Mustansiriyah Journal of Arts

This research aims to elucidate the mechanisms of directive speech verbs in Alfiyat
Ibn Muti, aiming to prove that grammatical works and educational systems contain
pragmatic ideas and their orientations. In order to achieve this aim The research tools contain a brief overview of the directive verbs, and the different linguistic mechanisms
to achieve these verbs, which are represented in the mechanisms of command,
prohibition, interrogation, appeal, presentation and exhortation, each of these directive
verbs has semantic elements constituting its direct performative significance.

This research seeks to highlight the relevance between rhythm and the artistic construction in the poetry of Uday bin Zaid Al-Abbad, with reference to the most prominent violations that affected the poetic weight in the poet's Diwan

Abstract:
The poet Sattar Abdullah is considered one of the poets who distinguished themselves in their poetic approach with a style characterized by the ease and simplicity of the subjects and the presentation of the idea and the ease of receiving it, but at the same time the difficulty of overcoming his compositional poetic images that stress the recipient in interpretation. Because for him simplicity does not come in the sense of vulgar flatness, but rather to vagueness that is constantly open to uninterrupted possibilities and surprises. Therefore, this study came to examine the artistic characteristics of the poet Sattar Abdullah\'s poetic images, including the study of the concept of the poetic image and its styles.

The grammarians used the term first, starting with Al-khlil(170 AH) and ending with Al- Suyuti (911AH), and those who came after it in the grammar of the tenth century AH and their use of the term varied between sayings and multiples.
Rather, the use of the term was weakening its times as it was shown by extrapolation in the second, third and fifth century AH and its use is strengthened at other times as it was shown in the fourth century the sixth, seventh, and eighth, and that the use of grammarians for the first was in a preference way that greatly exceeded its use in the source form.
The grammarians used the first term in the context of weighting between grammatical rulings and various grammatical issues as well as carrying the original on the branch or carrying the branch original on the original, and this if it indicates something it is the extent of their interest in the first term.

Gender resistance seeks to deconstruct the categories of gender identity formulated by the patriarchal system as an inevitable reality in the existence of women. Gender resistance begins with reformulating the concept of femininity produced by masculine prejudices as a totalitarian system that dominates the difference of women and reduces them to a fixed gender identity.
Therefore, resistance seeks to subvert gender, as the feminist philosopher Judith Butle put it, because it doubled the cultural oppression on the existence of women and their bodies. Therefore, the research monitors women\'s resistance in the history of modern Iraqi feminist poetry by tracing their accomplished act of resistance in dismantling gender perceptions culturally through female writing, which is one of the post-feminist starting points in rewriting the body and its discovery by feminist perception in correcting the concept of sexuality, which negatively affected the effectiveness of the female body in the positive response to the sex as a taboo, and the resistance centered in ridding the body of the ideological and cultural deposits that reduced it to being an object in the masculine culture. The writing of the female body is represented as achieving a gender identity stemming from a feminist cognitive awareness in building a positive female identity whose theme is difference and inseparable there is a woman\'s being about her body.

This research assumes that it is possible to apply the conversational implicature theory, which is one of the mechanisms in pragmatic research, to silent answers that represent a model of literary and rhetorical discourse. If pragmatics focuses on the usage and performance dimensions of the language of discourse, starting with the speaker’s intentions and purposes, and passing through the role of the context and the communicative position in revealing them, then silent answers are characterized by choosing the most effective method corresponding to the context of situation and selecting the appropriate phrases that reveal their purposes.
This research aims to reveal not only the principles and rules of conversational implicature that are violated in silent answers, but also the principles of dialogue that have been preserved at the same time. Therefore, the research aims to investigate the purposes of dialogic obligation in these answers.
The research’s results have shown that the conversational implicature was achieved in silent answers by violating the principles and rules of Grice’s theory, and this violation had multiple goals and purposes. In addition, despite the violation of the dialogue principles, the principle of cooperation was achieved, as the respondent is keen for the interlocutor to achieve his communicative purposes by reasoning and through the contexts.

What is meant by the intensification of the event for the structure of the action is the intensification of the actors and their coming together to beat it intensely to the utmost. This is achieved in two ways:the first is with the khaq as a sign of duality or plural with a verb attributed to a dual or plural, or by referring the dual to a plural pronoun. The speaker does not follow this path except to create a semantic momentum that expresses the objectives of the speech with extreme precision that is consistent with the reality of the situation. This stylistic procedure reflects the accuracy of Arabic in expressing the speakers’ intentions.

The study of the spoken dialect is one of modern linguistic studies, but rather a branch of modern linguistics, as each spoken dialect has a phonetic, morphological, and grammatical system that exists on its own. In this study of the Sana’ani dialect, we see its phonetic system and its influence on the ancient Yemeni language. We also find the close relationship between the Arabic of the South and the Arabic of the North..
In this study, we will explain the influence between the Arabic of the North and the Arabic of the South and the impact of this on the Sana’ani spoken language, in which we found some words of the ancient Yemeni language. We will also highlight the phonetic characteristics of the Sana'a spoken language which distinguishes the spoken language from other contemporary dialects.

This research presents a critical reading of an Iraqi experience in poetic works of the poet Ahmed Sheikh Ali, as the poet was able to make (the dramatic event) a way to know things and their interdependence, revealing to some extent a problem Self-psychological in describing the crisis relationship between the personality and its relationship with the other, the poet employed it with some movement, dynamism and objectivity until the process of building and artistic production of the emotional image supporting the emotional descriptive mood seemed a reason to work on it and monitor the dramatic event as well as clarifying some social contexts in the prose poetic text.

