https://mcal.yazd.ac.ir/ Journal of The Journal of New Critical Arabic Literature en daily 1 Tue, 21 Apr 2026 00:00:00 +0430 Tue, 21 Apr 2026 00:00:00 +0430 https://mcal.yazd.ac.ir/article_3906.html Introduction: Psychology encompasses numerous branches and theoretical perspectives, among which the behavioral approach holds significant importance. This perspective, largely influenced by figures such as B.F. Skinner and John B. Watson, emphasizes observable behaviors and external stimuli. However, in response to the limitations and criticisms of this approach, particularly its neglect of internal psychological states, alternative theories emerged. One such influential alternative was the humanistic psychological approach, developed by Abraham Maslow. Maslow, in contrast to behaviorism and psychoanalysis, proposed a more holistic view of human motivation and well-being. His hierarchy of needs theory posits that human instincts and desires are organized into five distinct levels, progressing from basic physiological needs to the pinnacle of self-actualization. This hierarchical model suggests that individuals must satisfy lower-level needs before advancing to higher levels of psychological and personal fulfillment. Zakaria Tamer, a renowned Syrian writer, employs literary techniques to examine the socio-cultural realities of the Arab world. His short story collection, The Tigers on the Tenth Day, presents a compelling critique of social structures and psychological struggles through symbolic and allegorical narratives. Given the thematic richness of his work, this study aims to analyze the characters in Tamer's collection through the lens of Maslow’s hierarchy of needs, exploring how their behaviors, struggles, and aspirations align with the different levels of human motivation. By applying Maslow’s framework, the study seeks to offer deeper insights into the socio-psychological dimensions of Tamer’s literary world.Methodology: This research adopts a qualitative literary analysis approach, utilizing Maslow’s hierarchy of needs as a theoretical framework to examine the psychological dimensions of characters in The Tigers on the Tenth Day. The study involves a close reading of selected short stories, identifying key themes and character developments that correspond to Maslow’s five levels of human needs: physiological, safety, love and belonging, esteem, and self-actualization. This research is conducted based on a descriptive-analytical method. The methodology consists of three main stages. First, relevant stories from the collection were identified based on their exploration of human needs and social conditions. Second, characters were categorized according to the level of Maslow’s hierarchy they most prominently inhabit. Particular attention was given to their motivations, actions, and interactions within their social environment. Third, a comparative analysis was conducted to understand the broader implications of these psychological conditions in relation to the societal themes Tamer critiques. To ensure rigor, this study engaged with interdisciplinary sources, incorporating psychological literature on Maslow’s theory as well as critical studies on Zakaria Tamer’s literary contributions. By synthesizing insights from psychology and literary criticism, this analysis seeks to provide a nuanced understanding of how Tamer’s characters reflect the broader struggles of individuals within their socio-cultural context.Results and Discussion: The findings of the study indicate that the majority of characters in The Tigers on the Tenth Day are positioned within the lower three levels of Maslow’s hierarchy: physiological needs, safety needs, and social belonging. Most of the characters that Tamer portrays within society are shown to be preoccupied with satisfying these three fundamental levels. In contrast, those who have reached or strive to attain the higher stages—namely, esteem and self-actualization—lack an appropriate place within the social structure depicted in the stories. Through his narrative vision, Tamer presents an atmosphere where social tensions and conflicts are vividly manifested, yet little effort is made to confront or resolve them. This narrative environment reflects a society caught in a cycle of stagnation, where individual aspirations are constrained by collective inertia and systemic barriers. These characters grapple with fundamental survival issues, such as hunger, poverty, and fear, which hinder their ability to achieve higher psychological fulfillment. Tamer vividly portrays individuals who are deprived of security—whether in the form of political stability, personal safety, or financial security—resulting in a pervasive sense of oppression and vulnerability. Moreover, the analysis reveals that characters who do attain higher levels, particularly self-esteem and self-actualization, often face alienation and conflict within their societal environment. Their intellectual pursuits, creative expressions, or self-awareness place them at odds with societal norms, leading to marginalization rather than fulfillment. This tension underscores the difficulty of self-actualization within oppressive socio-political conditions, a recurring theme in Tamer’s critique of authoritarianism and social injustice. Tamer’s strategic use of allegory and symbolism further amplifies these psychological struggles. Through metaphorical depictions, such as the recurring imagery of captivity and predation, the stories illustrate the systemic constraints that prevent individuals from ascending Maslow’s hierarchy. The motif of tigers, for example, symbolizes both the oppressed and the oppressors, reflecting the cyclical nature of power and subjugation. Additionally, the study highlights that while Maslow’s hierarchy suggests a linear progression of human needs, Tamer’s portrayal of his characters challenges this notion. Many individuals in his stories remain trapped in a perpetual struggle for basic needs, unable to progress due to external socio-political constraints. This suggests that hierarchical mobility is not merely a matter of personal effort but is significantly influenced by structural conditions. In conclusion, Zakaria Tamer employs Maslow’s hierarchy of needs as a conceptual framework, whether consciously or unconsciously, to construct a narrative space where social conflicts and human struggles are brought to the forefront. His characters’ inability to transcend lower levels of needs serves as a critique of systemic oppression, emphasizing how societal structures dictate individual psychological experiences. By intertwining psychological theory with literary storytelling, The Tigers on the Tenth Day offers a profound exploration of human suffering and resilience, making it a valuable subject of analysis in both literary and psychological studies. Ultimately, this study demonstrates that Maslow’s theory provides a compelling lens through which to interpret the socio-psychological dimensions of Tamer’s work, reinforcing the intricate connection between literature and human psychology. https://mcal.yazd.ac.ir/article_3945.html Introduction: Loneliness has always been one of the fundamental challenges of human existence and has a history as long as humanity itself. Given the extensive changes in the present era, loneliness has become one of the common topics in psychological research, and many researchers have examined this issue. Yalom is one of the individuals who conducted extensive research in this field, and his studies led to the establishment of existential therapy. In this school of thought, human existential suffering is divided into suffering from meaninglessness, suffering from freedom, fear of death, and suffering from loneliness. Yalom elaborates on human existential suffering in his book "Existential Psychotherapy" and believes that in discussions of loneliness, the clinical therapist encounters three forms of isolation: "interpersonal, intrapersonal, and existential." The topic of loneliness has consistently been addressed in literature, with poets and writers depicting their personal experiences of this complex and sometimes overwhelming feeling. Baradouni, a contemporary scholar and writer, is among the poets who, with his unique worldview and profound, thought-provoking perspective on the world, has reflected the bitter and sweet experiences of life in his poetry. His tumultuous life, marked by unfortunate events and numerous challenges, has naturally confronted him with the pain of loneliness.Methodology: The present research, adopting a descriptive-analytical approach and utilizing the perspectives of Yalom regarding the nature and types of loneliness, examines the various dimensions of this phenomenon in the poetry of Baradouni. It aims to answer the question of how loneliness and the anxiety stemming from it are manifested in his works and what strategies the poet has employed to cope with his solitude.Results and Discussion: Baradouni, a prominent contemporary Arab poet and writer, has expressed his pains and loneliness in a unique way in his poetry collection, addressing both his personal suffering and the struggles of modern humanity in general. Loneliness in his poetry is often depicted as an individual, sensory, and internal experience, illustrated through three types: