry reflects the suffering of the Palestinian people and their broader human experience, with the homeland constituting one of the central axes of his poetic vision. Zaghloul articulates his deep attachment to his homeland by depicting the pain caused by occupation and continuous hardship, rendering his poems powerful expressions of loss and heartbreak. In addition, he addresses themes of love and womanhood, through which he expresses passion, desire, and the significance of emotional communication in human relationships. This enhances the profound bond between poet and reader and embodies the poet’s comprehensive human experience. Social and cultural concerns are likewise embedded in Zaghloul’s poetic language, as he draws upon religious and historical heritage to construct rich and evocative poetic imagery. By invoking historical and religious symbols, Zaghloul deepens the expressive power of his poems and conveys the suffering and aspirations of the Palestinian people, allowing his poetry to become a vessel of identity and belonging. This dynamism is most clearly reflected in his style, which combines classical and modern techniques, demonstrating a strong interaction between form and content while emphasizing emotional depth and enriching the reader’s engagement with the profound meanings of his poetry. Keywords: Lutfi Zaghloul; form; content; style; structure Introduction Lutfi Abd al-Latif Saeed Zaghloul (1938–2021) was a Palestinian poet and writer whose works vividly express the suffering of his people and their aspirations for freedom and justice. His poetry embodies a literary vision that addresses both national and universal human concerns. This study examines poetic language and style through a close analysis of the interaction between form and content. Content functions as the guiding and motivating force behind linguistic formation and stylistic effect, carrying the depth and distinctive qualities of the literary work. Form, by contrast, is not merely a superficial reinforcement of textual structure; rather, it encompasses a wide range of meanings, expressions, and stylistic particularities. Linguistic studies emphasize the communicative function of language, which manifests through its various forms and transformations. At times, language is praised for its effectiveness, precision, and persuasive power; at other times, it is criticized for its inability to achieve these aims. Such evaluations depend on multiple factors, including the speaker’s circumstances, the listener’s condition, and the specific context in which the linguistic message is produced. The language of a literary work—whether poetic or prose—is inseparable from the work itself and constitutes one of its fundamental components. Observing the evolution of Arabic literary language across historical periods reveals significant transformations that have enriched its structure and introduced new expressive dimensions. Poetic language has moved from confined expressive realms to broader and more diverse horizons, intertwining with the spirit of the age and the characteristics of the surrounding environment. These elements merge with the poet’s linguistic tools during the creative process, collectively shaping the poem as a work of art that emerges from the poet’s consciousness and manifests within the space of imagination and perception. Poetic vision arises from a unique lived experience, fully internalized by the poetic self in all its details. Each poet’s vision is distinguished by a particular quality conveyed through language that reflects individual identity. The poet does not impose rigid control over form; rather, the poem develops organically according to the logical progression and dramatic coherence of its content. Even when poets address the same subject, each imbues it with a distinctive tone shaped by personal experience. While ideas may be shared, their artistic embodiment renders them unique to each author, forming an individual aesthetic system. Content plays a primary role in shaping form, alongside personal factors related to the poet’s individuality and their engagement with the poetic conventions of their time. Here, “content” refers to the combination of subject matter and the emotional state surrounding it. Semantic and emotional variations are evident when comparing different poetic works. This raises a fundamental question: how does poetic language itself differ in formulation, structure, and harmony? Research Methods and Objectives This study adopts a descriptive-analytical method and arrives at several significant conclusions. Most notably, Lutfi Zaghloul’s poetry presents a wide range of themes that reflect the suffering of the Palestinian people and their shared human experience, with the homeland serving as a central pillar of his poetic production. Zaghloul conveys his profound love for his country by portraying the pain caused by occupation and continuous adversity, transforming his poems into expressions of loss and fragmentation. In addition, his poetry addresses themes of love and womanhood, through which he articulates passion, desire, and the importance of emotional connection in human relationships. This deepens the bond between poet and reader and reflects the poet’s comprehensive human experience. Social and cultural themes are also embedded in Zaghloul’s poetic language, as he draws upon religious and historical heritage to create rich and evocative imagery. Through the use of historical and religious symbols, he intensifies the emotional impact of his poems and conveys the suffering and aspirations of the Palestinian people, allowing his poetry to embody identity and belonging. This dynamic is most evident in his stylistic approach, which combines classical and modern techniques, demonstrating a strong interaction between form and content. The emotional depth of his poetry enhances the reader’s experience and draws attention to the profound meanings embedded within his poetic texts. Research Findings and Discussion The poet successfully employs religious and historical heritage in its various dimensions to serve multiple purposes, including inspiring enthusiasm, exposing the fragility of contemporary Arab and Islamic reality, and highlighting the spirit of rebellion and resistance, as well as the Palestinian people’s refusal to submit to Zionist colonialism. While clearly influenced by certain classical poets, Zaghloul is not merely an imitator; rather, he demonstrates innovation by integrating personal experience into inherited imagery, allowing him to convey his own emotions and ideas with originality. His poetic imagery is marked by richness, diversity, and suggestiveness, enabling readers to appreciate its aesthetic value. These images transcend decorative function to become dynamic artistic constructions. Zaghloul succeeds in creating imagery that is both detailed and imaginative, revitalizing reality and extending it into the realm of creative imagination. Among the most prominent features of his poetry are personification, embodiment, and concretization, which he employs to shape and enrich his poetic images. Through these techniques, his poetry becomes a gallery of artistic expression that unites diverse rhetorical and poetic devices. Moreover, Zaghloul effectively conveys his thoughts and emotions through sensory imagery, with particular emphasis on visual and auditory elements. By blending stillness and movement according to contextual demands, he creates a vivid poetic experience that enables readers to grasp ideas and emotions in a comprehensive and engaging manner. This fusion of imagery infuses his poetry with vitality and emotional intensity, enhancing its expressive and aesthetic impact. يعتبر المضمون هو القوة الدافعة والموجهة للتشكيل اللغويّ وتأثير الأسلوب، حيث يحمل العمق والسمات الفريدة للعمل الأدبيّ، كما أنّ الشكل ليس مجرد صورة سطحية تعزيزيّة للهيكل النصيّ، بل يحمل الكثير من الدلالات والتعبيرات والجوانب الخاصة. انطلقت هذه الدراسة من التدقيق في لغة الشعر الأدبيّ وأسلوبه، وتفاعل شكله ومضمونه، فجاءت من هنا عنوان المضامین الشعريّة وأثرها في التشكيل اللغويّ الشعريّ للطفي زغلول. توصل هذا البحث معتمدا علی المنهج الوصفي والتحليلي إلی عدة نتائج من أهمها: برزت في شعر لطفي زغلول مواضيع متعددة تعكس معاناة الشعب الفلسطينيّ وتجربته الإنسانيّة، حيث يُعد الوطن أحد المحاور الأساسية في نتاجاته. يُظهر زغلول حبه العميق لوطنه من خلال تصوير الألم الناتج عن الاحتلال والمعاناة المستمرة، مما يجعل قصائده تعبر عن الفقد والانكسار. بالإضافة إلى ذلك، يتناول مواضيع الحب والمرأة، حيث يُعبر عن شغفه ورغباته في العلاقات الإنسانيّة وأهميّة التواصل العاطفي، مما يعزز الارتباط العميق بين الشاعر والمتلقي ويجسد تجربته الشاملة. تنعكس المواضيع الاجتماعية والثقافية في استخدام زغلول للغة الشعريّة، حيث يستفيد من التراث الدينيّ والتاريخي لخلق صور شعريّة غنية ومؤثرة. من خلال استدعاء الرموز التاريخية والدينيّة، يُعزز زغلول من عمق قصائده ويعبر عن آلام وأحلام الشعب الفلسطينيّ، مما يجعل شعره يجسد الهوية والانتماء. تتجلى هذه الديناميكية في أسلوبه الذي يدمج بين التقنيات الكلاسيكية والمعاصرة، مما يُظهر تفاعلًا قويًا بين الشكل والمضمون ويُبرز الجوانب العاطفية في نصوصه، مما يُعزز من تجربة القارئ ويشده إلى المعاني العميقة لقصائده.

