Research Paper
الادب المقارن
Mohammad Hassan Amraei
Abstract
One of the symbols of civilizational unity among Muslims is the literary interaction between Iranians and Arabs, which has begun since the advent of Islam in ancient Iran and intensified in the Abbasid era. The Abbasids, being influenced by the Iranian culture and civilization, became fascinated with ...
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One of the symbols of civilizational unity among Muslims is the literary interaction between Iranians and Arabs, which has begun since the advent of Islam in ancient Iran and intensified in the Abbasid era. The Abbasids, being influenced by the Iranian culture and civilization, became fascinated with luxury, beauty, and prosperity like the Sassanid kings. Accordingly, the ancient ceremonies entered the Abbasid court because of their emergence from the roots of the Iranian culture, which gave its knowledge, the Tazian poets a great literary identity, which made Arab poets pay attention to the Persian language and transmit knowledge, rituals, diaries, and Iranian myths, to the Arabs through poetry, despite their influence on the Arabic language. Al-Sharif Al-Radi is the committed poet of the third Abbasid era, who was influenced by various aspects of Iranian culture and civilization. This article aims to identify various aspects of this Iranian cultural and literary influence in the poems of Sharif Al-Radi in a descriptive and analytical way, based on the indicators of comparative literature and the French school. One of the results of the research is that Sharif Al-Radi, with his extensive knowledge of Iranian culture and literature, was influenced by its various manifestations, especially in the axes related to recalling Iranian cities such as Ahvas, Al-Sus, Al-Arbaq, Tus, Daylam, and Al-Bam, as well as the intense presence of Arabicized Persian vocabulary in his poetry. Additionally, his interest in Sasanian culture and civilization has been revealed by remembering aspects of Iranian culture and customs such as the ancient Nowruz and festival celebrations, and mentioning the names of Iranian kings, personalities, and heroes in his poetry. Introduction:Arabic and Farsi are the primary languages of Islamic culture and civilization, and the cultural exchange between these two languages was established centuries before the advent of Islam. The influence of Persian words and Iranian customs and traditions in pre-Islamic Arabic poetry exemplifies the interaction between the Arabic and Persian languages. However, the peak of Iranian culture and civilization's presence in Arabic poetry dates back to the Abbasid era, a time when the literary, cultural and civilizational interactions between Iran and the Arab world flourished, leading to the emergence of a rich Islamic culture and civilization. The first part of this cultural transfer focuses on ministers, secretaries, teachers, writers, and ordinary people, while the latter part addresses the poets who lived during this period. Al-Sharif Al-Radi is regarded as one of the most significant Arab poets of the 3rd Abbasid era. He adeptly shouldered the cultural and literary responsibilities of his time, via incorporating various elements of Iranian culture and civilization to Arab culture and literature skillfully. Therefore, Arab culture and literature. Therefore, this article tries to explain the aspects of this effect in the works of this Shiite poet, employing the approach of the French school of comparative literature. Among the key questions this research seeks to address are: 1. What motivates the reason behind the use of Sasanian culture and civilization in al-Sharif al-Radi's poetry? 2. In what ways does al-Sharif al-Radi reflect the diverse influences of Iranian language and culture on Arabic language and culture during the Abbasid era? 3. Which aspects of Sasanian culture and civilization exerted the most significant impact on al-Sharif al-Radi's poetry.Method:Arabic and Persian are the primary languages of Islamic culture and civilization, and cultural exchanges between these two languages occurred for several centuries prior to the advent of Islam. The introduction of Persian vocabulary into Arabic reflects Iranian customs and traditions in Arabic poetry, because of particularly evident during the pre-Islamic period, which exemplifies the interaction between the Arabic and Persian languages. The height of Iranian culture and civilization's influence on Arabic poetry occurred during the Abbasid era, a time when literary, cultural, and civilizational interactions between Iran and the Arab world were unprecedented. This fusion contributed to the formation of a rich Islamic culture and civilization. This article aims to explore the manifestations of Iranian culture and civilization in the poetry of one of the prominent poets of the Abbasid era, known as "Sharif al-Radi", based on the French School of Contemporary Literature. We will identify examples of this influence in Al-Sharif al-Radi's poetry. It can be concluded that Iranian civilization is a significant component of Islamic history and culture. Furthermore, a careful examination of Divan al-Sharif al-Radi reveals insights into Persia and its cultural, literary, and linguistic characteristics in poetry. Numerous elements of deep-rooted Iranian culture and civilization are present, including references to Iranian customs and traditions from the Abbasid era, the incorporation of Arabized Persian words in poetry, and the mention of various Iranian kings and notable figures within the poetic works. Reason: Improved clarity, vocabulary, and technical accuracy while maintaining the original meaning. Below is a