interpersonal, intrapersonal, and existentialism.Interpersonal loneliness: Factors such as physical distance, separation, the death of loved ones, and lack of understanding and frustration play a role in the formation of this type of loneliness. Given the emergence of various crises and painful challenges in life, the presence of interpersonal loneliness in the poetry of Baradouni seems inevitable and natural. Among the bitter experiences that have led to this type of loneliness in the poet's character is the death of his mother; a mother who had become his only refuge and support after Baradouni lost his sight. This deep attachment, following the loss of his mother, ensnared him in a soul-crushing loneliness. The death and loss of close friends and separation from a beloved are two other fundamental and influential factors that exacerbate the sense of interpersonal loneliness within the poet.Intrapersonal Loneliness: In Yalom's perspective, intrapersonal loneliness is a profound experience in which the various components of an individual's existence become distanced from one another. An examination of the poetry of Baradouni reveals examples of this loneliness. While his spirit soars in search of the heavens and higher dimensions of existence, he finds himself among the earthly and the limited realities of life. Intrapersonal loneliness has other causes and motivations, including isolation, seclusion, and retreat. Baradouni also depicts his own dark solitude in his poetry and alludes to the pain and suffering that lie within his heart.Existential Loneliness: Yalom believes in a form of loneliness that transcends interpersonal and intrapersonal loneliness, which is existential loneliness. This existential loneliness is always present with the individual; by studying and examining the poetry of Baradouni, one can find examples of this type of loneliness. Despite his physical presence among family and relatives, he presents an image of his spiritual isolation. Loneliness is Baradouni's inescapable suffering, so deeply embedded in his being that it seems to have become an inseparable part of his identity. This profound sense of loneliness has surrounded him in a dark and merciless world, causing him to pass his days without companionship. Meanwhile, time, relentlessly and without pause, has trapped him in this endless cycle of pain and despair, pushing him from one sorrow to another with each moment. To escape from these three types of loneliness, Baradouni seeks refuge in poetry, entrusting his feelings, emotions, memories, and sufferings to verse.Conclusion: A comparative study of Abdullah Baradouni's poems within Irwin Yalom's theoretical framework reveals that, despite the poet's preoccupation with the political and social issues of the region (Yemen and the Arab world), the bitter experiences of life have deeply involved him in the fundamental challenge of loneliness.The analysis of the results showed that all three types of loneliness defined by Yalom are present in Baradouni's poetic system. Interpersonal loneliness is clearly evident in the aftermath of personal events such as the loss of his mother and separation from friends, which have fueled feelings of alienation and wandering. Intrapersonal loneliness, resulting from internal fragmentation – that is, sacrificing aspirations in favor of accepting obligations, neglecting talents, and tending towards isolationism – is manifested in the poet. Furthermore, existential loneliness, which reflects the poet's inescapable understanding of the inherent isolation of humans in the face of existence, is woven into the fabric of his artistic identity as a profound truth.Faced with the suffering caused by this triple isolation and the failure to establish complete satisfaction in relationships or complete self-knowledge, poetry is chosen as Baradouni's sole refuge and existential haven. He entrusts his feelings and sorrows to the realm of poetry in order to find companionship within this context. However, this healing is of a relative nature, because the poet preserves the pain of loneliness as an inseparable part of his being. From this perspective, poetry is not a definitive cure for Baradouni, but rather a continuous process of consolation and psychological reconstruction through which he achieves a kind of balance and active existential acceptance by actively transforming suffering into artistic heritage. https://mcal.yazd.ac.ir/article_3968.html Introduction: In contemporary times, there are common areas and intellectual, political, religious and historical proximity between the two nations of Iran and Iraq; cultural influence and impact has occurred more than in the past in these two countries. In this regard, Mohammad Mehdi Javaheri (1900-1997) is one of the most influential literary figures who has made a great contribution to the advancement of science and literature. Javaheri's concern for the culture and civilization of other nations is one of the most prominent features of his poems. Javaheri's studies were not limited to Arabic literature, but the poet's scientific and literary outlook led him to study the culture and literature of other nations. But the important issue is how Javaheri's style of expression and innovation is in presenting the purpose and the impact and consequences that Javaheri's poems about Iran have had. In these poems, he introduced Iran, its culture and civilization by using various aesthetic methods. His different language and detailed descriptions in the details of the description created problems for him, such that he was accused of being Iranian and a chauvinist (Gibran, Suleiman, 2003: 33). Therefore, analyzing Javaheri's works in this area and discovering his linguistic techniques in introducing Iran is important. Now the question is: What linguistic and aesthetic techniques did Javaheri use to present the image of Iran? What innovations did Javaheri achieve in his poems about Iran?Methodology: The present study, relying on formalistic criticism and a descriptive-analytical approach, has attempted to examine the linguistic and content of Javaheri's poems about Iran in order to understand the role of various cultural, literary, historical elements, and natural manifestations of Iran in Javaheri's linguistic and artistic creations and innovation in creating his desired works.Results and discussion: The influence of Iran’s natural features is evident in Javaheri’s poetic spirit. In Javaheri’s view, Iran, with its beautiful nature, is a civilized country with an ancient history that has nurtured many scholars and is saturated with the spirit of Hafez, Sadi, Khayyam, Ferdowsi, Nezami, Arif, and Iraj. Javaheri’s poems show that he was fascinated by Iranian nature. In describing the natural landscapes of Iran, he paid attention to details and presented his purpose in flowing sentences so that the transfer of concepts can be easily done; hence, the reader easily reaches the ideologies of the text. He depicted his thoughts about the places of Iran so beautifully and with his true emotion that it was as if he belonged to that place, so much so that he was accused of being Iranian and a chauvinist. In these poems, Javaheri combined several styles and techniques and did not limit himself to fixed structures. The variety in repetition and news and essay sentences, the use of ancient words and the resurrection of words, indicate that he tried to present a beautiful image of Iran in accordance with the content, attracting the attention of the audience and arousing their feelings and emotions, with various techniques. After entering Iran, he embellished his poems more and more with literary and rhetorical techniques, in such a way that his poems are considered special at this time, because Javaheri was able to suddenly change the mentality of people who had known him as a political and social poet until then.Conclusion: Javaheri's poems about Iran are an example of his poetic experience, with diverse linguistic techniques. He has acted intelligently in presenting his inner thoughts about Iran and has beautifully embodied his views in expressive and linguistic methods. The content of Javaheri's poems about Iran evokes the mutual connection between this land and Iraq for the reader and is closely related to history, literature, society, culture, politics, religious teachings and even natural beauties. By depicting the natural, cultural, literary, scientific and historical symbols of Iran and by highlighting the textual messages in the form of prominent phrases mixed with literary and aesthetic industries, Javaheri aims to introduce Iran as a civilized country; guide the audience's mind to the inner messages of the text and make them reflect more on this ancient land, in addition to preserving the literary nature of the ode. By presenting such a method, he has brought about a new form of expression and an upgrade to his poems. Javaheri has taken an effective step in the cultural and literary fusion between the two countries of Iran and Iraq. The image that Javaheri presents of Iran is a completely realistic one. His view of Iran is more of a non-political view. He has given more value to the cultural, historical, civilizational, and literary dimensions of Iran. https://mcal.yazd.ac.ir/article_3976.html The Arabic poem "Qasidat Al-Huzn" by