https://lasem.semnan.ac.ir/article_10376_f2c89a5cfcf42833b5a5244c98dda6eb.pdf

جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 A Semiotic Study of the Poem “Stop Until We Cry” by the Poet Izz al-Din Manasrah Based on the Theory of Charles Sanders Peirce دراسة سيميائية لقصيدة قفا نبك للشاعر عز الدين المناصرة على ضوء آراء تشارلز ساندرز بيرس 75 112 10423 10.22075/lasem.2025.39044.1509 AR محمود مسلمي أستاذ مساعد في قسم اللغة العربية وآدابها بجامعة الشهيد بهشتي، طهران، إيران. سيدأحمد موسوي پناه أستاذ مساعد في قسم اللغة العربیة وآدابها بجامعة شهید تشمران أهواز، أهواز، إیران. Journal Article 2025 09 21 Semiotic criticism pays particular attention to exploring the deep dimensions of literary texts across their multiple levels—icon, index, and symbol. This study adopts a semiotic approach to the poem “Stop Until We Cry” by the Palestinian poet Izz al-Din Manasrah, viewing it as a poetic text that draws on pre-Islamic literary heritage, particularly the openings of the Mu‘allaqat, while simultaneously weaving a contemporary discourse that reflects the tragedy of the Nakba and the experience of Palestinian exile. The research is grounded in a critical reading that seeks to uncover the poem’s semiotic structure and to highlight its interaction with memory, heritage, and national experience. Using a descriptive-analytical method, the study identifies the semiotic network underlying the poem, in which ruins symbolize destruction and absence, spatial references signify exile and alienation, and religious and historical symbols function as cultural markers that affirm identity and belonging. By tracing and analyzing semiotic units in accordance with Peircean semiotics—specifically the triad of representamen, object, and interpretant—the poem is shown to operate within an endless process of semiosis, whereby signs move from a limited visual or concrete dimension to an expansive symbolic space open to multiple interpretations. This transformation enables heritage to function as a source of resistance, positioning the poetic text as a mirror of Palestinian collective memory and its aspiration for survival and freedom. The adopted methodology combines precision in describing poetic signs with depth in interpreting them, offering an effective framework for highlighting Izz al-Din Manasrah’s distinctive poetic experience and demonstrating the capacity of Peircean semiotics to enrich contemporary Arab literary criticism by revealing the latent layers of literary discourse. Keywords: Semiotics; Peirce; Izz al-Din Manasrah; Stop Until We Cry; poetic sign Introduction Semiotic research is regarded as one of the major shifts in modern literary criticism. This approach has moved beyond the traditional boundaries of textual analysis toward broader domains concerned with signs, meaning, and signification at their multiple levels. Among the most influential theorists of semiotics is the American philosopher Charles Sanders Peirce, who laid the foundations for an integrated model of the relationship between the sign, its object, and its interpretant. This model operates within a rigorous framework that brings together logic, philosophy, and linguistics, granting literary texts expansive hermeneutic possibilities that reveal both their surface and underlying dimensions. Accordingly, applying this perspective to the reading of modern Arabic poetry opens new horizons for understanding poetic discourse in its interaction with heritage, reality, and history. The poet Izz al-Din al-Manasrah (1946–2021) stands as one of the most prominent Palestinian poetic voices to have combined profound aesthetic sensitivity with a resistant national vision. He succeeded in transforming his personal experience of exile into a mirror reflecting the tragedy of the Palestinian collective, blending traditional authenticity with openness to modernity. His poem “Qifā Nabki” represents a striking example of the intersection between pre-Islamic (Jahili) references and contemporary context. By evoking the openings of the Mu‘allaqat, the poet draws upon them to construct a poetic discourse centered on ruins, alienation, and memory, forming an intertwined image that reflects the tragedy of the Palestinian Nakba and elevates it to both a human and national symbol. The significance of this research lies in the fact that previous studies of al-Manasrah’s poetry have largely focused on historical, political, or general aesthetic dimensions, without giving sufficient attention to reading his texts through the lens of Peircean semiotics. Examining the specific poem “Qifā Nabki” through Peirce’s theoretical framework allows for uncovering its underlying semiotic structure and tracing the movement of the sign from its iconic level to its indexical and symbolic dimensions. This approach enables a deeper understanding of the poem’s specificity and contributes an important cognitive dimension to contemporary Arabic literary criticism. Materials and Methods This research adopts a descriptive-analytical method based on describing the components of the text, identifying its semiotic units, and then analyzing and interpreting them in light of Charles Sanders Peirce’s semiotic theory. This methodology allows for a balance between methodological precision in examining textual structures and interpretive depth in uncovering symbolic and cultural meanings, thereby achieving integration between objective description and critical analysis. The primary materials of the study consist of the poem “Qifā Nabki” by Izz al-Din al-Manasrah as the main case