brief summary of the manifestations.Results and Discussion:After the invasion of ancient Iran, the Arab community encountered a systematic and complex governance that clashed with their customs and desert lifestyle. However, following the conquest of more civilized territories, particularly Iran, they began to adopt the unique traditions of the Iranian kings, transitioning from a simple way of life to the opulence of the Iranian court of Khosrow. The Caliphate system increasingly mirrored Iranian customs and culture, particularly in civil law, to the extent that Iranian titles, traditions, and cultural practices became deeply integrated into their lives. In the same context, Nowruz is considered the Akbar Eid of the Iranians. Before the advent of Islam, the Arabs had limited knowledge of Al-Nurooz. However, with the rise of Islam, the significance of Nowruz persisted in Magda. It is said that during the reign of Imam Ali (A.S.), the Al-Majjus presented silver dishes on which they poured sugar for Eid al-Nuruz. Before Imam Ali distributed the sugar among his companions, he would pour it onto the plates. There are also reports indicating that farmers offered gifts to Imam Ali (A.S.) during the Caliphate, referring to them as Al-Dhi Gadham Hadiya al-Nuruz or Al-Mahraghan for the House of wealth.The theme of formalizing Al-Nuroz during the Caliphate period is noteworthy, particularly as it is believed that the philosophy behind celebrating Al-Nuroz at that time was to receive gifts. Umar bin Abdul Aziz attempted to abolish the gifts associated with Al-Nuroz and the festival itself, but he was unsuccessful. The greatest interest in Nowruz, however, occurred during the Abbasid era. The Abbasid Caliphs, influenced by the traditions of the Sasanian Empire, continued to observe many customs related to Nowruz, including the reception of valuable gifts from Muslim sheikhs and rulers. Al-Jahiz notes that on the occasion of Al-Nuroz, al-Mutawakkil Al-Abbasi ordered five million assorted coins to be distributed to courtiers as Nowruz gifts. Additionally, Al-Hakam celebrated the Al-Nuroz holidays, inspiring poets to compose verses in honor of the occasion. One of the prominent poets of the Abbasid era, Al-Sharif Al-Radi, wrote exquisite poems celebrating Al-Nuroz and the festival, while also praising the Iranian caliphs, ministers, and leaders. Among his works are several poems dedicated to the grand and patriotic celebrations of the Iranians, including praise for Amir Baha Al-Dawlah Abu Nasr Firoz bin Azad Al-Dawlah bin Boyeh, who served as the Amir of the Al-Bayhites in Iraq (988-1012 AD), Fars, and Kerman (1012-998 AD). Reason: The revised text improves clarity, enhances vocabulary, and corrects grammatical errors while maintaining the original meaning.Conclusion:The direct relationship between Arabs and Iranians during the war, along with the presence of secretaries in al-Dawain and Arab courts, significantly influenced the caliphs, the nobility, and Arabs in general, with Iranian culture. This fascination with luxury and aristocracy began during the Umayyad era and intensified during the Abbasid period. The presence of Iranian trustees and secretaries in the Abbasid courts, the amicable relationship between the caliphate and the distinguished Iranian class, and the coexistence of the two cultures made Iranian customs and culture more adaptable than ever. Al-Sharif al-Radi, a Shiite poet active during the 4th century of the Hijri era, produced poetry that reflects a deep understanding of Iranian culture and literature. He adeptly utilized the political influence of the ministers and prominent Iranian families at the Abbasid court, particularly the Al-Bawhiyin and Baha Daulah al-Dilami, to celebrate Nowruz and various festivals, showcasing the vastness of Persian civilization. In his Qasa'idah, Al-Radi's poetry addresses Nowruz, the festival, Persian kings, ministers, Iranian families, cities, places, and traditional clothing. He also incorporated numerous Arabic-Persian words into his poems, reflecting aspects of daily life, social gatherings, and games, which enriched the Arabic culture of ancient Iran. Throughout his extensive body of work, Al-Sharif al-Radi consistently elevates Iranian culture and its contributions, indicating his profound admiration for Iranian heritage and literature. Reason: Improved clarity, vocabulary, and technical accuracy while maintaining the original meaning.
Research Paper
الادب المقارن
Jahangir Amiri; Tayebeh Amirian
Abstract
Revealing the feminist narrative discourse that the narrator introduces in feminist fiction is an attempt to uncover the reality of women. It also becomes evident that Scheherazade, in the original story of “The Thousand and One Nights,” was able to narrate and shape the image of women, thereby ...
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Revealing the feminist narrative discourse that the narrator introduces in feminist fiction is an attempt to uncover the reality of women. It also becomes evident that Scheherazade, in the original story of “The Thousand and One Nights,” was able to narrate and shape the image of women, thereby preserving their presence in front of Shahryar, who represents the male gender. In this context, Sawsan Jamil writes her novel “A Thousand Nights in One Night,” inspired by The Thousand and One Nights, as a model of female authorship. Through her work, she addresses the issue of femininity under the authority of masculinity in society from various perspectives.
The comparative-descriptive approach has been selected to compare the novel "Thousand Nights in One Night" and the introductory story of Thousand and One Nights in this examination.
