https://jal-lq.ut.ac.ir/ Ebn-Almoqaffa in Narrative and Poetry (Formerly known as Quarterly of Arabic Language and Literature en daily 1 Sat, 13 Jun 2026 00:00:00 +0330 Sat, 13 Jun 2026 00:00:00 +0330 https://jal-lq.ut.ac.ir/article_106872.html Homi Bhabha's concepts of hybridity and the third space constitute a fundamental tool for understanding the negotiation of competing cultural identities in the context of migration and exile, where the third space is defined as a hybrid realm that generates a new, transformative, and resistant identity, leading to an exit from cultural and ideological stagnation toward productive hybrid creativity. This study employs these concepts through a postcolonial and feminist methodology to compare two novels. The research problem lies in comparing Shusha Gobi's A Girl in Paris (1970s, France) and Miral al-Tahawi's Brooklyn Heights (contemporary era, America), selected to represent two distinct migrant experiences in separate temporal and spatial contexts, as laboratories for the formation of women's hybrid identity in exile. The analysis confirms that Gobi achieves rapid and productive hybridization thanks to her early age, distinguished cultural background, and linguistic and financial capital, across fields of literature, music, philosophy, politics, and gender; whereas Hind suffers stumbling and delay due to linguistic barriers, excessive nostalgia, burdens of motherhood, and poverty, transforming exile into a survival war with no space for hybrid negotiation. This highlights that the third space is not an inevitable fate but a conditional possibility dependent on intersecting variables. https://jal-lq.ut.ac.ir/article_107404.html Mahmoud Kashghari’s Divan-u Lugat-it Turk contains numerous references to Iranian languages, both because the Turkic language has long been linked to Iranian languages and because Central Asia has long been a meeting place for these two peoples. In his work, Kashghari has made references to Iranian-speaking peoples, the study of which can shed light on the dimensions of the relationship between Iranian-speaking and Turkic-speaking peoples at the time of the composition of Divan-u Lugat-it Turk. In the present study, we have examined this relationship under the following nine headings: the connection between the Turkmens and the Persian language, the connection between Sogdian-speaking and Turkic-speaking peoples, the Arghu region and the Arghu dialect, the Kanjaks and their language, the Khotanese Scythians and the Khotanese language, Persian etymologies, some important words borrowed from Persian, some Persian words, and Iranian mythological references. https://jal-lq.ut.ac.ir/article_106877.html This study examines the integration of cinematic techniques—particularly montage and visual sequencing—into modern Arabic poetry, focusing on the work of poet Zaeem Nassar. Adopting a descriptive-analytical method, the research explores how cinematic elements contribute to reshaping poetic structure and expression. Nassar blends poetry with film aesthetics, creating texts that resemble literary reels depicting love, memory, anxiety, and revolution. Montage, used as a structural device, enables dynamic transitions between poetic images, generating layered meanings. In A Confused Image, chronological montage and shot separation reflect urban chaos and fear, highlighting the tension between a fragmented present and a hopeful future. Techniques such as repetition and symbolic transformation appear in A Moment of Love, expanding emotional resonance. In The Moment of the Secret Vow, the poem is fragmented into four visual scenes, resembling a poetic screenplay. The study concludes that Nassar’s work exemplifies how cinematic language can enrich poetic discourse and open new narrative and expressive possibilities. https://jal-lq.ut.ac.ir/article_106873.html Literature in the current era has kept pace with the latest changes in the modern world, and the reason for these developments is due to political, social, and cultural conditions. The very short story is one of these advances that took place and continues to take place in the arena of literary storytelling. The genre is based on several pillars about which critics have disagreed, so the mention of the story, unity of thought, and condensation are its fixed pillars. In addition to some narrative and architectural techniques such as the verbality of sentences, paradox, and the disappointment of the waiting horizon, which some critics have identified as among the main pillars of the very short story. The study focuses on the actual sentence in the very short story, showing its role and the connotations it carries in the stories of the collection "December Nahidat" by the Saudi storyteller Hassan Ali Al-Batran, as well as the reason for the storyteller's reliance on it in the architecture of the very short story. The study utilized the "structuralist approach", which examines the architecture and construction of the very short story and focuses on the connotations carried by verb phrases without nouns in the sample stories. The research concluded that relying on verb phrases in the construction of the very short story leads to characterizing the story text with "condensation", "tension and crisis", and "accelerating the pace of events", while using noun phrases instead of verb phrases takes away these features. The thematic unity was a permanent connotation in addition to the three connotations carried by the stories in the research sample, which confirms that these connotations and the phrasal verb itself are effective and influential mechanisms for providing and promoting thematic unity in the very short story. https://jal-lq.ut.ac.ir/article_106059.html The novel "Sakhbeh al-Bahrain" addresses the lives of a group of people living near Lake in northern Egypt. hus, the lake is not only a setting for the events but also a symbol of life, memories, and the struggles xperienced by these individuals.The novel showcases the conflicts between humans and nature, illustrating how changes in nature have impacted