study, and Peirce’s semiotic theory as the theoretical framework. The analysis focuses on Peirce’s fundamental triad: the representamen (the sign vehicle), the object (that which the sign refers to), and the interpretant (the meaning generated in the mind of the recipient). The research is guided by several central questions, most notably: How does Peirce’s triad (representamen, object, interpretant) manifest in the poem “Qifā Nabki”? How do textual signs transform from sensory resemblance (icon) to realistic indices and subsequently to culturally charged symbols with a resistant dimension? What roles do place, time, and historical and religious symbols play in shaping the poem’s semiotic structure? The poem is approached through major semantic themes supported by textual evidence, with particular attention to the three levels of signs: iconic (based on resemblance), indexical (based on causality), and symbolic (based on convention). Research Findings A Peircean semiotic analysis of “Qifā Nabki” reveals an open and multi-layered semiotic space that integrates sensory, psychological, historical, and symbolic dimensions into a cohesive structure. Within the theme of place and ruins, visual and auditory icons—such as ruins, wind, and the calls of owls—function as sensory entry points that enable the reader to grasp psychological desolation and civilizational absence. These elements operate as representamens that point to the object of historical and political alienation, generating an interpretant rooted in shared cultural consciousness. In the context of exile and estrangement, the poem’s signs function primarily as semiotic indices, establishing direct links to socio-political reality. Images of lost sovereignty, aimless wandering, and expressions of despair lend these signs a tangible existential weight, transforming the text into both an emotional document and a testimony to collective and individual exile. Within the theme of wine and companionship, the dynamic interplay between icon and symbol becomes particularly significant. Sensory images such as the tavern, wine, and revelry gradually evolve into symbols of escape, defeat, and cultural-political alienation. This progression exemplifies Peirce’s concept of semiosis, whereby signs shift from sensory resemblance to culturally conventional symbolic meaning. Through this layered semiotic process, the poem constructs a rich and enduring discourse on memory and loss that remains open to multiple interpretations. Discussion and Conclusion The findings of the study demonstrate that the poem “Qifā Nabki” forms an integrated network of signs in which icons provide sensory, visual, and auditory dimensions; indices anchor the text in its realistic and political context; and symbols open expansive cultural horizons extending into history and myth. The analysis reveals how signs within the poem evolve from sensory imitation (icon) to realistic indices and ultimately to culturally charged symbols imbued with a resistant dimension. This evolution confirms the capacity of modern Arabic poetry to assimilate contemporary critical approaches and to contribute meaningfully to their development. It also underscores the poet’s ability to transform personal exile into a reflection of collective Palestinian tragedy. The study affirms the uniqueness of al-Manasrah’s poetic experience in shaping the poetic sign as a vessel for memory and resistance, and demonstrates how infinite semiosis expands the text’s interpretive horizons. Moreover, it shows that employing a Peircean semiotic framework enables a deeper engagement with poetic texts by approaching signs as dynamic entities that interact with readers on multiple levels. Applying Peirce’s semiotic theory to modern Arabic poetry thus reveals its underlying semiotic structures and opens new critical perspectives for understanding the complex interplay between poetry, heritage, and lived reality. يولي الدرس السيميائيّ النقدي العلامة اهتماماً خاصَّاً في استكشاف الأبعاد العميقة للنصوص الأدبية، وذلك بمستوياتها المتنوعة (الأيقونة، المؤشر، الرمز)، وقد اختار البحث، في مقارباته السيميائيّة البيرسيَّة، قصيدة (قفا نبك) للشاعر الفلسطيني (عز الدين المناصرة)، بوصفها نصاً شعرياً يستدعي الموروث الجاهلي، لاسيما افتتاحية المعلقات، فنجده ينسج عليها خطاباً معاصراً يعبّر عن مأساة النكبة، والمنفى الفلسطيني. في ضوء هذا، يتأسس البحث على قراءة نقدية تسعى إلى الكشف عن البنية العلاماتية للقصيدة، وإبراز تفاعلها الثري مع الذاكرة، والتراث، والتجربة الوطنية. هذا ولقد أبرز البحث، اعتماداً على المنهج الوصفي التحليلي، الشبكة السيميائيّة التي تنهض عليها القصيدة، تلك الشبكة التي تجعل من الأطلال رمزاً للخراب والغياب، ومن المكان مؤشِّراً على المنفى والاغتراب، ومن الرموز الدينية والتاريخية علامات ثقافية تؤكد الهُويَّة، وتؤكِّد الانتماء، لنلحظ، عبر تتبع الوحدات العلاماتية، وتحليلها وفق سيميائيّة (بيرس) القائمة على ثلاثية (الممثل، الموضوع، المفسر)، تَحُرُّكَ النص في سيرورة دلالية (سيميوزيس) لا متناهية، تنتقل فيها العلامة من بعد بصري أو واقعي محدود إلى فضاء رمزي رحب ينفتح على التأويلات المتعددة التي تخدم تحوُّل التراث إلى طاقة مقاومة، وتجعل من النص الشعري مرآة للذاكرة الجمعية الفلسطينية وطموحها في البقاء والحرية. وقد مكّن هذا المنهج من الجمع بين الدقة في وصف العلامات الشعرية، والعمق في تفسيرها، فكان مدخلاً ناجعاً لإبراز فرادة تجربة الشاعر "عز الدين المناصرة"،إبراز قدرة السيميائيّات البيرسية على إثراء النقد العربي الحديث بقراءات تكشف المستويات الخفية للخطاب الأدبي، ومنها الأيقونات التي منحت النص بعده الحسي والبصري والسمعي، والمؤشرات التي ربطته بالسياق الواقعي والسياسي، والرموز التي فتحت أفقاً ثقافياً واسعاً ممتداً إلى التاريخ والأسطورة.