The title encompasses the themes of night and its significance in both vigil and conversation. The narrator, addresses a man with the title “Mawlay” and identifies herself with the word Scheherazade through the available stories considered narrator’s memories experiences. In Jamil's novel, the title has its own significance and purpose. Furthermore, there are notable differences between the mythical Shahrazad and Dima, who embodies the identity of an Arab woman. They do not fully conform to the Scheherazadean archetype, as the narrative also explores the identity of women in contemporary Arab society, particularly through Dima's life experiences. This exploration highlights the challenges she faces in relation to the expectations associated with Scheherazade's
Sawsan employs innovative narrative techniques to explore the restoration of heritage, infusing it with contemporary significance and experience. She redefines the traditional roles of Scheherazade and Shahrayar, inviting a deeper examination of the dynamics between male and female characters and the implications of their relationship. Through the character of Dima, Sawsan articulates a vivid portrayal of self from the perspective of the other, expressing her views in the form of intellectual reflections and striving to assert her femininity through storytelling.
Introduction:
The literary creativity presented in the feminist novel has its own specific features, highlighting the level of culture in which it is immersed in order to express its vision regarding women. Hence, several phenomena and effects may contribute, from the treasures of the literary heritage to the horizons of the new civilization, in the context of the feminist novel. Certainly, the Arab feminist novel, thanks to its benefit from the literary heritage, such as the mother novel The Thousand and One Nights, awakened the horizons of women’s awareness. Resorting to the characteristics of literary heritage figures, especially the characters of The Thousand and One Nights for instance, unveils the goal of demonstrating the ability of novelists to refer the situation to the past, to build ideas and meanings for the reality in which they live, and to describe the life they wish for in two important ways. Sawsan Jamil Hassan, the Syrian novelist, in her novel A Thousand Nights in a Night including in the path of feminist narrative discourse, touched on the title, contents and connotations that are unique to the characters of The Thousand and One Nights and its heritage data throughout the extension and expansion of her work.
Method:
The research topic necessitates the use of comparative criticism. The researcher aims to explore the influences of Sawsan Jamil's novel, which incorporates elements from The Thousand and One Nights. This analysis employs a comparative approach to examine the narrative structure and to identify the similarities and differences between the two works. The goal is to uncover the reasons behind the relationship with The Thousand and One Nights and to understand the evolution of the night features in Sawsan's novel as an example of feminist literature.
Results and Discussion:
In Jamil’s novel, the title has a temporal characteristic that runs through the novel and creates a special time field, like The Thousand and One Nights. One of the most important features of the two novels is that they both rely on the number in their titles. The timeline in The Thousand and One Nights is associated with the darkness of the night and the night in the title of the novel by Jamil focuses on setting up a narration session with the love between Dima and Mawlay in one spacious night, not multiple nights. There are two types of characters in the two stories: Scheherazade and Shahryar relate to the narrative heritage, and Dima and Mowlay grow in the literary creativity of Sawsan Jamil. Like The Thousand and One Nights, the multiple voices of women are present in Jamil’s novel, and each voice is linked to an essential nature associated with the social status of women within the narrative discourse. By following the narrative path in A Thousand nights in one Night, we found women whose inner worlds we can penetrate in three voices:
The voice of the traditional woman
The voice of the obedient woman
The voice of the strong woman.
The novel contains representative memories within the original text that talk about the image of women and the conditions of Dima, whose role is like the contemporary Scheherazade, the owner of pain and hop, not just the owner of beauty and body within the framework of the male world, and tries to create multiple stories like Scheherazade, but without the adventures of the nights. Dima, like Scheherazade, does not come from the depths of myths and tales that are a thousand years old, but she comes from the reality of society to be a witness to her deep desire to revive a new life in a space of freedom.
Conclusion:
Sawsan Jamil used heritage to bring characters from it to enter the creative narrative world and obtain new narrative techniques about the path of restoring heritage and loading it with a contemporary role and experience. Sawsan Jamil added a new role to the traditional role of Scheherazade and Shahrayar and opened a door for closer consideration of what indicates the relationship between male and female and what is announced about their relationship. Sawsan Jamil sought to describe a vivid and forgiving image of the self on the other side, while expressing her opinion through Dima in many places in the form of intellectual and mental impressions, seeking to prove her feminine self through narration. However, the ego in Scheherazade’s character tries to escape from the other being in Shahryar’s character so that she can save herself and her kind from his oppression and narcissism through the act of narration.
Research Paper
الادب المقارن
Hamed Poorheshmati; Shahriar Hemati; Esmaeel Hoseini; Akram Rakhshandenia
Abstract
According to the theory proposed by Lakoff and Johnson, image metaphors emerged as a challenge to traditional rhetoric, which considered metaphor reliant on language rather than on thought and cognitive processes. Image metaphor permeates all facets of daily existence and operates as an invisible mental ...