people's lives and realities. The narrative possesses the ability to blend the real and the imaginary in a way that allows the audience to engage with and be influenced by the literature. When reality is bitter and imagination is beautiful, there is no better medium than the novel to combine the bitterness of life with the sweetness of dreams, through what we can call the convergence of reality and imagination. Through this concept, the novelist can present his hopes and dreams for changing reality.Therefore, this study relies on a descriptive analytical approach to explore the elements of the convergence of imagination and reality in "The Clamor of the Lake," aiming to clarify this idea through the narrative.This novel represents a rejection of customs and traditions, framed within a well-crafted human psychological context, balancing between fantastical dreams and sorrowful wishes, thus integrating both the real and the imaginary components. Muhammad AlBasati, through his imaginative narrative, implicitly refers to the Egyptian reality he experiences and that many Egyptian classes live, intending to depict these classes in a somewhat fantastical manner.The novelist treats imagination as reality, making his novel a remarkable work of imaginative literature. https://jal-lq.ut.ac.ir/article_104841.html Feminist writing is one of the prominent concepts discussed within the framework of contemporary literary criticism and has become a central focus for linguists and sociologists alike. Women’s literature emerged as a result of women’s efforts to achieve equality in rights with men and has constituted a vital element of feminist criticism since the mid‑twentieth century. Robin Lakoff is considered one of the most distinguished linguists in this field. She argues that feminine and masculine writing display clear linguistic differences that stem not only from internal factors related to the author but also from external ones such as gender, race, and geographical environment. This study applies Lakoff’s Depth of Sexed Language (DSL) Theory to Inaam Kachachi’s “The American Granddaughter” and Ali Badr’s “The Cloud Player”, employing a descriptive‑analytical method with a specific focus on the lexical level. The main objective is to determine the extent to which the two novels embody patterns of feminine and masculine writing and to identify the areas of similarity and divergence between them regarding language and gender. The findings reveal essential distinctions between feminine and masculine language and indicate that the linguistic texture of narrative discourse is profoundly affected by the author’s gender. In most cases, the lexical criteria of both feminine and masculine writing correspond to Lakoff’s theoretical framework; however, certain passages show exceptions that do not conform to this alignment. Such exceptional cases can be interpreted through external contextual factors—including the writer’s social environment, prevailing historical and cultural conditions, and the nature of events treated in the literary text. https://jal-lq.ut.ac.ir/article_107130.html In the context of modern geopolitical and environmental transformations, ecofeminism in the context of the geopolitical and environmental transformations witnessed in the modern era, Ecofeminism has emerged as a critical theoretical framework that embodies the dialectical interconnection between the issue of women and the environmental crisis. Ecofeminism is situated at the intersection of the destruction of nature and social oppression. This theory, as a contemporary political movement, stems from the conviction that the ideologies that oppress based on gender, race, and class are the very same ones that permit the exploitation and spoiling of nature. The study adopted a descriptive-analytical methodology to trace the manifestations of Ecofeminism within its two schools: the Cultural School, which asserts a metaphysical symmetry between femininity and nature; and the Social School, which reveals the mechanisms of their exploitation within the patriarchal capitalist system. This study aims to analyze the ecofeminist components in the narrative discourse of Lutifa Al-Dailaimi through her novel “Sayyidat Zuhal” (The Ladies of Saturn), considering it a model of Arab feminist literature that reshapes environmental awareness through a gendered lens. The results revealed that the novel text embodies, through sophisticated narrative techniques, the duality of “Woman-Nature” as a joint victim of modern wars, where ecological symbolism (date palms, rivers, animals) is employed as mirrors reflecting violations against the female body. The research also highlighted how the novel transforms spaces of environmental devastation into arenas for female resistance, thereby reshaping the concepts of “homeland” and “identity” through the linkage of feminist liberation and environmental liberation. This reading confirms that, through the ecofeminist model, Al-Dailaimi presents a critical vision of the Anthropocene (the current geological epoch), where violence against women and the environment becomes an indicator of the contemporary civilization’s crisis. https://jal-lq.ut.ac.ir/article_106986.html The concepts of homeland and patriotism occupy a central position in modern Arabic literature, reflecting themes such as resistance, struggle, alienation, and colonial experience. Patriotism represents not only emotional attachment to the homeland but also a cultural and intellectual framework through which identity and collective awareness are constructed. Hanna Mina, one of the most prominent Syrian novelists, presents patriotism as a lived social experience grounded in realism and national commitment. His literary works demonstrate a deep engagement with national issues and portray society's struggles within historical and political contexts. This study aims to investigate the manifestations of patriotism in Hanna Mina’s novel Snow Comes Through the Window by employing a descriptive-analytical method. The research seeks to identify how the writer expresses