https://lasem.semnan.ac.ir/article_10423_f19fc65f99f693d344a30eb819051bb7.pdf

جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 Religion and Its Reflections in the Arabic Booker Prize Novel, Dafater Al-Warrāq: A Cultural Criticism Perspective الدین وانعکاساته في رواية «دفاتر الورّاق» الفائزة بجائزة البوكر العربيّة في ضوء النقد الثقافيّ 113 151 10430 10.22075/lasem.2025.38878.1507 AR مهدية نظرزاده طالبة الدكتوراه في قسم اللغة العربيّة وآدابها بجامعة تربيت مدرس، طهران، إيران. هادي نظري منظم أستاذ مشارك قسم اللغة العربيّة وآدابها بجامعة تربيت مدرس، طهران، إيران خليل پرويني أستاذ قسم اللغة العربيّة وآدابها بجامعة تربيت مدرس، طهران، إيران. Journal Article 2025 08 31 Religion, as a profound and enduring dimension of human existence, significantly shapes cultural and social identity, particularly within Arab Muslim societies. Its influence extends to the arts and literature, where religious values and principles impact societal visions. This research critically analyzes the religious dimensions reflected in Jalal Barjas’s novel, Dafater al-Warraq, a recipient of the Arabic Booker Prize. Employing a descriptive-analytical approach informed by cultural criticism, the study examines the novel’s engagement with religious themes. Given the prominence of Arabic Booker Prize winners and their global reach, this study investigates the extent to which Barjas highlights religious aspects and whether these are effectively utilized or overshadowed by themes such as colonialism and cultural exploitation. The reflections of religion in the novel are categorized into four primary axes: ideological, social, political, and psychological, each supported by analytical examples. The study concludes that the reflections of religion are negative, encompassing struggles against globalization, the marginalization of characters, the exploitation of religion by officials, and identity turmoil. Consequently, the research finds that the portrayal of religion in the novel is negative and subdued, and does not represent the author’s primary concern in this work. Keywords: Religion, Dafater al-Warraq, Cultural Criticism, Arabic Booker Prize. Extended Summary 1. Introduction Religion constitutes one of the fundamental pillars in constructing Arab identity, deeply permeating various aspects of cultural, social, and political life in contemporary societies. Understanding the complex dynamics governing this reality is impossible without a meticulous examination of its manifestations and profound impacts as reflected in literary domains. In this context, the contemporary Arabic novel emerges as a critical mirror capable of capturing subtle details and latent contradictions, especially as this narrative structure has developed to address the changes and conflicts impacting social and intellectual frameworks. Global literary awards, such as the Arabic Booker Prize, have further enhanced the novel’s stature and increased worldwide critical attention, opening a wider avenue for analyzing the religious discourses embedded within these works. Do these widely circulated works play a role in reviving discussions around prevailing religious concepts or in reshaping them within the collective consciousness? This question necessitates an in-depth critical analysis. This paper specifically aims to analyze the reflections of religion in Jalal Barjas’s novel, The Scribe’s Notebooks (Dafatir al-Warrāq), by adopting the methodology of Cultural Criticism. This analytical approach moves beyond a superficial reading of the text, seeking to uncover the intricate relationships between literature, power, and underlying ideological values. It enables us to demonstrate how the narrative reflects current challenges in relation to religious references. 2. Materials & Methods This study is founded upon the Descriptive-Analytical Method, employing Cultural Criticism as the primary analytical basis for interpreting contemporary texts. Operationally, the goal is to apply this method to the novel Dafater Al-Waraq to extract and examine how religion is reflected in the narrative structure, monitoring its impact on the text’s latent meanings and values. This approach offers a critical framework to uncover embedded power dynamics. The analysis is organized through the lens of Cultural Criticism across four core axes: Religion and Ideology, Society, Politics, and Psyche. These axes ensure full coverage of the interaction between religious content and narrative structure, with each axis representing a necessary analytical angle to reveal the narrative’s sophisticated utilization of religious discourse. The research ultimately seeks to map the ideological terrain presented by the author. 3. Research Findings Textual analysis revealed that the influences of religion manifest across four main domains of the study, each of which is elaborated in this section. At the ideological level, a dialectical relationship emerges between cultural criticism and globalization. Globalization opens new horizons for critical analysis, while critics regard it as a threat to civilizational diversity and a force that imposes a homogenization of values. In this context, the intersection of religion and feminism continues to expose structural challenges faced by women against patriarchal hegemony—challenges that social movements strive to overcome. Within the social domain, the findings indicate that social isolation and the marginalization of the poor coincide with their deprivation from active participation in core societal structures. From a political perspective, religion in modern history is often not a governing force in itself but rather an instrument utilized by politics to secure legitimacy. Such exploitation arises when political practices deviate from the transcendent moral principles of religion. Finally, in the psychological domain, the weakening of society’s value foundations leads to a crisis of lost religious identity, as religion plays a fundamental role in shaping individual self-awareness. The absence of such a foundation leaves a vital human need unanswered—one that calls for interdisciplinary analysis. 4. Discussion of Results & Conclusion The analyses revealed a weak and often critical presence of religion in the work. At the ideological level, religion is positioned in confrontation with two modern forces: globalization and feminism. The main character outwardly aligns with certain aspects of globalization while fully harmonizing with feminism, often portraying religion as an obstacle to progress. In the social dimension, the distancing from religion is linked to severe consequences such as isolation, depression, and criminal acts; yet the author focuses solely on the social aspects of these crises rather than offering religious solutions. From a political perspective, religion is depicted as a tool used by corrupt officials to gain legitimacy in a hypocritical society, thereby painting a bleak picture of religion’s role. Finally, the prominent psychological impact centers on the disorder and fragmentation of individual identity; an effort to restore this identity in the novel proves futile due to the lack of a strong religious foundation. These findings clearly affirm the initial hypothesis regarding the marginal presence of religion in this literary work. يعتبر الدّين واحدا من أعمق وأكثر الأبعاد الإنسانية استقرارا وشمولا، حيث يضفي على دراسة الوجود الإنسانيّ عمقا وتنوعّا. وفي المجتمع العربيّ المسلم، يلعب الدّين دورا محوريا في تشكيل الهويّة الثقافيّة والاجتماعيّة، إذ يُعدّ عنصرا أساسيّا في حياة الأفراد والمجتمعات. وعلى مرّ العصور، أسهم الإيمان الدّيني بشكل عميق في توجيه مختلف جوانب الحياة، بما في ذلك الفنون والأدب. فقد تأثّر الفلاسفة والشّعراء والروائيّون بقيم الدّين ومبادئه، مما أثّر في تشكيل رؤى المجتمع وتوجّهاته. يهدف هذا البحث إلى تحليل انعكاسات الثّقافة الدّينيّة في رواية «دفاتر الورّاق»، الحائزة على جائزة البوكر العربيّة، وذلك من خلال المنهج الوصفي-التحليلي اعتمادا على آراء النقّاد في مجال النقد الثقافيّ. وتكتسب روايات البوكر العربيّة أهميّة خاصّة نظراً لترجمتها إلى لغات عديدة وتسليط الضوء عليها. ولهذا تركز الدراسة على استقصاء مدى اهتمام الروائيّ "جلال برجس" بإبراز الأبعاد الدّينيّة، وتقييم ما إذا كان الدّين وانعكاساته قد تمّ استغلاله بفعاليّة، أو ما إذا كانت قضايا أخرى كالاستعمار والاستغلال الثقافيّ قد طغت عليه. تمّ تصنيف انعكاسات الدّين في الرّواية إلى أربعة محاور رئيسة: الأيديولوجيّة، والاجتماعيّة، والسياسيّة، والنفسيّة، مع تقديم أمثلة تحليليّة لكلّ منها. تُظهر الدّراسة أنّ انعكاسات الدّين سلبيّة وتتمثّل في: الصدام مع العولمة، تهميش الشخصيّات، استغلال المسؤولين للدّين، واضطراب الهويّة. وبناءً عليه، تخلّص الدّراسة إلى أنّ انعكاس الدّين في الرواية سلبي وباهت، ولا يمثل الهاجس الأساسيّ للروائيّ في هذا العمل.

