Journal of Arabic Language & Literature

Abstract The Holy Qur’an possesses numerous aspects of inimitability, among which rhetorical and stylistic inimitability occupies a prominent position. The aesthetic dimensions of this rhetorical inimitability appear in various forms and are manifested through rhetorical devices that shape the artistic image and convey the intended meaning. The significance of this study lies in revealing the importance of semantic meaning and artistic imagery in the Qur’anic text. This research aims to explore the aesthetic aspects of the Qur’anic text in Surah Al-Kahf. The study adopts a descriptive-analytical approach and is structured as follows: First, imagery based on simile, which is one of the most common rhetorical devices in literature. Simile establishes a comparison between two elements sharing a common attribute and serves rhetorical and expressive purposes that cannot be achieved otherwise. Second, the aesthetic function of imagery through metonymy (kināyah), which is an indirect expressive technique in which the literal and figurative meanings coexist, while the intended meaning in context is the figurative one, without negating the possibility of the literal meaning, since metonymy is related to meanings rather than words. Third, the aesthetic function of imagery through metaphor (isti‘ārah), which is defined as a simile in which one of the two elements (the subject or the object of comparison) is omitted, and which belongs to the category of linguistic figurative expression, where a word is used in a meaning other than its original one due to a relation of similarity. Based on these premises, the study seeks to answer the following questions: What is the aesthetic value of artistic imagery? How does artistic imagery manifest itself in Surah Al-Kahf? And what is the effect of these artistic images on the recipient? The results indicate that artistic imagery in Surah Al-Kahf appears in various forms, including simile, metonymy, metaphor, and figurative expression. These images influence the recipient’s emotions and intellect, and express the imagined mental image, the sensory state, and the visual scene.
 
 

Abstract Critical studies play a pivotal role in the analysis of both poetic and prose texts. Among the most significant contemporary approaches is textual linguistics, which provides a foundational framework for examining discourse coherence. This theory enables the assessment of discourse effectiveness and dynamism, helps construct the world of poetic expression, and establishes boundaries for exploring the universe of texts. Accordingly, this study adopts a descriptive-analytical method, drawing on the theory of textual coherence to analyze the structure and discourse perspective in one of Al-Mutanabbi’s poems praising Seif al-Dawlah. The research focuses on investigating the formal and grammatical linkages within the text. Grounded in the significance of applying this theoretical framework, the study seeks to offer a new interpretation of this classical poetic composition. This endeavor aims to elucidate the linguistic mechanisms that underpin the cohesion and coherence of the poem, thereby contributing to contemporary critical discourse and invigorating methodologies for engaging with the Arab poetic heritage. One of the key findings is the prominent presence of referential elements in the poem. These elements, especially pronominal references to both Seif al-Dawlah and Al-Mutanabbi, are used more extensively than other cohesive devices. This aligns with the encomiastic theme of the poem. The varied use of pronouns-attached, detached, and implied-prevents monotony and enhances textual cohesion. Internal pronominal references further strengthen the unity of the poem, while external references consistently point to Seif al-Dawlah and the poet. Furthermore, demonstratives, relative pronouns, and comparative expressions serve as contributors to the poem's continuity, albeit to a lesser extent than pronouns. Ellipsis also emerges as a significant stylistic device, facilitating brevity, linguistic economy, and reader engagement through the reconstruction of omitted elements.
 
 
 

Abstract A prominent trend in literary criticism involves the application of an integrated socio-psychological approach. This framework encompasses theories dedicated to the evaluation of fictional characters, their motivations, and their individual and social conduct. Erving Goffman’s stigma theory exemplifies such a theoretical lens, offering a valuable tool for analyzing the behavior and actions of individuals marked by stigma. Stigma is the act of attaching undesirable labels to an individual by others which leads to the individual’s isolation and rejection by society. One of the most stigmatizer events that can lead to social disgrace is divorce. Therefore, in this article, we selected a short story titled ‘Divorce Papers’, written by the Syrian writer Walidah Eto. This study employs a descriptive-analytical methodology, grounded in Erving Goffman’s stigma theory, to examine the ramifications of divorce-related stigma on the stigmatized character and to identify the contributing factors to its formation. The research holds significance by, firstly, introducing readers to the short fiction of a Syrian writer whose work prominently addresses the social and cultural issues confronting women. Secondly, it seeks to illuminate the social standing of divorced women and the psychological burdens stemming from the stigma of divorce within Syrian society, framed through the theoretical construct of Goffman's work. Through an examination of the characters within this narrative, it is determined that social isolation and diminished self-esteem represent salient manifestations of stigma in the protagonist. Maher’s mother, embodying the role of a stigmatizer, is depicted as a product of society's traditional perceptions of divorced women, ensnared within a rigid cultural paradigm. The assertion of ‘otherness’—the notion of ‘we are different from them’—functions as an additional stigmatizing mechanism employed by Maher's mother against the protagonist. In contrast, Maher assumes a supportive role, utilizing strategies such as ‘comparison’ and ‘cognitive-behavioral intervention’ to mitigate stigma and influence the stigmatizer’s perspective.
 