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According to the theory proposed by Lakoff and Johnson, image metaphors emerged as a challenge to traditional rhetoric, which considered metaphor reliant on language rather than on thought and cognitive processes. Image metaphor permeates all facets of daily existence and operates as an invisible mental mechanism in modern poetry, shaping the poet's imagery systems and mirroring their life experiences. Metaphor serves as a crucial method of indirect, creative expression in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, deeply engaging and impacting the audience through various schemas. Adopting a descriptive-analytical approach and drawing on the American school of comparative literature, this research examines the most notable metaphorical image schemas in the works of these two poets. The findings reveal that both poets frequently employ volumetric schemas to illustrate their conceptual imagery, with a particular emphasis on the human body as a vessel for abstract ideas. In Al-Alaq’s poetry, the movement schema is inspired by external environmental motifs, while in Atashi’s works, it often signifies the passage of time. The power schema in Al-Alaq’s poetry highlights the dominance of negative and limiting forces over the poet’s perspectives, whereas in Atashi’s poetry, it depicts the interplay of positive and negative forces and their effects on his personal and social viewpoints. Introduction:Today, metaphor extends beyond being merely a poetic device that uses one or more words to convey a superficial understanding of a familiar image. In other words, metaphor is no longer restricted to language; its essence lies in mapping one cognitive domain onto another, incorporating abstract concepts such as time, emotions, movements, and similar ideas. George Lakoff and Mark Johnson explore metaphor from a novel cognitive perspective, distinct from traditional interpretations. They argue that metaphor is a fundamental aspect of human experiences, emotions, and daily life, asserting that a significant portion of our conceptual and cognitive systems relies on metaphorical structures. The mental aspect of metaphor, originating in the mind, reflects an individual’s perspective and stance on objects and issues in their life. This metaphor shapes our cognitive framework, with language serving as a medium for employing metaphor. Consequently, standard techniques and approaches for developing new metaphors involve connecting one cognitive image to another, presented as conceptual metaphor schemas. Various schemas for conceptual metaphors have been identified, including volumetric, path, force, balance, and others. Among these, the first three are most frequently observed in literary texts. The volumetric schema derives from humans’ tangible experiences with space and their application to mental constructs. The path schema suggests that the surrounding world is filled with numerous paths, such as those between home and work or cities, which can be understood through both reality and imagination. Recognizing these paths can be metaphorically conceptualized by progressing through three stages: the origin or starting point, the destination or endpoint, and the points connecting the start and end. The force schema emerges from the culmination of human experiences in creative spaces, demonstrating the interplay between humans and other elements exerting forces, which affects the extent of interaction and movement.This research aims to answer the following two questions:What are the most prominent conceptual metaphor schemas commonly found in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, based on Lakoff and Johnson's theory of conceptual metaphor?How do the shared and differing functions of these schemas contribute to constructing meanings and generating poetic imagery in the works of the two poets?Method:The importance and necessity of this research arise from the fact that image schemas serve as dynamic elements in the interpretation of poetic works, illuminating the nature of word usage and generating new meanings. Despite their significance, comparative studies of image schemas have received limited attention in contemporary research. This is particularly true for comparative examinations of such schemas in the poetry of two poets, underscoring the need for this study. The research employs a descriptive-analytical approach, with a comparative framework grounded in the American school of comparative literature. The objective is to compare two distinct literary traditions by analyzing the similarities and differences in themes related to conceptual metaphor approaches, utilizing the theories of Lakoff and Johnson as the analytical lens for the presented data. The selection of these two poets, Ali Ja'far Al-Alaq and Manouchehr Atashi, among others, is based on the prominent presence of various image schemas within cognitive contexts and environments that are closely interconnected. Investigating these schemas can effectively illuminate their shared perspectives on thought and their perceptions of the world around them.Results and Discussion:Based on Lakoff and Johnson’s theory of conceptual metaphor and its comparison in the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, this research has reached several conclusions summarized as follows:The conceptual metaphor schemas in their poetry emphasize key approaches in the field, particularly volumetric, path, and force schemas.Through the volumetric schema, both poets utilize imaginative interpretations of their intended concepts within physical spatial dimensions. By viewing the human body as a vessel for abstract ideas, they generate new meanings in the realm of metaphor. In Al-Alaq’s poetry, this schema is closely associated with the path schema, while in Atashi’s works, it encompasses broader dimensions, linking to both personal and social aspects of his life.Both poets draw extensively from the dynamic elements of their environment to present volumetric schemas. However, Al-Alaq emphasizes the overlapping of multiple volumetric schemas to achieve visual unity, while Atashi focuses on expanding and deepening a single metaphorical image.The path schema in Al-Alaq’s poetry is influenced by external environmental themes, showcasing tangible visual movement as he considers abstract phenomena from a mental perspective. In contrast, Atashi’s path schema integrates temporal dynamics and unexpected shifts, illustrated through anthropomorphic representations and human-like behaviors in diverse situations.Al-Alaq’s path schema illustrates movement from a defined starting point to a specific endpoint, whereas Atashi's approach frequently centers on an ambiguous destination, highlighting the initial point.In situations characterized by negative restraining forces, Al-Alaq employs the force schema. He begins with a fundamental abstract concept of power and, through various cognitive dimensions, expands its meaning and scope. Conversely, Atashi utilizes the force schema in both personal and social contexts, exploring both negative and positive cognitive aspects. At times, the obstacles represented in the schema can transform into motivations for new beginnings.Both poets engage with the concept of force during times of crisis, yet their responses differ significantly. Al-Alaq tends to accept the situation as it is, without attempting to change it, whereas Atashi either resists the force or seeks an alternative path to achieve his goals.Conclusion:The functional range of these schemas extends beyond literature; however, their role in literary works has a significant impact that cannot be ignored in the realms of meaning creation and creativity. This is particularly evident in contemporary Arabic and Persian poetry, where conceptual metaphors play a crucial role in engaging the reader's mind and evoking emotions. In the poetry of Ali Ja'far Al-Alaq and Manouchehr Atashi, conceptual metaphor has become a fundamental element in shaping their language and poetic vision. Their poems feature numerous representations of abstract concepts, whose variety and dynamism merit close attention and analysis. Analyzing and tracing these metaphors often uncovers the specific objectives, images, or ideas that both poets aim to comunicate through this cognitive approach.