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جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 Analysis of semantic contrast in the words of Imam Hassan (AS) تحليل التّقابل الدّلاليّ في كلام الإمام الحسن (ع) 152 186 10566 10.22075/lasem.2025.38668.1504 AR فاطمة قرائي مدرِّسة اللُّغة العربیة، ماجستير في اللغة العربية وآدابها، كلية الآداب، جامعة الزهراء (س)، طهران، إيران. ريحانة ملازاده أستاذة مشاركة في قسم اللغة العربية وآدابها، كلية الآداب، جامعة الزهراء (س)، طهران، إيران. وحيدة مطهري أستاذة مساعدة في قسم اللغة العربيّة وآدابها، كلية الآداب، جامعة الزهراء (س)، طهران، إيران. Journal Article 2025 08 14 The sermons of Imam Hassan (AS) are important heritage texts that reflect the intellectual and political struggles of early Islam. These sermons, due to their multiple semantic phenomena, have played a role in shaping an influential reformative discourse. The main research problem is to investigate how Imam Hassan (AS) employed semantic oppositions in his sermons to explain doctrinal and moral concepts and to criticize political and social reality. The importance of this study lies in its attempt to go beyond traditional rhetorical readings and approach the text using modern semantic tools. This research adopts a descriptive-analytical method, relying on Frank Palmer's classification of semantic oppositions and the implied opposition first proposed by Koorosh Safavi, and is applied to 220 opposing word pairs in 32 sermons attributed to Imam Hassan (AS), compiled in the book "Kunuz al-Hikam wa Funun al-Kalim," . Imam Hassan (AS) used six types of opposition: gradable, complementary, binary, directional, lexical, and implied. Complementary opposition was the most frequent at (%28), and binary opposition was the least frequent at (%5). These oppositions were not merely rhetorical embellishments but served multiple functions: cognitive (explaining religious concepts), educational (reinforcing moral values), and socio-political (criticizing deviations and revealing the contrast between truth and falsehood). The results indicate that semantic opposition was a central tool in the discourse structure of Imam Hassan (AS) and, in complex historical circumstances, contributed significantly to enhancing its rhetorical and semantic effect. Keywords: Semantics; Semantic Opposition; Binary Oppositions; Sermons of Imam Hassan (AS); Frank Palmer. Extended Summary 1.Introduction Semantic opposition, a cornerstone of modern semantics, extends beyond traditional antonymy to reveal profound layers within discourse. Historically embedded in classical rhetoric as "antonymy," it now includes diverse patterns such as gradable, complementary, binary, directional, lexical, and implied oppositions. This study analyzes these patterns in the sermons of Imam Hassan (AS), sourced from Kunuz al-Hikam wa Funun al-Kalim, employing a descriptive-analytical approach. By examining 32 sermons, the research explores how semantic oppositions enhance stylistic elegance and rhetorical impact, reflecting Imam Hassan's ideological and ethical vision. The analysis underscores the oppositions' role in conveying religious and social concepts within the fraught historical context of his era. Imam Hassan's use of oppositions countered intellectual and political deviations, serving as a potent rhetorical tool. This study addresses a gap in contemporary linguistic research by applying a systematic classification, based on Palmer and Safavi’s frameworks, to uncover the structural and communicative depth of Imam Hassan’s discourse, contributing to a deeper understanding of its semantic and stylistic intricacies. Materials and Methods This study employs a descriptive-analytical methodology to investigate semantic oppositions in 32 sermons of Imam Hassan (AS), extracted from Kunuz al-Hikam wa Funun al-Kalim, chosen for its comprehensive and credible compilation. The classification of oppositions follows Palmer’s concepts model, supplemented by Koroush Safavi’s, encompassing gradable, complementary, binary, directional, lexical, and implied oppositions. Linguistic examples were drawn from the texts, analyzed semantically with attention to lexical, rhetorical, and pragmatic contexts. The process involved identifying linguistic phenomena, categorizing them quantitatively and qualitatively, and conducting statistical analysis to map the frequency of each opposition type. A graphical chart illustrates the percentage distribution of oppositions. Textual analysis tools ensured precise classification, focusing on the stylistic and semantic roles of oppositions in enhancing meaning and emphasizing ideological and ethical values. This approach elucidates the deep structure and communicative mechanisms of Imam Hassan’s discourse, highlighting how oppositions were strategically used to address socio-political challenges and reinforce doctrinal messages in a historically turbulent period. Research Findings The analysis of 32 sermons by Imam Hassan (AS) revealed significant diversity in semantic opposition patterns. A total of 220 opposing word pairs were identified across the 32 sermons. Statistical analysis showed that complementary oppositions were the most frequent at %28.18, followed by gradable oppositions at %21.36, implied oppositions at %20.45, lexical oppositions at %14.54, directional oppositions at %10, and binary oppositions at %5.45. Complementary oppositions were the most frequent, as in “The sun breathes life into it, and the moon colors it,” reflecting natural complementarity. Binary oppositions, such as “Arab and non-Arab,” were the least common, indicating social reflexivity. Gradable oppositions, like “Praise be to God, who has no known beginning or finite end,” showcased temporal flexibility. Directional oppositions, such as “the East and the West,” carried symbolic universality. Lexical oppositions, as in “he who knows me and he who does not,” highlighted knowledge versus ignorance. Implied oppositions, like “destroy and