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Ziba Kazemiyan,
Volume 2, Issue 2 (9-2021)
Abstract

In the Holy Quran, numerous valuable and instructive concepts are presented as stories by God Almighty. As goals and works refer to a single truth, it should be pointed that the stories of the Holy Quran are a selective narration of previous nations with specific purposes. Accordingly, this article tries to open a new window onto the structure and method of Qur'anic stories based on an approach grounded in Shiite interpretations. The paper sets out to examine various dimensions of Qur'anic stories, exploring their aims, structure, and methods of processing. Hence, the elements of Quranic stories are examined base on a descriptive and analytical methodology.
 
It is suggted that the act of narration in Quranic stories can be divided into past, present and future according to the time of events. Some Qur'anic stories narrate the stories of previous prophets and tribes to reduce the suffering of the Prophet and guide the true believers; some other stories chronicle the events of the present or future of the Prophet's era, describing the stories and events of the Prophet's life with his fellowmen; others foretell maily horrific future events that will occur sooner or later. The structure of Quranic stories, regardless of its fundamental and thematic differences with non-Quranic stories, i.e. the superiority of instructive dimensions in adhering to the elements of storytelling including characterization and element of time/place, enjoys an appealing and special form as it takes advantage of artistic textual elements. 

Raja Abu Ali, Akram Habibi Bardbouri,
Volume 4, Issue 4 (12-2022)
Abstract

The external layers of the text attract the attention of researchers in the study of literary texts, especially novels, And since “Gerargent” raised the issue of the textual layers of the text, this issue has become more prominent in critical fields. This article aims to understand the signs of the cover and its components in the novel “Nazif al-Hajr” by “Ebrahim Alkouni” a contemporary novelist. Therefore, this article studies all the components of the book cover, including the :color, title, and the photo on the cover, Because the cover of this novel contains semiotic meanings that deserve to be investigated and researched, And examining the cover of this novel shows that the author does not choose the cover of her book without reason, Rather, the novelist has goals in choosing the cover of his novel, and this research shows that the cover of this novel covers all the events of the novel. As the cover of this novel shows the goals and important events of the novel such as: totemism and the relationship between man and the  totem, The reason for choosing this novel and studying its cover is that the cover in this novel is a strong focus on storing the inner text. The approach followed in this article is the analytical descriptive approach in the light of “Gerargent's theory”, which is related to the book cover, The cover of this novel reflects the meanings of murder, violence, blood, suffering and pain. Among the most important findings of the article: the photo on the cover of the novel depicts the intimate relationship between the animal (mountain goat) and “Asoof” (the hero of the novel), red color is the only dominant color in the cover of this novel. It is a symbol of killing and blood, and the title has been successful in drawing the important concepts of the text, both at the linguistic, metaphorical and figurative levels.


Zineh Erfatpour,
Volume 5, Issue 3 (4-2024)
Abstract

Spring (2024) Vol 5, No. 12,  pp. 69-92
 
Sahar Khalifa, a contemporary Palestinian novelist, is one of the prominent novelists of the Arab world. His novels have gained wide fame all over the world due to the reflection of Palestinian realities, especially resistance, social and women's issues, as well as due to the use of an attractive and effective language structure. In Al-Sabbar (1967), Khalifa deals with the issues that the Palestinian society encountered. She uses a linguistic structure that is often distinct in all kinds of narrations. This study examines the novel’s distinct narrative characteristics based on Abdul Malik Murtad’s classification. The study finds that Sahar Khalifa has used all the narrative forms proposed by Abdul malik Mortad, namely narrative texture, dialogue. and monologue. Also, he has used all narrative pronouns (third person, second person and first person) in her novel, and the third person pronoun is the most used in the narration of event. In addition, in the narrative based on the third person pronoun, he often relies on medium eloquent language, and when he decides to emphasize more on drawing the dialogue space of the two sides in the narrative, he fluctuate between using eloquent language and simple (colloquial) dialect, but when the time comes the characters have dialogue with each other, the uneducated characters often use street slang and the educated characters use eloquent and simple language.




Azam Shamsoddini Fard, Nayyere Askari,
Volume 18, Issue 1 (9-1983)
Abstract

Among the literary works, the short story has a special place and is among the most important arts that deal with the reform of the society and related issues. Meanwhile, the character is the basic part of the short story and the center of transferring ideas and showing events. Grimas is one of the theorists who examines the actions of the characters in the story. In this theory, the characters of the story, determine the general trajectory of the story in the interactive actors such as sender, receiver, actor, object, helper and deterrent. Jamal Ghitani is one of the leading Egyptian writers who has been among the greats of contemporary fiction by innovating in fiction. The fictional collection of "Arz- Arz " is one of the works of this contemporary creative writer, which consists of seven short stories and one of this stories is ‘Osfur Al- Sheta Al- Mohajer’ In which the author writes about the Presence of an war-torn child into a horrific environment of war. In this descriptive-analytical study, the application of the Grimas model in the characterization of this story has been investigated. The results of the research show that the author of the story has been able to implement the grimace actor model in this story by carefully using the characters and processing them. And in this regard, he has used all kinds of actors in creating the characters of his story and by creating dual contrasts, he has clearly explained the different actors.  In this story, both human and non-living characters are seen, and Ghitani has used both direct and indirect character processing methods to process the characters.  The characters of the story are pictures of the people of the Egyptian society in the age of the writer and this has led to the emergence of meaningful characters from them.
 

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