Research Paper
الادب المعاصر
Sakineh Hosseini; Esmaeil Eslami; Masoud Bavanpuri
Abstract
Imageology or literary image is one of the subjects of comparative literature, which, in addition to knowing another culture, explains the image and searches for its literary value. Comparative literature helps each nation to know its place among other nations, and to see its image in the mirror of others. ...
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Imageology or literary image is one of the subjects of comparative literature, which, in addition to knowing another culture, explains the image and searches for its literary value. Comparative literature helps each nation to know its place among other nations, and to see its image in the mirror of others. The aim of the research is to describe another and how he appeared in the book "Journey to America" by al-Batnouni, and also to compare another with different types of mine with a descriptive and analytical approach. Therefore, the writer's critical point of view is searched for the other. One of the most important results of the research is that the image of Arab me, or us, is presented as a tool for comparing the Arab self and the American other. The other, which is acceptable in the author's work, is divided between the admiration and admiration of his achievements and the denial of some other characteristics that are different from him in terms of religion, culture, science and civilization. He considers the foreign cultural reality superior to the national culture, and this does not mean ignoring the problems and not having a critical view of the other. My image is linked with the Egyptian people, their heritage, civilization and values, and another American image in his work includes a negative image such as racial discrimination, injustice and a positive image such as freedom and other superiority in social, economic and political cultural elements.
Introduction:
Humans are always trying to communicate with others. Over time, the use of images became an essential way to show the need of each person to another. " ego" can be known in literature as a person who is trying to communicate, know and introduce another person. Literature allows us to know another culture by using existing experiences about another culture. Imagery means the study of another image and its elements in literature and art. Imageology is actually considered a school and a method to examine the image of countries in the works of an author. The purpose of imagery is to examine the image of an insider's culture in other literature or another culture in insider's literature. In literature, imagery is more related to comparative literature than any department and is examined in this department. The foundation of comparative literature in France was based on imagery. And the influence that is the beginning of French people's view of foreign literature depends on knowing the image of others. The book Journey to America is a travelogue that shows the realities of the author's land and America, and the author shows the audience their morals, habits, and imitation during his visit to the places of this land. One of the characteristics of this work is that the author is precise in describing his observations and we find out that the other one has many pictures. A land that the author considers superior in many scientific, cultural, political and economic elements. But besides them, he also describes the negative features of this land, such as racial discrimination and injustice. Besides introducing others, the author better understands the culture and conditions of his land. And he considers another image as a mirror that depicts the realities of his land.
Method:
This research tries to analyze the image of me and the other in the book Journey to America by al-Batanoni using descriptive and analytical method, and in the framework of comparative literature, and to analyze different types of "me" such as individual and social me. Other negative images of the American society, such as racial discrimination, injustice, and inequality, as well as its positive images, such as freedom and progress in cultural, social, political, and economic elements, should be analyzed.
Results and Discussion:
One of the most important results of the research is that the image of Arab me, us, or identity is presented as a tool for comparison between the Arab self and the American other. The other, which is acceptable in the author's work, is divided between the fascination and admiration of his scientific, industrial and economic achievements and the denial of some other characteristics that are different from him in terms of religion, culture, science and civilization. He considers foreign cultural reality to be superior to national culture, and we are often fascinated by the American model, and this does not mean ignoring the problems of others and not taking a critical view of them. It can be said that my image is linked to the concept of the Egyptian people and what constitutes their heritage, civilization and values, and another American image in its influence includes a negative image such as racial discrimination, injustice and equality and a positive image such as freedom and excellence in education. and nurturing and other superiority in cultural, social, economic and political elements.