revive,” conveyed deep value-based contrasts. Statistical analysis, supported by a graphical chart, confirmed the prevalence of complementary oppositions, underscoring their role in structuring meaning. These oppositions enhanced rhetorical rhythm and created vivid mental imagery, demonstrating Imam Hassan’s linguistic mastery in crafting impactful discourse that addressed doctrinal, ethical, and social dimensions within his sermons. Discussion of Results & Conclusion The findings illustrate that semantic oppositions in Imam Hassan’s sermons are not merely stylistic but serve as strategic tools to convey profound religious, ethical, and social messages. These oppositions performed multiple functions: cognitive (clarifying religious doctrines), educational (reinforcing moral values such as patience and justice), and socio-political (criticizing deviations like the Umayyads' corruption and revealing the contrast between truth and falsehood.The predominance of complementary oppositions highlights their effectiveness in creating clear, impactful contrasts, while the rarity of binary oppositions suggests a nuanced rhetorical approach. Shaped by the socio-political tensions of Imam Hassan’s era, particularly his opposition to the Umayyads, these oppositions articulated ideological and moral critiques, as seen in contrasts like “knowledge vs. ignorance” and “destroy vs. revive.” The statistical prevalence of complementary oppositions reinforces their role in ensuring textual coherence and rhetorical harmony. This study bridges a research gap by applying a modern semantic framework to Imam Hassan’s discourse, revealing its structural and communicative depth. The oppositions facilitated the transmission of doctrinal truths and ethical values, addressing societal challenges with linguistic precision. Ultimately, the analysis underscores Imam Hassan’s rhetorical brilliance, demonstrating how semantic oppositions were instrumental in shaping a discourse that resonated with his audience and reinforced his leadership in a divisive historical context. تُعَدّ خطب الإمام الحسن (ع) من النّصوص التّراثيّة المهمّة الّتي تعكس الصّراعات الفكريّة والسّیاسيّة في صدر الإسلام، هذه الخطب، بما تحويه من ظواهر دلاليّة متعدّدة، كان لها دورٌ في تشكيل خطابٍ إصلاحيٍّ مؤثّر. تتمحور مشكلة البحث حول الكشف عن كيفيّة توظيف الإمام الحسن (ع) للتّقابلات الدّلالیّة في خطبه لتوضيح المفاهيم الاعتقاديّة والأخلاقيّة ونقد الواقع السّیاسيّ والاجتماعيّ. وتبرز أهميّة الدّراسة في أنّها تحاول تجاوز القراءات البلاغيّة التّقليديّة والاقتراب من النّص عبر أدوات علم الدّلالة الحديث. اعتمد البحث علی المنهج الوصفيّ–التّحليليّ، مستندًا إلى تصنيف فرانك بالمر للتّقابلات الدّلالیّة، والتّقابل الضّمنيّ الّذي طرح لأوّل مرّة على يد كورش صفويّ، مطبّقًا على 220 زوجًا من الألفاظ المتقابلة الواردة في 32 خطبة منسوبة إلى الإمام الحسن (ع) مجموعة في كتاب «كنوز الحكم وفنون الكلم». إنّ الإمام (ع) استثمر ستّة أنواع من التّقابل: المدرّج، المكمّل، الثنائيّ، الاتّجاهيّ، اللفظيّ، والضّمنيّ. وكان التّقابل المكمّل هو الأكثر ورودًا بنسبة (28%)، في حين جاء التّقابل الثّنائيّ في المرتبة الأخيرة بنسبة(5%) وقد تبيّن أنّ هذه التّقابلات لم تكن مجرّد تزيين بلاغيّ، بل أدّت وظائف متعدّدة: معرفيّة (توضيح المفاهيم الدّينيّة)، تربويّة (ترسيخ القيم الأخلاقيّة)، واجتماعيّة – سياسيّة (نقد الانحرافات وكشف التّضادّ بين الحقّ والباطل). وقد أظهرت النّتائج أنّ التّقابل الدّلاليّ شكّل أداةً محوريّة في بناء الخطاب الحسنيّ، وأسهم في تعزيز تأثيره البلاغيّ والدّلاليّ في ظروف تاریخیّة شديدة التّعقيد.

https://lasem.semnan.ac.ir/article_10566_42cd91d8ce814d8a367936e4ee4866f0.pdf

جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 Discursive Transformations in the Poetry of Ibrahim Naji (A Critical Reading in Light of Fairclough’s Approach) قراءة نقديّة للتحولات الخطابيّة في شعر إبراهيم ناجي (على ضوء منهج فيركلاف) 187 211 10565 10.22075/lasem.2025.38155.1492 AR أحمد دوازه كاظم المرمضي طالب دكتوراه في قسم اللغة العربيّة وآدابها بجامعة شيراز، شيراز، إيران. موسی عربي أستاذ مشارك في قسم اللغة العربية وآدابها بجامعة شیراز، شيراز، إيران. Journal Article 2025 07 05 Fairclough’s approach represents a critical methodology that emphasizes understanding poetic texts through the analysis of their social, cultural, and linguistic dimensions. This approach views discourse as a vehicle for conveying ideas and values, placing particular emphasis on the historical, social, and cultural contexts in which texts are produced. In the case of Ibrahim Naji’s poetry, Fairclough’s framework examines how the poet employs language and rhetorical strategies to construct and intensify meaning. The present study aims to explore discursive transformations in Ibrahim Naji’s poetry through Norman Fairclough’s model of Critical Discourse Analysis (CDA), demonstrating how the linguistic structure of poetic texts reflects and responds to the social and cultural transformations experienced by Egyptian society during the first half of the twentieth century. The analysis is based on Fairclough’s three-dimensional model, which investigates discourse at three interconnected levels: (1) the textual level (vocabulary, syntactic structures, and rhetorical imagery), (2) the discursive practice level (processes of text production and reception, and intertextual relations), and (3) the broader social practice level (political, cultural, and ideological developments in Egyptian society). The findings indicate that Naji’s language functions not merely as a vehicle for emotional expression, but also as a means of shaping individual awareness and articulating resistance to prevailing social conditions. Recurrent imagery of escape, death, and symbolic nostalgia reflects collective experiences of failure and the reconfiguration of both personal and social identity. Accordingly, the study demonstrates that Ibrahim Naji’s poetry constitutes a complex performative act in which aesthetic concerns intersect with social and political dimensions, positioning his work as a compelling example for analyzing the dynamic interplay between language and power