Nizar Qabbani is a profoundly symbolic and emotionally rich work, demanding psychological analysis to uncover its unconscious layers. This study utilizes Carl Gustav Jung's Analytical Psychology to examine the poem's structure and content. The main objective is to provide a comprehensive view of the archetypal reflections, focusing on the Anima archetype, and explaining the transformative role of sorrow, love, and loss in the poet’s journey toward Individuation and psychic evolution.Theoretical Framework and MethodologyJungian Analytical Psychology provides the framework, viewing the poem as a manifestation of the Collective Unconscious through universal patterns known as Archetypes. Key concepts analyzed include the Anima (the inner feminine), the Shadow, and the Process of Individuation (development toward psychological wholeness and self-realization).The methodology is descriptive-analytical, involving a detailed textual examination and systematic correlation of the poem's imagery, metaphors, and emotional dynamics with Jungian foundational concepts such as the Collective Unconscious, Anima, Shadow, and the Hero's Journey. This approach allows for interpreting the text beyond individual experience and encompassing its symbolic, collective structures.Analysis of Archetypal Dynamics and Individuation"Qasidat Al-Huzn" is interpreted as a psychological descent into the male lover's unconscious. Love acts as the primary catalyst, initiating the necessary confrontation with the Shadow and activating the Anima archetype. The poem’s emotional intensity reflects the breakdown of the conscious order, which is foundational for movement toward Individuation.Sorrow as the Gateway to the UnconsciousThe study's pivotal finding is the critical, transformative role of grief. The poet's confession, "I have been in need for ages / of a woman who makes me grieve," signifies the conscious ego surrendering its former equilibrium. From a Jungian perspective, grief is the necessary disintegrating agent, the primary gateway into the psyche's depths, as individuation requires a partial collapse of the conscious structure. The intense emotional shock of love and loss breaks the conscious barrier. The poet's regression, weeping "like a weeping sparrow" and acting "like a child," reflects a temporary but necessary return to the primordial unconscious to facilitate psychic restructuring.The Night Sea Journey and the Cities of GriefThe poet's descent into the "Cities of Grief" (مدن الأحزان) is analyzed as the symbolic equivalent of the Night Sea Journey—the Hero’s mandatory descent into the depths. This phase involves confronting the "dark, repressed, and unconscious contents." The fact that this territory was "never" entered before the love affair confirms it as an unacknowledged domain, activated only by a formidable psychic force.Confrontation and Integration of the ShadowThe poet’s realization that "tears are the human being" and that a "person without grief is a memory of a human" marks the climax of the confrontation with the Shadow. As the container for all repressed, dark aspects of the personality, the Shadow must be faced. The poem affirms that an individual who avoids suffering and inner darkness remains psychically incomplete. This aligns with Jung's view that suffering is the "raw material" for individuation. The resulting tears symbolize transformation and rebirth, signifying the necessary beginning of the Shadow's integration for psychic wholeness.The Anima's Dual Function: Healer and Chaos-BringerThe female figure manifests the Anima archetype—the inner feminine in the male psyche. The Anima exhibits a crucial dual nature: she is both inspiring/healing and chaotic/disruptive, acting as the mediator between consciousness and the unconscious. In the poem, the beloved serves as both the chaotic force driving the poet into the "Cities of Grief" and the restorative force. The image of the woman "who gathers my pieces like shards of broken crystal" symbolizes the psychological need for inner unification and the restoration of the fragmented psyche, a crucial step in individuation.Projection and the Necessary Failure of IdealizationThe Anima also triggers periods of intense projection, causing the poet to search obsessively for her ideal image in the external world (e.g., in rain, lights, and advertisements). This signifies the archetype's dominant influence and the search for an unreachable ideal. The ultimate realization, "The Sultan's Daughter will never come," is interpreted as the essential moment of the dissolution of projections. The poet recognizes that the perfect female image belonged to his own unconscious. This "necessary failure" shifts the focus from external longing to internal work, marking the return of the idealized archetype to the psyche and the start of a mature, integrated stage of Individuation.ConclusionThe research concludes that sorrow in "Qasidat Al-Huzn" is a fundamental, transformative agent, compelling the poet to confront the Shadow and unconscious archetypes, thus laying the foundation for a deeper consciousness. The woman embodies the Anima, acting as the complex mediator between the conscious and unconscious, facilitating the understanding of inner psychic conflicts and guiding the poet toward wholeness. The failure to achieve idealized external love is a critical turning point for psychic integration and inner balance. Ultimately, the poem offers a powerful symbolic journey from suffering and loss to self-awareness, establishing it as a compelling literary expression of the Jungian Individuation process. https://mcal.yazd.ac.ir/article_3985.html IntroductionFreedom in existential psychotherapy is one of the most fundamental concepts that is closely related to responsibility, choice, and anxiety. The philosophy of existentialism believes that existence precedes essence, which means that man does not have a predetermined essence, but rather it is man himself who creates his essence and is free to present a good or bad essence because he cannot have any other choice but freedom. As Jean-Paul Sartre, the existentialist philosopher, believes, “Man is condemned to freedom” (Sartre, 1982: 36), meaning that he cannot avoid choice, and even the decision not to choose is itself a choice. Contrary to the popular notion that freedom means freedom from limitations, in this view, freedom is considered as the ability of man to choose and build his own life path. “We have not decided to be thrown into this world, but the way we live and what we are to become are the results of our own choices” (Carey, 1992: 204). In this research, we seek to answer the following two questions:1_ From the perspective of psychoanalytic criticism, how has existential freedom reflected and affected the characters in the novel "Ibrahim al-Kateb" based on Yalom's theory? 2_ What are the challenges and obstacles facing the characters in the novel regarding freedom?MethodologyIn this research, in addition to using the descriptive-analytical method, the discussed samples have been collected by relying on the incomplete inductive method. The aim of this research is to examine and explain one of the existential concerns of man, namely freedom, in the context of literature, and to discover the underlying layers of the selected novel and reveal its purposeful structure.Results and DiscussionFrom the existentialist perspective, man is free to define the meaning and purpose of his life, but this unlimited freedom can lead to existential anxiety. This anxiety arises from the awareness of an infinite number of choices and their consequences. One of the challenges associated with freedom is escape. We “are obligated by the reality of this freedom to accept responsibility for directing our lives. But this reality can be avoided by making excuses” (ibid.). Many people fear their freedom and prefer to take refuge in predetermined social roles, laws, or systems of thought rather than face the responsibilities that come with it. This escape from freedom can take the form of blind obedience to ideologies, dependence on others, or even passivity in decision-making, as “the individual cannot completely avoid making decisions, but can decide to make decisions passively, for example by allowing another to make decisions for him” (Yalom, 1991: 469). The individual makes a decision by taking refuge in the law or social roles, etc., and convinces himself that he did not make the decision himself, but rather it was the law or the role he plays, etc., thus removing the burden of responsibility from his shoulders. Erich Fromm calls this phenomenon “escape from freedom” and considers it one of the main causes of anxiety in modern man. In existential psychotherapy, freedom is considered a positive force and a driving force for personal growth.The goal of this approach is to help clients identify their true and authentic choices. The therapist attempts to free the individual from dependence on external norms and to guide him or her towards accepting full responsibility for his or her life. This process requires the individual to be aware that his or her freedom always comes with responsibility and that he or she cannot escape the consequences of his or her decisions. Existential freedom is also linked to the concept of “authentic living.” A person who