national consciousness and reflects the realities of the Syrian homeland through narrative structure, thematic development, and characterization. The analysis focuses on Mina’s representation of struggle, resistance, and collective responsibility as essential elements of patriotic discourse. The findings reveal that patriotism in the novel transcends a mere reaction to colonial domination and evolves into a comprehensive national vision grounded in self-awareness, intellectual awakening, and a commitment to liberation. The novel exposes colonial practices while reinforcing positive patriotism founded on belonging, cultural identity, and emotional attachment to the homeland. Ultimately, the study concludes that patriotism in Hanna Mina’s work functions as an integrated framework encompassing resistance, identity formation, and social responsibility, rather than appearing solely as a secondary consequence of political struggle. English               Resistance literature, manifestations of nationalism, Hanna Maina, the novel “Snow Comes Through the Window.” https://jal-lq.ut.ac.ir/article_104175.html Stream of consciousness in the novelistic tradition represents a pivotal transformation in the conception of human experience. The narrative strategies associated with stream of consciousness constitute some of the most significant tools through which novelists convey the inner and mental experiences of their characters. Here, narration extends beyond the depiction of external events to unveil the depths of the human psyche, with all its conflicts, reflections, and emotions. Among Arab novelists, Najib al-Kilani is particularly notable for his integration of traditional narrative modes with the techniques of stream of consciousness, producing a literary vision that simultaneously embraces psychological, social, and religious dimensions. His novel "Amaliqat al-Shamal" illustrates this interplay vividly, as narration becomes a primary instrument for representing the mental and psychological experiences of the characters—especially that of the Muslim preacher, who confronts intertwined internal and external challenges within the socio-historical setting of 1960s Nigeria. This study employs an analytical–descriptive approach through a close reading of "Amaliqat al-Shamal" in order to identify the narrative techniques utilized within the framework of stream of consciousness. Particular attention is given to how this technique allows the articulation of characters’ inner structures while at the same time providing a holistic vision of historical and social realities. The narrative shifts fluidly across multiple layers of consciousness and between objective and subjective temporalities, transcending conventional chronological order. This fluidity makes it possible to portray past and present experiences alongside the immediate flow of a character’s thoughts, all within a single moment in time. https://jal-lq.ut.ac.ir/article_104345.html Semiotics, as semantics and signs, tries to reveal the code of symbols and ambiguities that lie in the poetic text in order to open the meanings to the recipient and the continental. One of the theories of modern semiotics is Revater's theory; Riffaterre believes that the recipient through his linguistic and literary ability can derive two types of reading, namely discovery reading and retrograde reading. Discovery reading is the reading that does not go into the depths of meanings, but is concerned with the phenomena of meanings, but the feedback reading is the one that tries to discover the symbols of the text, its meanings and secondary purposes. There are also other elements in this theory that are considered elements of feedback reading, such as descriptive systems, matris, and the main nucleus, which will also help in a deep understanding of the text. In this study, a poem on the Gulf was studied on the basis of the descriptive analytical approach and the results showed that this poem from the grammatical point of view has few grammars, but from the semantic point of view, it has a lot of departure from the norm and semantic displacement that appeared on various rhetorical forms such as metaphor, metaphors and metaphors. https://jal-lq.ut.ac.ir/article_104786.html Dentifying the circumstances of the situation and the circumstances of discourse is one of the characteristics of pragmatic linguistics, which studies language in use and monitors the linguistic process, paying attention to the third of discourse, which is the speaker with his intention, the addressee with his understanding, and the linguistic performer with his benefit. The presupposition is one of the concepts of pragmatics that appeared in the conclusions of analytical philosophers, namely Russell, Frege, and finally Strawson, following the meaning of returning it to external reality. This opened the door to context and situational circumstances in interpreting natural speech. It also expanded the interest in using flexible ordinary language rather than rigid logical language. Nah-Balagha messages are among the religious texts that carry a communicative message of communication by tracing the phenomena of understanding and understanding by the speaker and the addressee, based on shared knowledge and assumptions based on that knowledge and information not mentioned in the text. On this basis, the article treated the discourse of messages in the Balā’ah approach as mostly deliberative and exchange discourse, based on the prior assumption that it is part of pragmatic linguistics, following the descriptive and analytical approach in light of statistics. Finally, I concluded that the letters contained the five presuppositions of existential, realistic, lexical, structural, and counterfactual, all of which indicate a series of assumptions that work to take into account the cognitive and spatial principles. https://jal-lq.ut.ac.ir/article_104789.html The implicit reader is an integral part of the textual structure. Literary texts, therefore, anticipate a reader and prepare for them, yet this reader is not confined by