Conclusion:
The author presents vivid depictions of both Arab and American societies, taking into account their social, cultural, political, and economic conditions, as well as the influence of the environment. Through this lens, he articulates his intellectual frameworks and engages with others. The author realistically portrays the circumstances in both regions, steering clear of exploitation. He authentically represents the behaviors and customs of ego and the other in a real way and makes the audience eager to get to know the "other" more deeply. By highlighting the shortcomings of Arab society while also showcasing the positive aspects of the "other", he contributes to essential cultural development. This research can guide the audience's thinking and judgment, revealing a more profound understanding of reality.
Research Paper
الادب المقارن
Ali Sharifizadeh; Hossein Mohtadi; Seyyd Haidar Faree Shirazi; Khodadad Bahri
Abstract
After the events that unfolded between the West and the East, particularly between Muslims and Zionists, the concepts of "me" and "another" entered the texts of Arabic literature, and the writers reflected these images to preserve the identity of the Lebanese "me" against the Zionist "other". "I" here ...
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After the events that unfolded between the West and the East, particularly between Muslims and Zionists, the concepts of "me" and "another" entered the texts of Arabic literature, and the writers reflected these images to preserve the identity of the Lebanese "me" against the Zionist "other". "I" here represents a Lebanese individual who made a revolution to protect his homeland from the foreign "other". With this statement, the three main axes of this research are "me" and "other" and the relationship of enmity and antagonism between them. With descriptive and analytical approach, we aim to clarify the image of "me" compared to the image of "other" in these stories and the relationships between them. The most prominent theme in Ali Hajazi's stories is the portrayal of "self" despite the defeats experienced during the war. The character is represented by the killer and the occupier, who perpetuate violence. The pessimistic Lebanese perspective is illustrated through the character of Abu Saad's neighbor in the wedding story, who, despite the destruction and damage, presents a new, victorious image of a dialectical relationship that intertwines the "self" with the "other" in these narratives, ultimately concluding with the defeat of the Zionist "other".
Introduction:
The concepts of the self and the other have permeated Arabic literature, particularly in the context of significant events that the Arab world has experienced, such as the ongoing conflict between the West and the East, and specifically between Muslims and Zionists. This confrontation has been reflected in literary works, prompting researchers and critics to examine these opposing identities. Such studies have played a crucial role in the field of research, aiming to preserve the image of the Arabic self and its identity in order to confront the adversarial other. The topic of the self and the other is complex and has gained traction in numerous studies and critical analyses across various humanities disciplines. It has evolved into a significant phenomenon that focuses on illuminating the relationship between opposites and exploring the diverse connections that bind them. Dr. Ali Al-Hajazi's short story collection, Jadidaton Lelnasr, the conflicts between the Lebanese and the Zionists, presenting the perspective of the Lebanese self in contrast to the Israeli other. Numerous factors underscore the ongoing necessity for a distinct Lebanese identity, particularly in light of the Israeli other's efforts to undermine Islamic and Arab identity, aiming to replace it with an Israeli identity through illegitimate means. This research investigates the negative relationship between the two identities and the aggressive actions of the enemy other against the Muslim self. These issues represent some of the most pressing challenges faced by the Islamic nation, illustrating the persecution carried out by the other and expressing an Arab-Lebanese struggle against the Israeli other. The relationship between Jews and Muslims has sparked extensive debate, with the ultimate goal of Jewish dominance over nations, seeking control of land and resources. This short story collection narrates the triumph of the men, women, and children of "Jabal Amel" over their adversities, celebrating their victory against a formidable enemy. Like its predecessors, this collection chronicles the experiences of a resilient people living on a small island in the Arabian Sea, offering the author's portrayal of ordinary men, women, and children in Jabal Amel who contributed to the resistance, even resorting to unconventional methods such as hunting pigs with a cup of poisoned coffee. The collection comprises thirteen stories, including "The Parade," "Dawn Threads," "Mother Mohammed," "My Father's Grip," and "Hajjah Sarah," among others. Each tale addresses the Lebanese-Zionist conflict in this region of the Levant.
Method:
In this study, we aim to elucidate the concept of self-image in relation to the image of the other, utilizing a descriptive-analytical approach to analyze the stories of Ali Hujazi. These narratives exemplify the complex interplay between self and other, offering a platform for reflection on the other and their challenges. The discussion of this topic seeks to protect the Arab self-image and preserve its identity in order to effectively confront the adversarial other.