is aware of his or her freedom and accepts responsibility for his or her choices is able to live in a way that is consistent with his or her personal values and goals. Conclusion_ Freedom is widely reflected in the text of the novel and its effect on the characters is clearly visible. This component has affected the characters' decision-making in the form of cultural and social restrictions. These restrictions have forced the characters of Ibrahim and Shushu to give up their love. In order to decide on her relationship with Ibrahim, Shushu resorts to a game similar to lion and line (picking petals) and decides based on its result. Therefore, it must be said that such behaviors are to escape responsibility and shirk it. Also, in another part of the novel, the character of Ahmad al-Mait does not care about these restrictions and shows a rebellious reaction to external requests and restrictions. _ Based on the studies conducted on the aforementioned novel, it should be said that freedom is not always a positive trend, and humans face challenges and obstacles after becoming familiar with it. The most important challenges and obstacles that the characters in the aforementioned novel face regarding freedom are: lack of control over life, feeling of being trapped, environmental tyranny, and rebellion against norms. Lack of control over life is one of the challenges related to freedom seen in this novel. In these circumstances, a person loses control when making decisions and choices and finds himself in a state of instability, just like the character of Ibrahim, who, despite having freedom to choose and make decisions, finds himself in the midst of life's challenges and the instability of his choices, which has caused him to lose control of them. The feeling of being trapped in humans is caused by the limitations of freedom or its absence, which leads to psychological and physical problems. Just as Ibrahim, after staying two nights at Shushu's house, feels trapped by the restrictions on his freedom and wants to change his situation. Also, rebellion against norms is another obstacle and challenge to freedom that is reflected in this novel. Ahmet al-Mit, as one of the main characters of the novel, tries to restore his freedom by standing up against social norms and customs.Keywords: Azadi, Ibrahim Al-Kateb, Irvin David Yalom, Existential Psychotherapy, Al-Mazni. https://mcal.yazd.ac.ir/article_3986.html Deconstructing Colonial Binaries and Recovering the Margins in Muhammad al-Fayturi's "Ahzān al-Madīnah al-Sawdā'" (Sorrows of the Black City) based on Jacques Derrida’s Theory1. IntroductionThe colonized world has perpetually been ensnared in a web of structural dichotomies: colonizer/colonized, white/black, center/periphery, reality/imagination. These binary oppositions function not merely as descriptors of reality but as powerful discursive tools for entrenching domination, legitimizing exploitation, and silencing subaltern voices. Resistance literature, particularly within the African postcolonial sphere, serves as a vital arena for exposing, challenging, and disrupting these imposed hierarchies. Muḥammad al-Faytūrī’s poem Aḥzān al-Madīnah al-Sawdāʾ (Sorrows of the Black City) stands as a quintessential example of this literary confrontation. Muḥammad al-Faytūrī (1930–2015), a prominent figure in contemporary Arabic literature and one of Africa’s most resonant voices against colonialism, racism, and oppression, experienced prolonged exile, granting him direct insight into marginalization and statelessness. His poetry—especially the collection Aghānī Ifrīqiyā (Songs of Africa)—blends profound grief, anger, nostalgia for the precolonial past, and hope for liberation. Sorrows of the Black City provides an ideal site for testing Derrida’s deconstruction theory within postcolonial protest literature due to:Its focus on foundational colonial binaries,Its deconstructive linguistic strategies,Its challenge to discursive centrality, andIts reclamation of the periphery.2. MethodologyThe research employs qualitative content analysis through a deconstructive reading approach. This entails meticulous textual examination of the poem to identify tensions, paradoxes, intentional ambiguities, semantic displacements, and the play of signifiers in light of key Derridean concepts such as deconstruction of binary oppositions and différance (differing-deferring).3. Result and DiscusssionDeconstruction of Binary Oppositions: Derrida argues that Western philosophy—from Plato to Heidegger—rests on binary oppositions wherein one pole (e.g., reason, male, white, speech, presence) is deemed the "origin," "center," and "superior," while its counterpart (emotion, female, black, writing, absence) is relegated to existential and axiological marginality. Derrida states: "Deconstruction is a way of coming to terms with literature. It can be understood as a vigilant response to structuralist thought’s tendency to domesticate its most subversive impulses." Derrida’s goal is not to invert the hierarchy (e.g., elevating the "inferior" pole) but to dismantle the very logic of centering. For instance, displacing "self-consciousness" with "the unconscious" risks establishing a new center.Différance: Différance (neologized by Derrida from the French différer) is rendered in Persian as تفاوط (Tafāwuṭ). This choice mirrors Derrida’s French play: différance (with *a*) is homophonous with différence (with *e*) but distinct in writing—paralleling the Persian Tafāwut (تفاوت) and Tafāwuṭ (تفاوط), which sound identical but differ orthographically. Derrida clarifies that différance is neither a word nor a concept; it is the condition that makes presence possible while simultaneously differing from it. Philosophically, différance operates through:Differing: No signifier has intrinsic meaning; meaning arises from difference (e.g., "black" only signifies in relation to "white").Deferring: Meaning is never fully "present"; it is perpetually deferred through an endless chain of signifiers. There is no final signified (e.g., "absolute truth").Différance—neither concept, principle, nor entity—undermines the centrality of the "Word" or "Reason" as the origin of meaning.The poem’s title, Sorrows of the Black City (Aḥzān al-Madīnah al-Sawdāʾ), exemplifies différance. The epithet al-Sawdāʾ (the Black) is semantically indeterminate and perpetually deferred: City of Black people? Ill-fated city? City with black walls? Oil-rich city? This intentional ambiguity destabilizes definitive, centrist readings and opens space for resistant interpretations.Postcolonial discourse seeks to dismantle the "myth of whiteness" overshadowing global thought, akin to Derridean deconstruction. Here, "the myth of whiteness" critically mirrors Western metaphysics. The term "abyaḍ" (white) functions paradoxically in the poem, imbued with connotations of blackness as the poet explicitly accuses white colonizers—those coveting global dominion. Al-Faytūrī addresses the colonizer not by conventional titles but as "abyaḍ" (white), inverting the racial slur "black" used by whites.Al-Faytūrī subverts the traditional metaphysical opposition between wakefulness (as rationality, truth, activity) and sleep/dreams (as passivity, escape). Darkness and imagination become not realms of flight but spaces of resistance and identity reconstruction for the enslaved.In traditional Islamic discourse, the Black Stone (al-Ḥajar al-Aswad) of the Kaaba is sacred, consecrated, central—a symbol of unity, divine mercy, and connection to the sacred. This establishes a rigid binary: sacred (Black Stone) vs. profane/ordinary (other stones). Al-Faytūrī masterfully inverts this: he appropriates the signifier "al-Ḥajar al-Aswad" but assigns it a diametrically opposed meaning—the black stone as obstacle, tool of oppression, symbol of darkness (physical and metaphorical), and agent of freedom’s constraint.5. ConclusionApplying Jacques Derrida’s deconstructive framework to Muḥammad al-Faytūrī’s Sorrows of the Black City, this study demonstrates that the poem transcends mere lament and protest. It constitutes an active discursive battleground, dismantling the semantic structures of colonial hegemony. Through profound linguistic mastery and strategic deconstructive techniques, al-Faytūrī assaults the core binary oppositions of colonial discourse—not merely at the level of content, but within the text’s semiotic deep structure—thereby overturning its imposed hierarchies.6. Keyords: Derrida, Deconstruction, Différance, Postcolonial Literature, Muhammad al-Fayturi. https://mcal.yazd.ac.ir/article_3990.html Defense mechanisms are key concepts in classical psychoanalysis, which Freud defined as unconscious reactions aimed at reducing anxiety and maintaining psychological cohesion and balance. These mechanisms vary from immature to mature forms depending on the individual’s level of psychological development, and serve to divert human awareness away from stressful subjects.The novel Carnival of the City by Nazha Ramalawi, set within the context of resistance literature, narrates the story of a teenager named Tamer in a Palestinian camp marked by violence and deprivation. This article, using a descriptive-analytical method and a psychological approach, identifies the hidden defense mechanisms of the main characters and demonstrates