any external context or specific theory. This concept was introduced by the German thinker Wolfgang Iser. Iser aimed to move beyond the categories of readers recognized in contemporary literary theory, building his reception theory on the concept of the implicit reader as a transcendent model. This model illustrates how a text produces effects and generates meanings, relying on the potential to describe the impact of literary texts through their recipients. It assigns the recipient a crucial role in meaning construction, as the literary work only achieves its true embodiment when it interacts with the reader. In this article, we adopted a descriptive-analytical approach, focusing on the strategies of the implicit reader while analyzing two novels: "The Murder of the Book Seller" and "The Twilight of the Cranes" by Iraqi author Saad Mohammed Rahim. His novels possess unique characteristics that render them exceptional as both literary and artistic works. This study revealed that Saad Mohammed Rahim does not always address the reader directly; rather, the reader's presence is recorded indirectly through the use of second-person pronouns and scenes that sometimes challenge the reader's expectations and share numerous extratextual experiences. Rahim employs both silent and vocal signs such as pronouns, addresses to the reader, character dialogues, marginal notes, and explanations, all affirming the presence of the implicit reader in his narratives. https://jal-lq.ut.ac.ir/article_106098.html This study presents an analytical reading of the night experience in the poetry of Fawzi Karim, employing the theoretical framework developed by philosopher Paul Ricoeur concerning the relationship between time and identity. The research adopts a descriptive-analytical approach to uncover the existential and psychological dimensions that the night assumes in poetic texts, transforming from a mere temporal phenomenon into a symbolic space rich with meanings. In Karim's poetry, the night emerges as a mirror reflecting the deepest conflicts of the human self, becoming an open space for contemplation and existential confrontation. Through textual analysis, it becomes evident how the night serves as a realm for memory retrieval and the reshaping of identity through poetic narration—a continuous process of remembrance that creates what can be termed a "narrative identity," in line with Ricoeur's conception. The study also reveals the darker dimensions of the night experience, where it becomes a domain of alienation and existential anxiety, as well as a stage for confronting the fragility and transience of existence. In this context, the night transforms into an existential laboratory where the self-tests its limits and transcends the familiar toward deeper, more enigmatic realms. The findings confirm that Fawzi Karim's poetry turns the night into a dynamic poetic narrative, vividly reflecting humanity's struggle with time and nothingness, as well as its perpetual quest to reconstruct the meaning of existence. This perspective deeply intersects with Ricoeur's philosophy, which links the fragility of time with the possibilities of identity reconstruction. https://jal-lq.ut.ac.ir/article_106330.html The translation of literary texts requires adherence to a set of scientific rules and standards. Compliance with these standards helps the translator achieve a reliable translation by rendering words and phrases in the most appropriate way. In this regard, many theorists have addressed various translation methods to improve and enhance its quality. One such theory is that of Gideon Toury. In his discussion of the translation process, Toury identified three primary criteriaprocedural, presentational, and linguisticas sources of balance in translation. This study, using a descriptive-analytical approach, critiques Hamidreza Mohajerani's translation of Hoda Barakat's novel " Brid Al-Lail " and examines it in light of Toury's theory. The research findings indicate that the translator, in translating the majority of the novel's vocabulary and phrases, attempted to maintain fidelity and convey the intended meaning while also striving to address literary devices and eliminate ambiguity. However, the study of this translation reveals that the translator increasingly favored the target language and translations that catered to the reader's taste, even though he made errors in translating some phrases. Therefore, some transformations and changes have taken place in the translation of this novel in an artistic and appropriate manner, without these transformations resulting in a change in the key notes and themes and creating a deep flaw and gap in the translated text. https://jal-lq.ut.ac.ir/article_106331.html Understanding and examining syntactic structures play an important role in linguistic analysis, particularly through the lens of modality, which interprets the author's point of view. Modality refers to the speaker's attitudes or opinions regarding the truthfulness of propositions and reflects the thoughts and beliefs of the writer or speaker. It serves as an advanced tool for analyzing narrative discourse, from the sentence level to the entire text. This framework enables analysts to examine the author's attitudes and perspectives through modal indicators such as obligation, desire, and perception. Applying this framework not only helps identify cognitive style in literary texts but also allows analysts to explore the complex effects of modality on meaning and narrative understanding. Among the theorists, Paul Simpson has addressed modality practically, combining insights from other scholars. In Simpson’s proposed model, modality is divided into four types: imperative, aspirational, epistemic, and perceptual. This study attempts to examine the dominant modality from the perspective of the speaker or narrator in the novel Hawler Habibati, based on Simpson’s model. The results show that analyzing this modal model provides a deep understanding of the attitudes and perspectives of the characters and the author, capturing the deeper meaning