 

Abstract Bodily gestures and physical cues, akin to spoken language, constitute a kinetic alphabet for communication emanating from the body’s limbs, articulating emotions, attitudes, and thoughts. This form of expression is not merely a subordinate or supplementary element to verbal language; rather, it is a cultural and social system with sensory implications deeply rooted in the human experience. Although words and gestures may convey similar meanings, gestures often communicate more lucidly, rapidly, and precisely, especially when verbal language proves inadequate. Ibrahim Al-Koni, a contemporary Arab novelist, extensively utilizes gestures and bodily movements within his narrative structures. This research endeavors to examine his narrative language and techniques through a semiotic analysis of bodily expression, particularly focusing on gestures shaped within the cultural context of the Tuareg people. The objective is to explore gestures as an innovative narrative method that generates multiple layers of meaning within his fictional worlds. A meticulous study of al-Koni's works reveals that gestures and silence are two prominent characteristics in his novels, stemming from the desert lifestyle and the social conduct of the Tuareg. By detailing bodily movements—such as head nods, eye gazes, hand gestures, facial expressions, laughter, and even silence—he conveys psychological and symbolic dimensions that transcend spoken discourse. This study particularly centers on the novel Al-Majoos, where gestures evolve into a central semiotic system. Drawing upon a descriptive-analytical approach within a semiotic framework, the findings indicate a dominance of cultural semiotics in this novel. Al-Koni crafts a symbolic structure by employing movement, light, passion, and myth, wherein body language occasionally functions more expressively than spoken or written language.
 
 

Abstract Cultural criticism, as a contemporary critical approach, seeks to analyze and deconstruct literary discourse, uncovering its deep semantic layers shaped by evolving social and cultural contexts. Its significance lies in its capacity to read texts as cultural acts rather than mere aesthetic constructs. Consequently, studying the representation of women is fundamental to understanding shifts in the collective unconscious. Given the scarcity of systematic, culturally-oriented studies on the image of women in contemporary Iraqi poetry, this research addresses this critical deficiency. This study aims to analyze the image of woman in Khairi Al‑Bedeiri’s poetry, specifically within the maternal and romantic spheres. It seeks to unveil the underlying cultural layers in these representations and elucidate their role in shaping poetic meaning and directing audience reception. Employing a descriptive-analytical methodology, this research delves into the manifest and latent aspects of Khairi Al‑Bedeiri’s poetic discourse, utilizing the concepts and tools of cultural criticism. Findings indicate a pivotal presence of the female image in Khairi Al‑Bedeiri’s poetry, where woman transcends marginalization to become a symbolic space reflecting the collective value system, identity, and memory. This image manifests in two prominent archetypes: the ‘Mother’, symbolizing security and stability, and the ‘Beloved’, embodying the horizon of desire and emotional pursuit. The results demonstrate that the poet, through conscious artistic and cultural engagement, utilizes the image of woman as a vehicle to express the relationship between the 'self' and its surrounding social milieu. This imbues the poetic text with semantic and aesthetic dimensions beyond mere description, guiding it towards the construction of a deeper, more comprehensive cultural landscape. Furthermore, this analysis evaluates the position of women within the symbolic structure of the text, underscores the significance of poetry as a site for the production of cultural meaning, and opens avenues for future research in contemporary Iraqi poetry. Such research, viewed through the lens of modern cultural criticism open to diverse theoretical and interpretive approaches, promises valuable insights.
 
 

Abstract Cultural criticism, as a contemporary critical approach, seeks to analyze and deconstruct literary discourse, uncovering its deep semantic layers shaped by evolving social and cultural contexts. Its significance lies in its capacity to read texts as cultural acts rather than mere aesthetic constructs. Consequently, studying the representation of women is fundamental to understanding shifts in the collective unconscious. Given the scarcity of systematic, culturally-oriented studies on the image of women in contemporary Iraqi poetry, this research addresses this critical deficiency. This study aims to analyze the image of woman in Khairi Al‑Bedeiri’s poetry, specifically within the maternal and romantic spheres. It seeks to unveil the underlying cultural layers in these representations and elucidate their role in shaping poetic meaning and directing audience reception. Employing a descriptive-analytical methodology, this research delves into the manifest and latent aspects of Khairi Al‑Bedeiri’s poetic discourse, utilizing the concepts and tools of cultural criticism. Findings indicate a pivotal presence of the female image in Khairi Al‑Bedeiri’s poetry, where woman transcends marginalization to become a symbolic space reflecting the collective value system, identity, and memory. This image manifests in two prominent archetypes: the ‘Mother’, symbolizing security and stability, and the ‘Beloved’, embodying the horizon of desire and emotional pursuit. The results demonstrate that the poet, through conscious artistic and cultural engagement, utilizes the image of woman as a vehicle to express the relationship between the 'self' and its surrounding social milieu. This imbues the poetic text with semantic and aesthetic dimensions beyond mere description, guiding it towards the construction of a deeper, more comprehensive cultural landscape. Furthermore, this analysis evaluates the position of women within the symbolic structure of the text, underscores the significance of poetry as a site for the production of cultural meaning, and opens avenues for future research in contemporary Iraqi poetry. Such research, viewed through the lens of modern cultural criticism open to diverse theoretical and interpretive approaches, promises valuable insights.