that individual psychological pressures within difficult social and political conditions can be better explained and deeply understood.Accordingly, this study emphasizes the interaction between individual psyche and collective stress structures, offering a more comprehensive understanding of the psychological reactions of characters in resistance texts. The research findings indicate that each character, in accordance with their psychological traits, emotional state, and specific situation in the story, employs different defense mechanisms.The diversity and variation in the type and intensity of defense mechanism usage reflect the psychological complexity of the characters. These mechanisms are not only responses to the internal tensions of the characters but also a reflection of the social and political pressures prevailing in the novel’s setting.Defense mechanisms are key concepts in classical psychoanalysis, which Freud defined as unconscious reactions aimed at reducing anxiety and maintaining psychological cohesion and balance. These mechanisms vary from immature to mature forms depending on the individual’s level of psychological development, and serve to divert human awareness away from stressful subjects.The novel Carnival of the City by Nazha Ramalawi, set within the context of resistance literature, narrates the story of a teenager named Tamer in a Palestinian camp marked by violence and deprivation. This article, using a descriptive-analytical method and a psychological approach, identifies the hidden defense mechanisms of the main characters and demonstrates that individual psychological pressures within difficult social and political conditions can be better explained and deeply understood.Accordingly, this study emphasizes the interaction between individual psyche and collective stress structures, offering a more comprehensive understanding of the psychological reactions of characters in resistance texts. The research findings indicate that each character, in accordance with their psychological traits, emotional state, and specific situation in the story, employs different defense mechanisms.The diversity and variation in the type and intensity of defense mechanism usage reflect the psychological complexity of the characters. These mechanisms are not only responses to the internal tensions of the characters but also a reflection of the social and political pressures prevailing in the novel’s setting.Defense mechanisms are key concepts in classical psychoanalysis, which Freud defined as unconscious reactions aimed at reducing anxiety and maintaining psychological cohesion and balance. These mechanisms vary from immature to mature forms depending on the individual’s level of psychological development, and serve to divert human awareness away from stressful subjects.The novel Carnival of the City by Nazha Ramalawi, set within the context of resistance literature, narrates the story of a teenager named Tamer in a Palestinian camp marked by violence and deprivation. This article, using a descriptive-analytical method and a psychological approach, identifies the hidden defense mechanisms of the main characters and demonstrates that individual psychological pressures within difficult social and political conditions can be better explained and deeply understood.Accordingly, this study emphasizes the interaction between individual psyche and collective stress structures, offering a more comprehensive understanding of the psychological reactions of characters in resistance texts. The research findings indicate that each character, in accordance with their psychological traits, emotional state, and specific situation in the story, employs different defense mechanisms.The diversity and variation in the type and intensity of defense mechanism usage reflect the psychological complexity of the characters. These mechanisms are not only responses to the internal tensions of the characters but also a reflection of the social and political pressures prevailing in the novel’s setting.Defense mechanisms are key concepts in classical psychoanalysis, which Freud defined as unconscious reactions aimed at reducing anxiety and maintaining psychological cohesion and balance. These mechanisms vary from immature to mature forms depending on the individual’s level of psychological development, and serve to divert human awareness away from stressful subjects.The novel Carnival of the City by Nazha Ramalawi, set within the context of resistance literature, narrates the story of a teenager named Tamer in a Palestinian camp marked by violence and deprivation. This article, using a descriptive-analytical method and a psychological approach, identifies the hidden defense mechanisms of the main characters and demonstrates that individual psychological pressures within difficult social and political conditions can be better explained and deeply understood.Accordingly, this study emphasizes the interaction between individual psyche and collective stress structures, offering a more comprehensive understanding of the psychological reactions of characters in resistance texts. The research findings indicate that each character, in accordance with their psychological traits, emotional state, and specific situation in the story, employs different defense mechanisms.The diversity and variation in the type and intensity of defense mechanism usage reflect the psychological complexity of the characters. These mechanisms are not only responses to the internal tensions of the characters but also a reflection of the social and political pressures prevailing in the novel’s setting. https://mcal.yazd.ac.ir/article_3995.html This article undertakes a philosophical-aesthetic reading of Mohammed Khudayyir’s short story “A Wish of the Monkey” (Umaniyyat al-Qird), from his seminal collection The Black Kingdom (al-Mamlaka al-Sawdāʾ), through the lens of Walter Moser’s Spätzeit theory, which theorizes the pre-apocalyptic human condition in the context of cultural exhaustion and historical lateness. The study offers a textual analysis of the narrative using Moser’s five central components: loss of energy, fall, cultural saturation, secondary culture, and belatedness—collectively articulating the temporal, emotional, and aesthetic structures of what Moser calls Spätzeit (Late Time).Theoretical Framework: Walter Moser’s Spätzeit TheoryMoser, a Canadian literary theorist, reimagines the end-of-time discourse not as a definitive apocalypse (Endzeit), but as a lingering historical lateness (Spätzeit) in which the subject confronts a decayed, saturated, and exhausted world. Central to this theory are the dual affects of nostalgia (an attempt to reclaim a lost past) and melancholy (the acceptance of irretrievable loss). Moser’s subject—the Spätzeit subject—lives amid cultural debris, symbolic entropy, and psychological inertia.The five interlinked components of this condition are:Loss of Energy – Physical and imaginative depletion, emotional fatigue, and symbolic exhaustion.Fall – The collapse of meaning, unity, and heroic mythos; the subject inhabits ruins and fragmentation.Cultural Saturation – A landscape cluttered with the remnants of previous cultural forms, inhibiting originality.Secondary Culture – Creativity now exists only through recombination, parody, or palimpsest, not through origin.Belatedness – A sense of historical and existential lateness; the modern subject as a derivative, secondary being.A Wish of the Monkey” is structured in two narrative movements:The first explores the drab daily lives of two working-class girls living in a cramped, deteriorating space, marked by poverty, alienation, and emotional inertia.The second shifts focus to a symbolic encounter with a street performer and his monkey—a surrealistic climax encapsulating the core metaphor of frustrated transformation and existential paralysis.This binary structure supports the oscillation between nostalgia and melancholy, correlating directly with Moser’s theoretical framework.Analysis of Spätzeit Components in the Story1. Loss of EnergyFrom the outset, the text immerses the reader in an atmosphere of exhaustion. The protagonist, Maryam Hadi, is physically and emotionally depleted from relentless labor as a seamstress, expressing deep fatigue and disillusionment. Her refusal to leave the house even on her day off—despite youth and opportunity—manifests symbolic inertia.The story layers metaphors of descent: descending stairs, falling into shadowy basements, sinking into fatigue. These not only spatialize the loss of vitality but also dramatize psychological descent.2. FallThe motif of fall pervades the setting and character development. The apartment the girls inhabit is filled with old, useless objects—broken, outdated, and crumbling. These remnants are not linked to any meaningful past; instead, they signify ruin, detritus of a previously cohesive social and cultural order.In the second half, the fall is dramatized by the monkey’s failed aspiration to mimic humanity. His performance—aping the gestures of a drunk, a debtor, a queen—reveals the tragic futility of transformation. Rather than ascending, he collapses—both physically and symbolically—into an absurd, failed parody of meaning.3. Cultural SaturationKhudayyir’s story exemplifies cultural saturation. The girls' living