in literary discourse. Keywords: Discursive transformations; Ibrahim Naji’s poetry; Fairclough’s approach Extended Summary 1.Introduction The study of discursive transformations in the poetry of Ibrahim Naji presents a significant critical avenue for understanding the evolution of his poetic experience and its interaction with the social and political contexts of his time. Naji is widely regarded as one of the leading figures in modern Arabic poetry, who successfully reflected—through poetic discourse—the major transformations witnessed by Arab society. He employed language not merely as a communicative tool but as an effective instrument for shaping awareness, influencing audiences, and producing forms of ideological hegemony. Within this analytical framework, Fairclough’s approach to discourse analysis provides a suitable methodological foundation. This contemporary critical model seeks to uncover the relationship between language and society by revealing the ideologies, power relations, and social structures embedded within texts. It operates across multiple levels of analysis—textual, discursive, and social—to explain how discourse functions in producing power, shaping collective consciousness, and responding to the social and political forces that influence its formation and development. Through this lens, Ibrahim Naji’s poetry can be examined not only for its aesthetic value but also for the ways in which language is mobilized to achieve social and political purposes. This study aims to demonstrate that Naji’s poetry constitutes a rich social and cultural discourse in which language, meaning, and power interact dynamically, with discursive transformations evident at both thematic and formal levels. Materials and Methods This research adopts a critical analytical approach grounded in Fairclough’s model of Critical Discourse Analysis. The analysis focuses on poetic texts by examining their linguistic structure, layers of meaning, and embedded ideologies, alongside the social and political contexts that produced the discourse. The objective is to understand how poetry functions as a medium of influence, persuasion, and social transformation. Research Findings The findings indicate that Ibrahim Naji’s poetry transcends mere emotional expression and operates as a complex discursive practice through which language is employed to shape both individual and collective consciousness within specific historical and social frameworks. The analysis reveals clear discursive transformations at thematic and structural levels, reflecting the social and cultural changes experienced by Egyptian society during the first half of the twentieth century. Naji’s frequent use of symbolic imagery associated with escape, death, nostalgia, despair, and healing conveys collective experiences of loss, identity transformation, and existential anxiety. At the textual and discursive levels, rhetorical imagery, repetition, and emotionally charged language reinforce ideological meanings related to love, loyalty, moral commitment, resistance, and hope. Overall, the findings demonstrate that Naji’s poetry represents a convergence of aesthetic, social, and ideological dimensions, highlighting the dynamic relationship between language and power and affirming poetry’s role in shaping collective awareness. Discussion of Results and Conclusion In conclusion, the analysis of Ibrahim Naji’s poetry through Fairclough’s approach reveals that the poet skillfully employed language to articulate human values—particularly love, loyalty, and moral commitment—while simultaneously contributing to the formation of social consciousness. Discourse analysis demonstrates how poetry can function as an effective tool for disseminating values and influencing audiences through rhetorical imagery and linguistic strategies that enhance the persuasive power of the poetic message. Accordingly, Ibrahim Naji’s poetry should be understood not merely as an artistic expression of emotion but as a discursive practice that reproduces and transmits social and ideological values. This underscores the importance of studying poetic discourse as a means of understanding its role in shaping collective consciousness and promoting human and ethical values within society. يعدّ منهج فيركلاف في النقد الأدبيّ من المناهج التي تركز على تحليل النصّ الشعريّ من خلال استحضار أبعاده الاجتماعيّة والثقافيّة واللغويّة. ويقوم هذا المنهج على تفسير الخطاب الشعريّ كوسيلة لنقل الأفكار والرسائل، مع إيلاء أهميّة كبرى للسياق الذي يكتب فيه النصّ، سواء كان سياقًا تأريخيّا، أو اجتماعيّا، أو ثقافيّا. ويهدف فيركلاف من خلال ذلك إلى الكشف عن العلاقة التبادلية بين النصّ وبيئته، مما يسهم في بناء فهم أعمق للدلالة والمعنى، ويعزّز من قدرة الباحث على تأويل النصّ وفقًا للأطر الاجتماعيّة والثقافيّة التي تأثر بها وترك أثرًا فيها. في سياق شعر إبراهيم ناجي، يُعنى منهج فيركلاف بتحليل كيفية استخدام الشاعر للغة والأساليب البلاغيّة لتعزيز معانيه. أمّا هذه الدراسة فتهدف إلى استكشاف التحولات الخطابيّة في شعر إبراهيم ناجي من خلال منهج تحليل الخطاب النقديّ الذي وضعه نورمن فيركلاف، وذلك لغرض الكشف عن كيفية تفاعل البنية اللغويّة للنصوص الشعريّة مع التحولات الاجتماعيّة والثقافيّة التي شهدها المجتمع المصريّ في النصّف الأول من القرن العشرين. اعتمدت الدراسة على النموذج الثلاثي لتحليل الخطاب عند فيركلاف، فحلّلت النصوص على مستويات ثلاثة: البنية النصّية (المفردات، التراكيب، الصور البلاغيّة)، والممارسة الخطابيّة (إنتاج النصوص وتلقيها وعلاقتها بالأنواع الخطابيّة الأخرى)، والسياق الاجتماعيّ الأوسع (التحولات السياسيّة والثقافيّة للمجتمع المصريّ). وقد كشفت نتائج التحليل أن لغة ناجي لم تكن مجرد وسيلة للتعبير الوجداني، بل آلية لبناء الوعي الذاتي ومقاومة الأوضاع الاجتماعيّة السائدة. كما تبيّن أن استحضار صور الهروب، والموت، والحنين، يحمل دلالات رمزيّة تتصل بتجربة الانكسار الجماعيّ والتحولات الحديثة في هويّة الفرد والمجتمع. وخلصت الدراسة إلى أن شعر إبراهيم ناجي يمثّل ممارسة خطابيّة معقدة، تتقاطع فيها الأبعاد الجمالية بالعوامل الاجتماعيّة والسياسيّة، مما يجعله نموذجاً حياً لتحليل التداخل بين اللغة والسلطة في الخطاب الأدبيّ.