The novelist (Abdul Rahman Munif) is considered one of the novelists who was interested in prison literature, and the characters who suffered from political prisons in the Arab countries. The novel (Eastern Mediterranean), which was published in 1975 AD, is the first novel that was focused in this theme, and it has an artistic specificity, as well as objective specificity which represents a qualitative change in the novel literature.
At the level of style, its structure is based on the (stream of consciousness) context, as we will see, but it seemed close to the meta-narrative structure of the novel, this type of structure that was common in (post-modern) novels, and the Eastern Mediterranean novel seems early in this narrative tendency that Its appearance in Arabic narratives and Arabic novels was delayed for more than two decades, and The research works here to explain the combination between the (stream of consciousness) technique on the one hand, and the (meta-narrative) technique on the other, At the different levels of narrative elements, such as event, place, time, and character

In this research, I dealt with a comprehensive semantic study of the words used for the meaning of “fad” in Arabic dictionaries, and then I presented their Quranic meaning. It appeared to me that most of these words are used in meanings other than “fad” in the Holy Qur’an

The poetic witness was and still is the assistant to the grammarian, who brings it as evidence and responds with it, and Ibn Khalawayh (d. 370 AH) is one of those grammarians and interpreters who came close to mentioning for each interpretation a witness verse, or more from poetry. The research came with an introduction, and then I began to study the poetic grammatical witness in the book in question, dividing that evidence into three types, the research reached several results and then confirmed the implications.

In this research, we traced the sources of the word (the impossible) in all its forms in the book (Al-Fawa’id wal-Qawad by Al-Otta’ani), and we mentioned the opinions of a number of grammarians before and after Al-Ta’ni, and we explained who agreed with him in his opinion and who disagreed with him. The word (the impossible) was mentioned in his book in all sections of grammar, from the impossible in nouns, the impossible in verbs, and the impossible in letters. The research ended by mentioning some results and conclusions with the approved sources.

Sufi discourse is considered one of the most profound linguistic discourses, characterized by complexity and openness to interpretation. It relies on subtle indications and symbolic expressions, often encompassing a significant degree of semantic ambiguity. Ibn al-Farid's major work, known as "Nizm al-Suluk" (The Order of Conduct), is a grand poetic composition infused with rich meanings, metaphors, visual imagery, and rhetoric that require thorough analysis to decipher its mysterious connotations and underlying purposes .
While sociolinguistics aims to study language in use, it reveals the relationship between signs and their users. Sociolinguistics uncovers the communicative tasks that language can achieve. Thus, this research aims to uncover the unique linguistic achievements prompted by Ibn al-Farid's spiritual experience in his major work. It employs the concept of speech act theory, particularly focusing on the linguistic act, given that the explanations of Ibn al-Farid's work demonstrate conceptual dimensions that parallel sociolinguistic theory. In their discourse, the commentators of Ibn al-Farid transcend discussing the general framework of verse meanings to delve into the linguistic intentions and communicative accomplishments carried out by language

Russian formalism, the literary theory that developed in Russia in the early 1920s, considers that without imagery, there is no art. This might go hand in hand with Eliot's theory of "the objective correlative." This paper focuses on how objective correlative, symbols, myths, and narrative combine in Raffo's play Nine Parts of Desire help to underscore the major themes and present the characters of nine different women of different ages and professions. The author, during a visit to Iraq, met some women and listened to their real stories which display the terrible reality of being a woman in times of war. Raffo, the learned western woman with Iraqi heritage, aimed to correct the false negative representation of what has happened in Iraq by the American mass media and to highlight the gap between the one-dimensional media's negative coverage of the war and the true facts of what has happened to the Iraqis. The ordeals of Iraqi women take different dimensions: emotional, economic, social, and personal. Raffo focuses on the Iraqi totalitarian regime and its practices, as well as U.S. military actions and presence and their effect on Iraqi women. The distinctive narratives of the characters mingled with a succession of detached monologues reflect the struggle of Iraqi women to survive in the middle of chaos.

This paper aims to portray the background knowledge of linguaculture and convey the influence of religious culture on verbal communication secondhand by politicians in Arabic countries within the wide context of political demeanor and communication. To attain this aim, a model drawing on Risagers\\\\\\\\\\\\\\\\' (2012) was advanced as an analytical framework to investigate the two selected texts of the Arabic religion-based political party \\\\\\\\\\\\\\\\'The Islamic Daawa party in Iraq\\\\\\\\\\\\\\\\' (Risager, Linguaculture and Transnationality: The Cultural Dimensions of Language, 2012). The study deduces that religious culture has a conspicuous effect on the verbal communication of politicians in Arabic texts. Furthermore, Politicians utilize references to the Quranic texts throughout their texts to legitimize their actions and perspectives, increase the meanings of the intended meaning, and use an authoritative source as background and promotion. Hence, they intensify their speeches to bring light to their religious identity and pass on their agendas.

In his plays, Electra and Amphitryon 38, Giraudoux wants to show the conflict between the human will embodied by human beings and the cosmic will embodied by the gods, he tries to criticize the role of the superior and cruel gods where they cannot ensure the order of the world by their disdainful and jealous gaze of man. On the other hand, the dramatist shows us that human beings do not need these gods. According to him, his gods are created out of contradictions and supremacy, they want to blind human beings to depend on them. The gods of Greek mythology who populate the Giraudoux theater represent only a caricature of the ridiculed divinity, representing the spirit of the 20th century.
In Amphitryon 38 and Electra, Giraudoux draws the sublime and superior image of humanity, on the other hand, he reflects on stage the baseness and hypocrisy of the gods. The dramatist attempts to poke fun at the reincarnation of gods into human beings.