space, filled with antique bric-à-brac, offers no cultural renewal but an oppressive clutter. Instead of signifying richness, these objects saturate the atmosphere with meaningless noise, blocking creativity and perpetuating the sense of confinement.Even the protagonist complains about how “there’s no room to move.” The accumulation of used goods from the flea market becomes an allegory for postmodern cultural claustrophobia, where the past lingers not as inspiration but as burden.4. Secondary CultureA key strength of Khudayyir’s text lies in its engagement with secondary culture, especially through the story’s symbolic and intertextual strategies.The second girl, unlike her passive roommate, embodies a melancholic creativity. She decorates their room with flea market items—not to reclaim a glorious past, but to reassemble the remnants into a livable, even aesthetic, space. This action enacts Moser’s vision of secondary creation, a form of recombination rather than originality.Likewise, the monkey show outside the window is a parodic theater. The street performer—perhaps a figure of the postmodern artist—mimics the grandeur of kings and queens through absurd mimicry. This performative recycling is itself a gesture of palimpsest: a performance born not of originality but of ironic memory.5. BelatednessThe final and perhaps most philosophical component, belatedness, undergirds the entire narrative. Both girls are characters of a "post-time" world—disconnected from any heroic past or progressive future. Their condition is not apocalyptic (Endzeit), but existentially late (Spätzeit). They are heirs to a depleted cultural moment.The monkey’s gaze at the end—locked in a fixed stare with the girl—suggests an awareness of this too-lateness. His wish, implicit in the title, is not just to be human, but to become in a world where becoming is no longer possible. That “wish” isnot aspirational, but tragic.Authorial Insight and Achievementsthe uncanny compatibility between Khudayyir’s narrative and Moser’s categories highlights the prescience of Khudayyir’s artistic intuition.Khudayyir presents two different reactions to Spätzeit:the nostalgic subject, is paralyzed by the loss of the past and incapable of secondary creation. Her silence, fatigue, and retreat from the world symbolize defeat.The second girl accepts the melancholic condition, repurposing the remnants of a failed modernity to construct a livable space, even if it is fragmented and makeshift.ConclusionKhudayyir’s “A Wish of the Monkey” offers a striking literary manifestation of Moser’s Spätzeit condition. Through its symbolic characters, layered setting, and narrative minimalism, it captures a world where energy is depleted, cultural meaning has collapsed, and the subject must navigate saturation and delay.More than a tale of two girls or a whimsical monkey show, the story is a meditation on the fate of art and subjectivity in a world that has lost both its origin and telos. As such, it becomes a valuable Arab contribution to the literature of lateness—a melancholy testament to the fading light of the modern project, and a haunting exploration of what can still be imagined in its ruins. https://mcal.yazd.ac.ir/article_4025.html Introduction: Music is a powerful tool that, if used correctly, can help develop personality, increase learning, and improve a person's cultural and social level. It can stimulate a person's creativity and increase their concentration in educational processes, strengthen the listening, memory, and analytical abilities of humans, especially children, and convey moral and educational stories and messages, and strengthen social and moral values in the mind. Music is created through language, architecture, and word arrangement through meter, rhyme, and expressive and original refinements, and has a great impact on the soul. Music is one of the essential elements for formalists, who pay special attention to it in examining the text; because it is a type of form that they examine through highlighting, non-normativity, literaryity, etc. to show the difference of a musical text through the destruction of the norm; Because they pay attention to the transformation in the form of common and ordinary language and the literary industries that lead to the prominence of the literary text, and they analyze the linguistic characteristics of the texts, the constituent parts of a work, the connection between these parts, and the relationships of succession and association. When creating literary works, the poet treats language in such a way that he uses words in the best way, like an architect who, when building a building, decorates it with the correct application of his unique construction tools and architecture, and the person who observes the building enjoys its beauty; hence, the beauty of a literary work is also in the linguistic architecture and the way of arranging words and the unity and proportion of its words with meanings. Children's poetry is formed based on the music of words and sounds and is a tool for his struggle and movement, and it has factors such as emotion, music, imagination, and original arrangements. Al-Issa is one of the poets of children's literature who composes poems using original arrangements and linguistic architecture that suits the spirit and thoughts of the child.The necessity of conducting the research is how Al-Issa, with his linguistic architecture in "Children's Court" and its uplifting and inspiring music, affects the audience and how they enjoy receiving the linguistic beauty of this work.Methodology: This research aims to use a descriptive-analytical method and rely on a formalist approach to examine the effect of music through linguistic architecture on children's emotions and upbringing in "Children's Court" by al-Issa, in order to answer the following questions:1. What are the most important musical elements used in "Children's Court" by al-Issa according to the formalist approach?2. What is the most frequently used bahr used in "Children's Court" by al-Issa?Result and Discussion: The beauty of form and linguistic architecture of Al-Isa’s “Divan Al-Atfal” has a great impact on the soul and mind of the child. Al-Isa invites children to live and move through balance music to move away from a monotonous life. The most prominent artistic devices used in “Children’s Poetry” include repetition, consideration of the like, contradition, symmetry. Repiition in his poems is used with the aim of creating pleasant and beautiful music, encouraging the audience to linger, and ultimately better conveying concepts and meanings to the reader. Repetition in “Children’s Poetry” has a high frequency, such that its use has become one of the stylistic features in Al-Issa’s poems. By using this technique, the poet has been able to create a strong bond between his poems and the audience. The findings of the research show that the beauty of form and linguistic architecture in the words used in Al-Issa’s poetry has a tremendous impact on the souls and minds of children and causes their cheerfulness and liveliness. Puns, repetition, contrast and consideration of the same are among the most important elements used in “Divan Al-Atfal.” The poet, with his expressive ability and linguistic skill, has been able to use foreign music and convey concepts well to the audience. Al-Issa has created unity and coherence in his poems through contrast. Puns express his creative taste and talent and play a significant role in creating inner music in “Divan Al-Atafal”. The arrangement and juxtaposition of words have made the words stand out in “Divan By juxtaposing compound words, Al-Issa visualizes meanings and images in the minds of children that are aligned with and deeply connected to the context of the speech. Conclusion: Music is one of the essential elements for Sulayman al-Issa, who in his "Children's Court" used internal and external music through meter, rhyme, alliteration, repetition, tempo, consideration of the like, contrast, etc., using non-normativity and highlighting to avoid monotony and create freshness in the minds of the audience and create beauty. Among the poetic seas, al-Issa used more of the moderate, rajaz, raml and hajj seas and used less of the fast, long and relaxed seas; because the moderate, rajaz, raml and hajj seas are considered to be lively, fast and exciting seas and are more suitable for composing children's poetry. The use of these seas in al-Issa's poetry expresses the poet's ability to establish harmony and proportion between meter and content. By understanding the function of the music of the poetic seas, he was able to use them well to convey his emotions and feelings in accordance with the content of the poem.In the rhyme of his poems, he used letters indicating softness, love and expansion, which express excitement, joy, heat; vitality, beauty and softness, and through them he created the background music in his poetry. Using beautiful and outstanding music, Al-Issa invites children to liveliness, movement and distance from a monotonous life. The most prominent musical artistic devices in "Children's Court" include puns, rhymes, repetition, etiquette and tabaq. The use of beautiful form in his poems is used with the aim of creating pleasant and beautiful music, encouraging the audience to linger, and