and original purpose of the author through the linguistic tools used in the novel. https://jal-lq.ut.ac.ir/article_107267.html Narrative works function as potent vehicles for historical landmarks, societal dynamics, intellectual schemas, political reflections, and religious discourses. This inquiry critically interrogates the political reflections of religion as depicted in the novel “Al-Talyani” . This text is utilized as a fertile research corpus, expertly delineating the Tunisian sociopolitical terrain during a critical historical phase, The investigation adheres to a descriptive-analytical methodology, grounded in critical perspectives disseminated through the Cultural Criticism paradigm. This heightened standing has motivated this study to systematically investigate the author’s preoccupation with the political dimensions of religion within the work, and to evaluate the nature of these reflections—whether they are positive or negative. The religious-political reflections within the novel were systematically mapped across distinct thematic vectors: ideological antagonism, mechanisms of systemic repression, identity dissolution, and the escalation of insubordination, and the fragmentation of the Arab Self Confronting the Western Other. Ultimately, the analysis evidenced that the novelist withheld any laudatory depiction of Islamist organizations such as the Muslim Brotherhood. Notwithstanding the prevailing hegemony of liberal and democratic forces in Tunisia at that time, the Islamist current was accorded the most expansive and pejoratively charged representation in the text, thus signifying a distinctly critical scholarly appraisal of the movement. https://jal-lq.ut.ac.ir/article_107593.html This study examines how ʿAbd al-Wahhāb al-Bayyātī re-reads Mawlawī Sufism within his poetic structure and explores the structural and semantic function of Jalāl al-Dīn Rūmī’s presence in shaping the collage poem. It is grounded in the central hypothesis that Rūmī in al-Bayyātī’s poetry is not invoked merely as a traditional reference or ornamental cultural allusion; rather, he becomes an intertextual pillar and semantic organizer that connects multiple voices and grants the poem internal coherence despite the fragmentation of forms and references.The theoretical framework draws on Julia Kristeva’s concept of intertextuality, interpreted through Mikhail Bakhtin’s theory of polyphony, while also incorporating the notions of collage and mask as modernist expressive techniques. Methodologically, the study adopts a descriptive-analytical approach based on close textual and interpretive readings of selected poems in which Rūmī’s presence emerges at lexical, imagistic, and structural levels.The findings indicate that al-Bayyātī reconstructs Mawlawī Sufism as an open-ended existential experience grounded in movement, questioning, and becoming, while suspending the idea of final spiritual arrival. This reconfiguration resonates with the anxieties and crises of modern humanity. Furthermore, Sufism in his poetry evolves into a model of non-ideological spirituality capable of transcending rigid political and religious discourses and opening an intercultural horizon that bridges Eastern mystical heritage with the concerns of modernity. Ultimately, Rūmī’s presence functions as both an intertextual axis and semantic center, marking a decisive shift from direct ideological commitment toward a broader humanistic and spiritual vision. https://jal-lq.ut.ac.ir/article_107644.html Choreographic art originates from the idea of transforming the written into a kinetic description, deriving its effectiveness from the body’s dynamics. The actor, as an influential figure in the theatrical process, captures the spectator’s attention through studied movements performed on stage. Thus, theatrical directing relies on expressive tools that enable the audience to read and interpret bodily gestures. Poets, too, may employ choreography to convey states born of physical expressions. Among them is the Omani poet Saif al-Rahbi, whose works we examine through a descriptive–analytical approach from a choreographic perspective.The motivation behind choosing this subject lies in exploring how non-verbal signs in poetic texts can be investigated and analyzed through the duality of movement and the body. This offers a comprehensive view for researchers interested in how Arabic prose poetry adopts theatrical modes. Such adoption results in the study of expressive gestures linked to facial expressions, mimetic movements, transitional gestures, aiming to reveal the thoughts, feelings, and states the poet experienced while employing them. Al-Rahbi’s poetry is thus rich in kinetic descriptions that enhance artistic persuasion. The actor’s body in his texts becomes a vital starting point that grants his works a theatrical quality infused with non-verbal energies. Through this, he exposes false emotions and presents a modern vision that economizes words by activating the visual channel of the audience, relying on a vivid narrative language born of physical impulses. Al-Rahbi utilized hand gestures and head movements within a choreographic framework to address political, heritage-related, existential, and emotional themes. https://jal-lq.ut.ac.ir/article_107835.html ABSTRACTLove, as one of the most beautiful manifestations of human life, has drawn a lot of attention from writers and poets. Among the poets who have used the theme of love in their poems are Nizar Qabbani and Heymen Mokoryani. These two poets have used all aspects of love in their poems. The present research is trying to investigate the romantic themes of these two poets with descriptive-analytical method and explain their commonalities and differences. The findings of the research show that two poets have used all the aspects related to love, but each of them has highlighted certain aspects of it according to their special culture; Nizar has given personality to the inanimate elements of nature, but such a thing is not found in Divan Hemen. Heymen's poems are much more painful than Nizar's