Results and Discussion:
The writer Ali Hajazi successfully transforms both the “self” (the ego) and the “other” from their theoretical philosophical molds into the realm of reality through the fabric of his stories, characters, and events. The “self” in its various forms, becomes more closely tied to reality, making it more accessible and engaging for readers, who encounter it artistically and interact with its contemporary relevance. The narrator in “The Funeral,” Ali Hajazi himself, represents the “self” that strives to uphold the spirit of resistance. He begins with his family and extends his focus to his neighbor, Abu Saad, who embodies the pessimistic aspect of the “self.” Finally, the other journalist, who tries to instill doubt in people's hearts but fails to sway the narrator from his unwavering resistance, despite the destruction and devastation of homes. Meanwhile, the Lebanese woman, a symbol of sacrifice, reflects the “self” in the story of Um Muhammad. She stands alongside men in the face of the enemy, while also playing a crucial role in nurturing future generations. Her resourcefulness led to the demise of several Zionist soldiers.
In the story Sharaton Jadidaton Lelnasr, the portrayal of the Lebanese “other” defies conventional expectations. Instead of depicting the enemy as the “other,” the narrative presents a Jewish character as hypocritical, treacherous, oppressive, and ultimately defeated. Ali Hajazi’s collection “Sharaton Jadidaton Lelnasr” is one of the few story collections that explores the themes of “self” and “other” by highlighting the success of the “self” during wartime. These stories serve as a crucial link in the resistance narrative against the new Zionist adversary, employing innovative techniques and fresh imagery. The “self” occasionally embodies a positive image, representing tolerance, defense, resistance, and optimism. The dynamics of the relationship between the “self” and the “other” involve multifaceted reasons and factors, including religious differences, the pursuit of knowledge, and the desire for global dominance. Despite the contradictions and conflicts between them, they remain interconnected. Each side calls upon the other, stemming from a dialectical relationship. Throughout history, the question of the bond between these two entities has persisted, evolving through tolerance, struggle, divergence, and emotion. Ultimately, they remain synchronous, as both represent two sides of the same coin.
Conclusion:
Ali Hajazi emphasized the significance of the victory of the men of Jabal Amel in Lebanon against their Zionist adversaries, a confrontation that many Muslim countries hesitated to engage in. Through his works, Hajazi portrayed an active self, breaking free from the shackles of occupation and capturing the people's love for freedom and the spirit of resistance. The image of Jabal Amel became immortalized through their triumph over death and humiliation. Ali Hajazi chronicled the resistance of ordinary men, women, and children in Lebanon who exceeded their capabilities in the fight against oppression. In this context, the term “self” represents the rebellious Lebanese spirit, simultaneously protective of their homeland. The “other” reflects the image of the foreign Zionist. In his story collection Sharaton Jadidaton Lelnasr Lebanese writer Ali Hajazi depicted the “self” as the resilient spirit of the Lebanese people, embarking on a fresh path of resistance. The stories within sharat jadidat linasr feature diverse representations of the “self,” each character embodying the Lebanese identity opposing the Zionist enemy. Despite numerous sacrifices, these narratives celebrate the triumph of the oppressed over their oppressors, fueled by optimism and unwavering determination. The protagonists of these stories wielded this weapon. Among them were the resistance fighters, steadfast and noble individuals, as well as those who remained indifferent to the events, continuing their lives despite the ongoing war and its consequences. Through these characters, the writer sought to depict the reality of the Lebanese people during the conflict with Israel and the concept of “otherness” that represents the adversary in our narratives. Some characters exhibited pessimism. For instance, “Abu Saad,” classified as part of the “self,” lost his home due to Israeli airstrikes. However, his pessimism quickly transformed into optimism upon learning of the promise made by the leader of the resistance to rebuild the destroyed buildings even better than before. Meanwhile, the media played a negative role during and after the war. These media outlets, along with their personnel, fall into the category of the “other.” Journalists roamed among the owners of destroyed homes, attempting to capture negative sentiments from the resistance. However, their efforts failed due to the strong popular connection with the resistance, which thwarted the enemy’s plans.
In these stories, we witness the multiplicity of selves and others. The writer skillfully portrays various facets of the self and the other, providing both literary and artistic examples. Notably, despite the defeats of war, the self remains optimistic. Characters such as “Um Muhammad” embody this resilient and hopeful self, while the adversary—the killer and occupier—ultimately faces defeat. Ali Hajazi concludes the dialectical relationship between the self and the other in his narratives by emphasizing the failure of the Zionist other. Ultimately, each story unveils this failure of the Zionist perspective
Research Paper
الادب المقارن
Hediyeh Ghasemifard; Naser Zare; Mohammad Javad Pourabed; Rasoul Ballavi
Abstract
In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi ...
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In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi are two poets whose poems contain numerous similarly marked words in terms of both structure and meaning, to the extent that the use of these words can be considered a literary trick of the poems of these two poets. This study, which employs a descriptive analytical method, aims to examine the structure of the highlighted words in the poems of Sa‛ādah and Mousavi, as well as to articulate the most significant meanings of these words in relation to the American School of Comparative Literature. An analysis of the prose poems by these two poets reveals that, in addition to their sentences, they present the highlighted words in descriptive and supplementary combinations, utilizing straightforward language that is accessible and uncomplicated. The highlighted words in their poems are either derived from societal conditions or inspired by the beauty of nature. Consequently, both poets employ techniques such as simile and metaphor to craft meaningful words and phrases that occasionally attribute human characteristics to inanimate objects and elements of nature, while at other times, they visualize the impossible through historical references. This approach facilitates an engaging experience for readers by transforming their works into open texts. The predominant theme of the highlighted words in the poems of these two poets is the portrayal of the suffering and pain experienced by contemporary individuals.