https://lasem.semnan.ac.ir/article_10565_4e023641d796ba4f79912169d988e35f.pdf

جامعة سمنان دراسات في اللغة العربيّة وآدابها 2008-9023 16 42 2026 03 01 The Pictorial and Linguistic Deviation in Addressing the Awaited One in Abu al-Abbas’s Diwan: An Objective Artistic Study in Light of Intertextual Techniques الانزياح التصويري واللغوي لمخاطبة المنتظر في ديوان أبي العباس: دراسة فنية موضوعية في ضوء الأساليب المتنـاصّة 212 243 10574 10.22075/lasem.2025.38645.1503 AR مالك العبدي أستاذ مشارك في قسم اللغة العربية وآدابها بجامعة إيلام، إيلام، إيران. إيمان عباس عزيز آل جميل خريجة ماجستير من جامعة الأديان والمذاهب في قم المقدسة، قم، إيران. Journal Article 2025 08 12 Poets in general—and committed poets in particular—strive to shape their poetic expressions into a cohesive and interconnected creative whole, aiming both to persuade and to evoke aesthetic pleasure. The poet Abu al-Abbas succeeded in composing numerous poems within his Diwan that embody his highest ideals and objectives, using poetry as a powerful medium to advocate for his cause. His work has a philosophical dimension, engaging with the philosophy of waiting, which reflects his religious belief in the anticipation of Imam Mahdi. This philosophy and belief reach their peak in expressions that demonstrate the extent of his commitment to this cause. Within a rhetorical framework, he employs a range of poetic images that leave a distinctive mark on the realm of poetry and reveal his talent in strikingly beautiful forms. Mahmoud Munaf is a contemporary poet whose committed poetry is characterized by both modern style and language, infused with social and religious themes. In his poetry of anticipation—particularly in expressing the rights of the Ahl al-Bayt (the Prophet’s family)—he creates new imagery and introduces fresh stylistic and literary techniques, including ambiguity, paradox, allegory, and symbolism. The significance of this research lies in its clear portrayal of the modern techniques employed by this particular Iraqi poet within Arabic poetry. The study adopts a descriptive-analytical methodology to achieve its objectives, focusing on the theme of Imam al-Mahdi and the poet’s expressive style to illuminate its characteristic features. It also examines poetic representations of praise and love for the awaited Imam through the lens of anticipation literature, thereby revealing the aesthetics of the poetic text and the extent of the poet’s adherence to the doctrine of anticipation. Keywords: Committed Literature, Artistic Imagery, Deviation, Intertextuality, The Awaited Imam, Mahmoud Munaf. Extended Summary 1.Introduction Writers and poets have traditionally employed standard themes and poetic styles in their work, such as description, praise, love poetry, and satire. However, some have ventured into modern themes, innovating in both poetic style and purpose. Political, social, religious, and ideological poetry are among the most significant of these modern developments, falling under the broader category of committed literature. Modern poets have composed extensive works of committed poetry, reflecting their political and ideological affiliations. Many of these writers endured persecution and threats yet remained steadfast in their beliefs and principles. Among those who followed this path was the Iraqi poet Abu al-Abbas, who dedicated much of his literary attention—especially his poetry—to his Shi‘a faith, the guardianship of the Ahl al-Bayt (the Prophet’s family), their usurped rights, and the tragedy of Imam Hussein and Karbala. The notion of the awaited Imam, his call for reappearance, and the eradication of injustice held a central place in Abu al-Abbas’s corpus of literature and poetry. Materials and Methods Using a descriptive-analytical approach and drawing upon evidence from both research and library sources, it is evident that the poet Mahmoud Munaf employed a wide range of modern rhetorical mechanisms and poetic representations to express his unwavering loyalty to his beliefs through refined contemporary poetic language. He achieved this through praise and elegy, invoking the deceased or the exalted, depicting lived realities, and expressing the believers’ yearning to witness the awaited one. The poet also made notable use of modern techniques such as irony and semantic as well as linguistic displacement. Munaf’s strong inclination toward metaphorical imagery, displacement, and religious intertextuality is clearly apparent—more so than his use of other poetic devices. Themes of anticipation, loyalty, devotion to the Ahl al-Bayt, and steadfastness in this path recur throughout Munaf’s poetry. Research Findings We observed that Abu al-Abbas integrated renewed perspectives into his poetry, addressing both traditional and modern purposes, and succeeded in reconciling the stylistic differences between them. His texts exhibit openness to new readings, made possible by his artistic sensibility. His employment of creative mechanisms and modern techniques led him to craft a distinctive, intense, and precise poetic image. His poetic representations often appear through similes and metaphors imbued with displacement, which greatly contribute to crystallizing the sense of anticipation experienced by the audience. The cohesive textual interconnection that arises in the form of elegant intertextuality enables the poet to anchor the idea of waiting and the principle of Mahdism more firmly in the audience’s collective memory. His intertextual arguments in this regard are both persuasive and well-founded, establishing conviction in the expectant vision that he presents with clarity and distinction. Discussion of Results and Conclusion Abu al-Abbas integrated innovative techniques into his poetry with remarkable intelligence. His works display the use of deviation in its renewed semantic forms—semantic, structural, and rhythmic. Through abundant religious intertextuality, he expressed his cultural references, drawing from the Qur’an, religious narratives, and collective beliefs that reinforce the ideas of commitment and waiting. يسعى الشعراءُ عموماً -والملتزمون منهم علی وجه الخصوص- إلى صياغة كلماتهم الشعريّة كمجموعة إبداعية متضامّة ذات تعالق ترنو إلی الإقناع والإمتاع. وقد استطاع الشاعر أبو العباس أن يبدع في ديوانه الشعريّ العديد من القصائد التي تحمل مُثُل الشاعر العليا وأهدافه، وقد أطاعه شعره في دعم هذه القضية. ولشعره بُعدٌ فلسفيّ تناول فيه فلسفة الانتظار التي تشير إلى إيمان الشاعر الدينيّ بفلسفة انتظار الإمام المهدي. وقد تبلغ هذه الفلسفة والعقيدة ذروتها في عبارات تُظهر مدى التزام الشاعر بهذه القضية، وكل ذلك في إطار البلاغة باستخدام مجموعة من الصور الشعريّة بطريقة تركتْ بصمة خاصة في مجال الشعر وأظهرتْ شاعريَّته في ثوب قشيب؛ فمحمود مناف شاعر معاصر يتمتع شعره الملتزم بطابع حديث ومعاصر وبلغة معاصرة، مصحوبة بالجوانب الاجتماعية والدينية، إذ رسم صورا جديدة في شعره الانتظاريّ -ولاسيّما في التعبير عن حقّ أهل البيت- وأدخل أساليب كتابة وتقنيات أدبية جديدة في شعره، مثل: الغموض والمفارقة والقناع والرمز وغيرها. وتكمن أهمية هذا البحث في أنه يقدم صورة واضحة عن التقنيات الحديثة في الشعر العربيّ العراقيّ استعملها هذا الشاعر تحديدا. وقد اختارت هذه الدراسة المنهج الوصفي-التحليلي لتحقيق أهدافها المنشودة، حيث ركّزتْ على موضوع الإمام المهديّ وأسلوب الشاعر التعبيريّ لرسم ملامح ذلك، كما بحثتْ في صورة التمثيلات الشعريّة في مدح وعشق شخصية الإمام المنتظر بتعبير مستمدّ من مفهوم أدب الانتظار، موضّحةً جماليات النصّ الشعريّ، ومدى تمسُّك الشاعر بعقيدة الانتظار. ومن أهمّ النتائج أنّ لأبي العباس منظورًا متجددًا في شعره، كما أنه يراعي أهدافًا متعددة من خلال النظر إلى الماضي والحاضر، وقد نجح في الجمع بين الاختلافات الأسلوبية بينهما، وأحسن توظيف مفهوم النص المفتوح لقراءات جديدة يوفرها لنا ذوق الشاعر الفني، كما حاول توظيف التقنيات الحديثة بشكل بارز.

https://lasem.semnan.ac.ir/article_10574_30bbf0ab0d00e837b963f9b6aa97cf23.pdf