poems, and Nizar's grief is due to the loss of his wife Belqis, and in a sense, Nizar has reached the connection of his beloved, but death has separated them, but Heymen's love has failed from the beginning to the end. Nizar has adopted a middle way in expressing his love for his lover, but Heymen has gone too far in this regard. In criticizing the lover, Nizar has reduced the position of the beloved to the lowest level, but Heymen has acted with kindness and has not used insulting similes like Nizar. At some point of time, Nizar Qabbani regretted his love and believes that the golden days of . https://jal-lq.ut.ac.ir/article_107838.html “Fantasy constitutes a central narrative technique in contemporary fiction, transcending realism to render the impossible believable. This research seeks to provide a comparative analytical reading of the patterns of fantasy in Ahmed Saadawi’s Frankenstein in Baghdad and Reza Baraheni’s Azadeh Khanom and Her Author, serving as models of modernist and postmodernist fiction. The study adopts a descriptive-analytical approach to deconstruct the artistic characteristics of fantasy within both texts, examining narrative logic, modes of imagination, and elements of the grotesque and the marvelous. The results demonstrate that fantasy in both texts functions not as a decorative element, but as a critical strategy for addressing existential concerns and issues of national identity. While Saadawi anchors the imaginary within reality through a coherent and justified narrative logic, Baraheni transcends the constraints of time and space, relying instead on mythological multiplicity and the structural deconstruction of the text. The study concludes that both novels utilize fantasy as a bridge between the real and the imaginary, despite fundamental differences in their mechanisms of deployment and artistic formation.” https://jal-lq.ut.ac.ir/article_107840.html Within the framework of cognitive linguistics and Lakoff and Johnson’s theory, conceptual metaphor is viewed as a fundamental cognitive mechanism through which abstract concepts are understood via concrete and experiential domains. Love is among the concepts most frequently structured through this metaphorical process in poetic discourse. This study explores the conceptual metaphors of love in the poetry of Imruʾ al-Qays and Nizar Qabbani, examining what these metaphors reveal about the cognitive and cultural perceptions of love in two different historical contexts. The study aims to identify the dominant metaphorical patterns associated with love in the works of both poets, to determine the source domains through which this abstract concept is organized, and to clarify the influence of cultural and social context on these cognitive structures. Adopting a descriptive–analytical approach within cognitive linguistics, the study analyzes selected poetic texts by Imruʾ al-Qays and Kitab al-Ḥubb by Nizar Qabbani, classifying metaphors into structural, ontological, and orientational types. The analysis shows that conceptual metaphor plays a central role in shaping the poetic experience of love. In Imruʾ al-Qays’s poetry, love is conceptualized as an experience of suffering and loss, structured through source domains such as sorrow, burning, madness, and illness. In contrast, Nizar Qabbani presents love as a creative and illuminating force, drawing on aesthetic and existential domains such as light, art, birth, and power. The study concludes that conceptual metaphor offers an effective framework for understanding representations of love in Arabic poetry and their relation to cultural consciousness. https://jal-lq.ut.ac.ir/article_108040.html Ibn Sina’s Risālat al-Ṭayr (The Treatise of the Bird) is regarded as a foundational text in Islamic wisdom, as it rearticulates philosophical and gnostic significations through symbolic language and a representational structure. Despite extensive studies on the symbolic and ontological content of this treatise, the status of "pronominal reference" as the most crucial device of grammatical cohesion, and its role in shaping the gnostic-didactic significations of the text, have not been systematically and independently examined. This research aims to identify the dominant pattern of pronominal reference and elucidate its connection to the theme of conduct, captivity, and salvation in the Risālat al-Ṭayr. It does so by employing a descriptive-analytical method and drawing upon Halliday’s theory of cohesion. The findings indicate that among 568 grammatical cohesion devices, pronominal reference ranks first, occurring 471 times (82.93%), and that four main referents—"the Elder/Soul" (175 times), "the Birds" (166 times), "the Brethren of Truth" (40 times), and "the King" (23 times)—organize the referential network of the text. Furthermore, the dominant pronominal pattern of the text reveals a shift from the singular first-person pronoun "I" at the beginning of the treatise to the plural "We" in the narrative of the birds’ captivity and salvation, reflecting a transition from spiritual alienation and isolation to collective solidarity grounded in the common ontological origin of souls. Additionally, the third-person pronouns associated with "the King" undergo an evolutionary trajectory—from indirect hearing, to direct dialogue, and finally to conscious description—expressing the maturation of the seeker’s knowledge. https://jal-lq.ut.ac.ir/article_108041.html Psychoanalysis offers an in-depth study of personalities and their relationships, allowing us to better understand their motivations and hidden feelings. This study analyzes the poem " Rita Ahebeni " by the renowned Palestinian poet Mahmoud Darwish from the perspective of the psychology of love, drawing on Sternberg's theory of the love triangle. The main objective of this research is to examine Sternberg's three components of love—intimacy, passion, and commitment—within the romantic relationship Darwish portrays in this poem. Using a descriptive-analytical approach within the poem's content analysis, the study explores the dimensions of the various