Introduction:
Marked words are terms that carry implicit meanings and appear in the text for some reason and are derived from the marked words that underlie the speaker's speech, feelings, viewpoints and ideas. Marked words in poetry have a broader scope for usage because the language of poetry is implicit and aligns with the meanings of these terms. Wadī‛ Sa‛ādah (1948), a Lebanese poet, and Hafez Mousavi (1954), an Iranian poet, employed similar contexts and meanings in their literary styles. Although the two poets are not historically connected, their stylistic similarities, thematic resonance, and shared literary influences allow for a comparative analysis of marked words and their meanings in their respective poems, as per the principles of American comparative literature. Sa‛ādah and Mousavi frequently utilized marked words, likely due to the nature of their poetic language, which addresses painful issues such as war and the struggles of contemporary humanity. Their texts vividly depict scenes of suffering and human anguish, prompting the use of marked words in an implicit and imaginative manner. Unmarked words, in contrast, fail to convey the depth of these pains, tragedies, and challenges to the reader.
The most important questions that this research attempts to answer are:
How did the marked words appear in the poems of Wadī‛ Sa‛ādah and Hafez Mousavi?
What are the connotations of the marked words in the poems of the two poets?
What are the similarities and differences between the marked words are employed in the poetic literary works of these two poets?
Method:
This research, which was conducted using a descriptive-analytical method, aimed to analyze the poems of Hafez Mousavi and Wadī‛ Sa‛ādah with a focus on marked words. To establish a cohesive framework for studying the works of Mousavi and Sa‛ādah, this research examines marked words in the context of descriptive combinations, additional combinations, and complete sentences.
Results and Discussion:
- The marked words in Sa‛ādah and Mousavi’s poems are presented as descriptive and supplementary structures, in addition to complete sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world.
- The vital marked additional structures appear in the poems of the two poets based on implicit metaphors and their characteristics. In these structures, the additions correspond to the unmarked words, and these additions guide the structures toward the marked words, providing a suitable platform for expressing the diverse positions and ideas of the two poets through their choice of words.
- The additional marked inanimate structures are the most marked words in Saadeh and Mousavi's poems, which are presented through the use of simile. Both components of these marked words can be compared to the unmarked words, allowing for various meanings to be inferred from these structures. Consequently, this is one of the factors that renders the texts of both poets open to multiple interpretations by readers, enabling them to derive different concepts from these words based on their individual perspectives.
- Another part of the marked words in Saadeh and Mousavi's poems is dedicated to marked sentences. The two poets consider the most improbable and imaginary actions arising from history, myth, or culture in these sentences. Most of these sentences, in addition to the aesthetic aspects, contain specific meanings, social or human discourses, and many symbols.
- One of the most prominent features of the marked words in the poems of the two poets is their adaptation from the natural world. Most poets who have grown up in the bosom of nature - if not all of them—cannot remain indifferent to this source of inspiration. In contrast, the poems associated with the postmodern style often diminish the vibrancy of nature, drawing their imagery primarily from everyday life. The function of the marked words is to convey emotions and feelings, translating their poetic experiences in relation to the universe, man and his beliefs. Their poetic style tends towards imaginary and suggestive images away from directness, and is often intertwined with unrealistic events to foster creativity and uniqueness in poetic discourse. Some of this creativity is achieved through the use of marked words.
These two poets employ a style that occasionally offers a space to forget what happened to them, and so we find them traveling through words in the world of dreams. The two poets have succeeded through their poetic endeavors by utilizing both distinctive language and through the use of marked words and other ancient and modern poetic arts, and they were even able to share the suffering and hopes of the recipient through the imagination of interpreting the hidden meanings and connotations of the two poets’ poems; because Sa‛ādah and Mousavi are dedicated poets who have chosen to articulate the pain and sorrow of society as a central theme in their message, and so we find the majority of the meanings of marked words in their poems directed to the problems and failures of contemporary man.
Conclusion:
The research findings indicate that the poems of Sa‛ādah and Mousavi blend romantic tendencies in the early stages of their literary works and the postmodern style in their later works. It is evident that their use of marked words is influenced by these two styles. Both poets aimed to employ simple and unambiguous language to convey marked words, deliberately avoiding mythological symbols and an epic tone. The marked words in their poems are presented through descriptive and supplementary structures in addition to standard sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world. The additional marked inanimate structures are the most marked words in the poems of Sa‛ādah and Mousavi, which appear based on the simile technique. One of the most obvious features of the marked words in the poems of the two poets is the adaptation of some of these words from the natural world.