characters and their psychological impact on the poem. The results show that Rita's love is a blend of deep intimacy (descriptions of shared eyes and memories), passion (physical and emotional symbols), and commitment (the making of vows and the separation between them). This last element remains ambiguous and unstable, leading to the formation of a tragic love in which individual love clashes with collective (national) circumstances. However, we find the romantic relationship within Sternberg's three components, portrayed by Mahmoud Darwish in a rich and poetic language, enabling humanity to build hope for the future. This research, on the one hand, offers a new reading of Darwish's poetry and, on the other hand, demonstrates the potential of Sternberg's theory in analyzing literary texts. The research findings can contribute to a better understanding of the relationship between love and resistance in Palestinian literature https://jal-lq.ut.ac.ir/article_108191.html The main objective of this article is to elucidate the central role of educational, research, and cultural institutions in preserving, promoting, and deepening the Persian language and literature in Iraq, as well as to evaluate modern and contemporary approaches in this field. Adopting a descriptive–analytical approach grounded in the theories of institutional interaction and intercultural analysis, the study first examines the historical roots of the presence of Persian literature in Iraq. It then addresses the role of academic institutions (such as the universities of Baghdad, Kufa, and Basra) and the religious seminaries in Najaf in teaching and disseminating Persian texts. The research further analyzes contemporary approaches, including the application of digital tools and information technology in education and research, as well as joint initiatives, international collaborations, and the role of conferences and literary associations. The findings indicate that Persian literature has exerted profound and multifaceted influences on Iraq’s literary structure, including linguistic, aesthetic, and intellectual dimensions—particularly in mystical concepts and contemporary poetic and prose styles. Despite challenges such as political instability, economic constraints, and administrative bureaucracy, there are significant opportunities for the development of these studies, including cultural proximity, institutional interest, and the potential of digital tools. https://jal-lq.ut.ac.ir/article_108321.html This article examines Farouk Shousha's poetry collection "I Love You Until I Cry" within the framework of pragmatic theory. Shousha is a poet of the 1960s, or the second generation of Egyptian poets. Since his poetic output began during this critical period for Egypt and the Arab world, he witnessed many political and social events that shaped his life, influencing him deeply and reflecting their powerful resonances in his poetry. He is among the poets who shared in the suffering of his people and confronted the circumstances surrounding them within Egyptian society, as well as their struggle for independence and the rise of liberation movements. Among the most important findings was that temporal references carried symbols with multiple meanings representing social and political events and revealing the poet's sad visions of the unfortunate national and political reality he suffers from. The meanings also multiplied through the poet's use of spatial references to the earth and sky. to revive it, bring the people out of darkness into light, and change their conditions. The informative verbs in this collection expressed the poet's feelings of rejection and suffering towards the ills and corruptions of society. The directive verbs indicated questions through his soliloquiescing to his gloomy self.The obligatory verbs carried the connotations of warning and promise regarding Egyptian society. The explanatory verbs expressed the psychological and social concerns that burdened the poet, such as corruption. The declarative verbs showed the meanings of acknowledging the manifestations of backwardness and hypocrisy prevalent in that period.. https://jal-lq.ut.ac.ir/article_108456.html Poetry has the capacity to serve as a medium for identifying the “I” as a form of identity. Hafez is one of the poets who has been considered by Iranian scholars due to the universality of his concerns; therefore, reflecting on his thoughts can provide an opportunity to analyze and recognize the Iranian “I”. In this study, using a qualitative analytical method and drawing on Jacques Lacan’s psychoanalytic ideas particularly the Ideal Ego and the Ego Ideal we examine and analyze the Iranian “I” in Hafez’s lyric poetry. The findings show that Hafez gradually distances himself from obsessive–conservative viewpoints that universalize the Ego Ideal or the ideal of the Other, and moves toward hysteric perspectives that set aside conservatism and universalize the Ideal Ego or his true ideal. Hafez fulfills this through the introduction of the subject of the rend. Conservative views become manifest in the figure of the zāhed, and the rend attempts by exposing the lack inherent in the ascetic’s perspectives, and indeed the lack in the Other overturn the Ego Ideal and to partially restore the lost Ideal Ego. In Hafez’s time, the identity of the Iranian “I” was defined and recognized primarily through the signifier of hypocrisy and dissimulation carriers of a kind of duality and Hafez seeks, through critique and ultimately negation of this duality, to offer a new definition of the Iranian–Islamic “I.” https://jal-lq.ut.ac.ir/article_108457.html The Abbasids, fascinated by luxury and celebrations like the Sassanid kings, were influenced by Iranian culture. Ancient festivals entered the Abbasid court because they stemmed from ancient Iranian culture. They provided a suitable platform for Abbasid writers, who were able to exert a significant influence on many literary works of the period. Knowledge of Iranian culture and traditions gave Arab poets a significant literary identity. In the same vein, Al-Sanubari is a noble Arab Shiite poet whose poetry was influenced by various aspects of Iranian culture and civilization. His poems were influenced by various aspects of Iranian culture and civilization, and he achieved sufficient mastery and perfection in terms of elegance and beauty of movement and expression. This article aims to identify the various aspects of Iranian culture and literature in Al-Sanubari's poetry in a descriptive and analytical manner. The main focus of this research, which is based on comparative literature and the French school, is to take a brief look at Al-Sanubari's academic and literary life, then analyze his poems and express some of the manifestations of Iranian culture and literature in them. One of the main findings of the article is that Al-Sanubari, with his extensive knowledge of Iranian culture and literature, was influenced by its various aspects, particularly elements related to nature, flowers, and rugs. He was praised in the books of remembrance and was called "Habib Asghar" for the quality of his poetry. Al-Sanubari demonstrated his serious interest in Sassanian culture and civili https://jal-lq.ut.ac.ir/article_108458.html AbstractThis study examines dynamic still-nature elements and their symbolic meanings in the poetry of Ibrahim Tuqan and Khalilullah Khalili using Michael Riffaterre’s semiotic theory. By distinguishing verbal meaning from deeper structural significance, the research reveals hidden symbolic layers. Comparing two poets from different linguistic, cultural, and geographical contexts shows how similar natural elements convey shared yet distinct symbolic functions. The research examines still natural elements suggesting movement, such as water, wind, breeze, storm, and sea, which transcend physical traits and function as linguistic and visual signs expressing political, social, and cultural meanings. Using a descriptive–analytical and comparative approach, the study analyzes selected Arabic and Afghan poems to reveal similarities and differences in symbolic representation across diverse and cultural contexts. Water is a central element in both poets’ works, reflecting personal identity and struggle in Tuqan, and symbolizing renewal in Khalili. The sea signifies crisis, while wind represents change and unrest. The breeze contrasts: it conveys hope and gentleness in Tuqan, yet appears weak and ineffective in Khalili, highlighting differing symbolic uses of natural elements in their poetry. The findings demonstrate that despite linguistic and cultural differences, both poets employ natural elements as implicit symbols to articulate social change, collective anxiety, and personal experience. The study underscores the value of semiotic analysis in deepening the interpretation of poetic texts and contributes to expanding comparative studies between Arabic and Afghan literature.Keywords: Nature, Semiotics, Michael Riffaterre, Ibrahim Tuqan, Khalilullah Khalili, Comparative Study https://jal-lq.ut.ac.ir/article_108642.html Gérard Genette’s theory of textual thresholds has gained considerable critical attention because of its ability to analyze and understand the contemporary novel, which has reached a high level of complexity in both structure and the human issues it addresses. This theory views the elements surrounding the text as meaningful components carrying semantic weight and strategic functions in shaping meaning and guiding the reader. For this reason, contemporary novelists have paid special attention to them.However, most studies on resistance literature have focused on structural or contextual approaches, overlooking the role of textual thresholds in constructing discourse and directing reception. From this problem, the present study examines the novel "Etre Albaroud" by Hashim Mahmoud Hassan as a model of Eritrean resistance literature. It aims to analyze the meanings of its textual thresholds, their functions, and their effectiveness in guiding the reader and shaping the narrative discourse.The study adopts the descriptive-analytical method with semiotic tools and analyzes four main thresholds in the novel. The findings reveal a semantic network governed by the duality of death and life, where the title, cover, epigraph, and dedication build a reading horizon charged with war, exile, and loss, proving their functional and interpretive effectiveness. https://jal-lq.ut.ac.ir/article_108736.html This research seeks to study the intellectual underpinnings of Abu al-Ala al-Ma'arri's literature through an analytical approach based on Norman Fairclough's discourse analysis theory. Al-Ma'arri is considered one of the most prominent intellectual figures in the Arab intellectual tradition, distinguished by his philosophical depth and critical inclination, which allowed his texts to transcend the aesthetic dimension and reach a broad intellectual and epistemological horizon. The study's significance lies in revealing how reason is present in his literature as a critical discourse that reinterprets humanity, society, and cultural and religious heritage. The study begins with the premise that al-Ma'arri's texts are based on a coherent intellectual system manifested in his philosophical reflections, his critique of social and religious norms, and his ethical vision of existence. The research also highlights the role of language and rhetorical figures in constructing this intellectual discourse, where vocabulary and artistic techniques become tools for producing knowledge and expressing intellectual and ideological positions. The study examines the intellectual roots that influenced al-Ma'arri, beginning with the pre-Islamic heritage that instilled in him a sense of wisdom, moving through Mu'tazilite and Kalamic thought that elevated reason, and culminating in Greek philosophy, which entered Arabic culture through translation. It also considers the impact of his personal experience and intellectual isolation on shaping his critical vision. These backgrounds contributed to directing his texts toward questioning social and cultural rea