ultimately better conveying concepts and meanings to the reader. By using repetition, the poet was able to create a strong bond between his poems and the audience. https://mcal.yazd.ac.ir/article_4024.html IntroductionThe analysis of the archetype of the Ideal Mother in Zaki Al-Dairawi’s novel “Shadows of Mari” through Jungian psychological theory delves into the symbolic patterns that reflect human experiences across various cultures and historical contexts. Jung’s theory of archetypes emphasizes the significance of recurring symbols that shape human psychology, with the Ideal Mother archetype representing love, sacrifice, and nurturing. This study aims to explore the manifestations of the Ideal Mother archetype within the characters of “Shadows of Mari” and to examine its psychological and social impacts on their development. The findings indicate that the positive aspects of the Ideal Mother archetype, particularly in female characters like Mari and Bahieh, symbolize devotion and affection. These characters are not only sources of hope and support but also play a crucial role in shaping the identity and values of the protagonist, Fawzi, who symbolizes the future. The research highlights how the Ideal Mother archetype creates a secure and nurturing environment for the characters, significantly influencing their growth and transformation while acting as a catalyst for hope and social change. By utilizing qualitative analysis and reviewing relevant literature on Jungian psychology, this study contributes to a deeper understanding of the psychological and social themes present in Al-Dairawi’s work.Methodology:This study employs a qualitative research approach to analyze the Ideal Mother archetype in Zaki Al-Dairawi’s novel “Shadows of Mari” through the lens of Jungian psychological theory. The methodology involves a comprehensive review of relevant literature related to Jung’s theories on archetypes, particularly focusing on the Ideal Mother archetype and its implications in literature.Results and Discussion: The analysis of the Ideal Mother archetype in Zaki Al-Dairawi’s novel “Shadows of Mari” reveals its profound impact on character development and social dynamics through a Jungian psychological lens. The characters Mari and Bahieh embody the nurturing qualities associated with the Ideal Mother, providing unconditional love and support that significantly shape the identity and emotional well-being of the protagonist, Fawzi. Their presence fosters Fawzi’s growth into a compassionate individual, highlighting the archetype’s role in promoting psychological stability and resilience amidst external chaos, such as the backdrop of war. Additionally, the novel reflects broader social themes, suggesting that maternal figures can symbolize hope and healing within a community. However, the analysis also acknowledges the potential negative aspects of the archetype, such as overprotectiveness, which can hinder personal independence and identity formation. Overall, this study underscores the relevance of Jungian theory in exploring the complexities of maternal archetypes in literature, illustrating their significant influence on individual experiences and societal transformations.While the Ideal Mother archetype predominantly showcases positive attributes, the analysis also identifies potential negative manifestations, such as overprotectiveness and dependency. The characters’ intense attachment to their maternal figures sometimes leads to challenges in establishing independence and personal identity. This duality echoes Jung’s notion that every archetype contains both positive and negative aspects, influencing characters’ experiences and relationships.Conclusion: The exploration of the Ideal Mother archetype in Zaki Al-Dairawi’s novel “Shadows of Mari” provides valuable insights into the intricate interplay between maternal figures and the psychological and social development of characters within the narrative. Through the characters of Mari and Bahieh, the novel illustrates how the nurturing, supportive, and sacrificial qualities of the Ideal Mother archetype serve as a foundation for the protagonist Fawzi’s growth and identity formation. Their unconditional love not only shapes his emotional landscape but also equips him with resilience and compassion, essential traits for navigating the challenges of a tumultuous environment. Furthermore, the study highlights the broader societal implications of maternal figures, positioning them as symbols of hope and stability in times of crisis. The supportive atmosphere created by these maternal influences fosters social cohesion and promotes healing, suggesting that maternal love extends beyond individual relationships to encompass communal well-being. This reflects Jung’s assertion that archetypes resonate universally, transcending cultural boundaries and historical contexts. However, the analysis also addresses the potential negative aspects of the Ideal Mother archetype, such as dependency and overprotectiveness, which can impede personal autonomy and hinder the development of a strong individual identity. This duality emphasizes the complexity of maternal influences, reinforcing Jung’s idea that every archetype encompasses both light and shadow.In conclusion, this study affirms the significance of Jungian psychological theory in understanding the multifaceted roles of the Ideal Mother archetype in literature. It demonstrates how these archetypes not only enrich character development but also reflect broader human experiences and social dynamics. Through its nuanced portrayal of maternal figures, “Shadows of Mari” invites readers to reflect on the enduring impact of motherhood on both individual lives and societal structures, reinforcing the timeless relevance of archetypal themes in literature.Keywords: Archetype, Ideal Mother, Jung, Zaki Al-Dairawi, the novel “Shadows of Mari. https://mcal.yazd.ac.ir/article_4032.html IntroductionHow writers and speakers use metadiscourses is one of the debates raised in the review of texts. This issue is especially important in literary and media texts that are produced for children and teenagers.Meta-discourse does not only mean the appearance and form of the text, but also includes the interpersonal and cohesive characteristics that cause communication with the readers, organization of the text and its interpretation by the readers. In other words, metadiscourses allow writers to place the audience in an interactive and more effective space.There are different types of metadiscourses, which can generally be divided into two main categories: interactive metadiscourses and exchange metadiscourses. One of the most important types of these meta-discourses is exchange meta-discourse, which is used to organize information and improve written interactions.This type of metadiscourse can actually help writers to better identify the strengths and weaknesses of their text and establish a better relationship with the audience.Magazines are one of the most important media in which metadiscourse plays an important role. Especially magazines whose audience is children and teenagers, need special attention to these issues. One of these magazines is "Al-Hosseini Al-Sagher" children's magazine, which is one of the most recent magazines that targets children and teenagers MethodIn this research, relying on the descriptive-analytical method, the indicators of the previous role models, the later role models, witnesses and disambiguators in exchange meta-discourse based on Highland concepts in 40 issues of "Al-Hosseini al-Saghir" magazine have been investigated.This method allows the researcher to accurately and in detail analyze the way writers use meta-discourse markers and identify different patterns of their written interactions with the audience. Also, this analysis can help clarify the approach of each author to interact with the audience.ConclusionThe results show that the magazine's authors and artists effectively used all interactive metadiscourse markers, including in-text markers, indicators, and disambiguators. Disambiguators were most frequently employed to ensure clarity for readers, particularly to address potential audience ambiguity. This demonstrates the magazine's successful use of diverse metadiscourse tools to establish effective communication. These tools enhance textual coherence, clarify concepts, and ultimately boost the impact of the magazine's educational messages. These findings are valuable for future research in textual and metadiscourse analysis of children's and teen literature, and can aid creators of effective content for young audiences.ResultsThe findings of the present study indicate that the authors of Al-Husseini Al-Sagheer magazine have used all strategies, including pre-textual markers, post-textual markers, evidence markers, and disambiguators, consciously or unconsciously, in their magazine. By using these components, the authors have created a coherent, organized text, and by providing information and explanations, they have provided readers with reliable and clear text to help them better understand the subject. Among the pre-textual markers, post-textual markers, evidence markers, and disambiguators of the exchange metadiscourse, disambiguators have been used the most in this magazine with a rate of (61.47%). By using disambiguators, the authors of this magazine have provided readers with more information and explanations in order to provide them with a clear text and prevent their misinterpretation. Therefore, what was primarily important for the authors was to present a clear and understandable text to the readers. Evidence (16.03%) was used in this magazine to prove opinions and give credibility to the text. By quoting reliable sources, the authors not only gave credibility to the material they presented, but also gained the trust of the readers. The authors used the previous in-text reference (12.68%) in this magazine mostly to establish a connection between the text and the image and in some cases to refer to other parts of the text. By referring to the elements that exist in the previous one, they provided easy access for the readers to other items in the text. The authors did not use charts and tables in this magazine because this magazine is educational and aimed at children and used mostly images. The intratextual figures of the dimension (80.9%) were the least used in this magazine, which were used to establish a connection between the text and the image and in some cases to refer to other parts of the text. By referring to the elements that exist in the dimension of the text, they have provided easy access for readers to other items in the text; therefore, according to Hyland's idea, the disambiguating indicator of the metadiscourse dimension of the exchange is more prominent in the magazine Al-Husseini Al-Sagheer. According to the results of the analyses in the magazines of Al-Husseini Al-Sagheer, it should be stated that the authors have paid special attention to establishing effective communication with the child audience, guiding them, presenting a clear and understandable text, and also guiding them to a correct understanding of the content of the text by using these elements. These magazines can help in the correct education and upbringing of children. The repetition of these metadiscourse elements with a number of (2152) indicates the ability and success of the authors of this magazine in learning and raising children correctly. https://mcal.yazd.ac.ir/article_4055.html Haiku, one of the world’s most concise yet profound poetic forms, emerges from a unique cultural and philosophical synthesis. Its origins can be traced to three major Eastern traditions: Indian Spirituality – The meditative brevity of haiku echoes the contemplative traditions of India, particularly the Zen Buddhist emphasis on sudden enlightenment (satori). The form’s ability to capture a fleeting moment of awareness aligns with the Buddhist concept of mindfulness—being fully present in the here and now.Chinese Pragmatism – From Chinese classical poetry, particularly the Jueju, haiku inherits its structural economy and focus on nature. Chinese poets like Wang Wei mastered the art of conveying deep meaning in just a few lines, a technique that influenced early Japanese verse.Japanese Appreciation for Simplicity – Japan refined this poetic sensibility into the haiku as we know it today, emphasizing kireji (cutting words) and kigo (seasonal references). The Japanese aesthetic principle of wabi-sabi—finding beauty in imperfection, transience, and austerity—became central to haiku’s philosophy.At its core, haiku is not merely a literary form but a way of seeing the world. It treats existence itself as inherently poetic, distilling profound truths into just 17 syllables (traditionally structured in a 5-7-5 pattern). Unlike Western poetry, which often relies on metaphor and elaborate imagery, haiku thrives on direct, unadorned observation. It captures a single, ephemeral moment—a frog leaping into water, a crow perched on a bare branch, the first snowfall—and lets it resonate with universal significance.In the Arab literary world, haiku gained prominence in the late 1990s, initially through indirect translations from Japanese via English. These fragmented yet influential introductions sparked curiosity among Arab poets, leading to more direct translations and experimentation in the early 2000s. Literary societies dedicated to haiku emerged, and poets began adapting the form to reflect Arab cultural and existential themes. Among these pioneers, the exiled Iraqi poet Abdul Karim Kasid stands out. Having lived in England for decades, Kasid absorbed Western modernist influences while retaining a deep connection to his Iraqi heritage. His poetry reimagines haiku, infusing it with themes of displacement, memory, and the haunting landscapes of his homeland.This study examines how Abdul Karim Kasid’s poetry engages with the eight core principles of Zen Buddhism—fundamental to traditional Japanese haiku—and explores his motivations for adopting this form. The research analyzes the intersection of Kasid’s work with Zen’s philosophical tenets, such as Right View, Right Intention, and Right Mindfulness, while investigating his use of haiku to express Arab existential and aesthetic concerns.A comparative framework is employed, contrasting classical haiku’s Zen-infused principles with Kasid’s adaptations. Special attention is given to his subconscious evocation of Iraq’s southern marshes—liminal spaces of memory and loss—through haiku’s imagistic brevity. These wetlands, recurring in Kasid’s poetry, serve as metaphysical landscapes where personal exile merges with collective cultural trauma. Additionally, the study examines Kasid’s visual-textual hybrid works ("poem-paintings"), which resonate with Ezra Pound’s imagist techniques. Pound’s fascination with fragmented imagery and Eastern poetics significantly influenced 20th-century modernism, creating an intertextual dialogue with Kasid’s work. This triangulation of traditions—Japanese haiku, Anglo-American imagism, and Arab lyrical modernism—forms the study’s analytical foundation.The findings reveal that Kasid’s engagement with haiku extends beyond stylistic imitation. He repurposes the form to reconstruct Iraq’s southern wetlands—pristine marshes and ancient waterways—as sites of ecological and cultural memory. By incorporating motifs central to classical haiku, such as nature’s ephemerality and the beauty of simplicity, Kasid reinterprets his homeland’s landscapes through a dual lens: one grounded in Iraq’s natural beauty, the other in haiku’s philosophical minimalism.His poetry frequently features untouched ponds and migratory birds—imagery that mirrors traditional haiku’s reverence for nature while subverting it to address Iraq’s endangered ecosystems. In doing so, Kasid situates local environmental concerns within global discourses of loss and preservation. Furthermore, his work demonstrates an unconscious alignment with Zen principles, particularly Right Mindfulness (a heightened awareness of the present moment) and Right Effort (the disciplined crafting of verse). However, rather than strictly adhering to Zen doctrine, Kasid adapts these concepts to articulate themes of exile, nostalgia, and cultural survival.Kasid’s visual-textual experiments—where poetry merges with painting—echo Ezra Pound’s imagist techniques, reinforcing the transnational fluidity of haiku. Pound’s modernist approach, deeply influenced by East Asian aesthetics, finds an unexpected parallel in Kasid’s fusion of Arabic lyricism with haiku’s brevity. This interplay highlights how poetic traditions evolve through cross-cultural exchange.Abdul Karim Kasid’s haiku experimentation transcends mere stylistic borrowing, repositioning the form as a transnational medium for expressing universal human experiences—exile, impermanence, and the search for meaning. His work demonstrates how Zen’s universal principles adapt to localized contexts, offering a model for future dialogues between Arab and Asian poetic traditions.The implicit influence of Ezra Pound underscores the reciprocal nature of literary modernism, shaped by East-West syntheses. Ultimately, Kasid’s haiku do not merely adopt Zen principles—they dissolve cultural dichotomies, revealing how ancient philosophies persist and transform in the diasporic imagination. In his hands, haiku becomes a cross-cultural episteme—a mode of perception that bridges historical trauma and aesthetic transcendence. Through this fusion, Kasid not only revitalizes Arabic poetry but also reaffirms haiku’s enduring relevance as a global art form. https://mcal.yazd.ac.ir/article_4085.html Introduction: Literature has always reflected the deepest concerns, crises, and hopes of human societies. Among literary genres, the novel holds a distinguished position in portraying complex social, cultural, and existential realities. Beirut 75, a symbolic and tragic novel by Ghada Al-Samman, was published shortly before the outbreak of the Lebanese Civil War. It offers a shocking image of Lebanese society on the brink of collapse—where capitalist ideology dominates all aspects of life, and human beings are reduced to instruments of profit.This study examines Beirut 75 through the lens of two fundamental theories in critical sociology: Karl Marx’s theory of alienation and Georg Lukács’s concept of reification. Marx defines alienation as the estrangement of individuals from their labor, their fellow beings, and their human essence under exploitative capitalist conditions. Lukács builds on this idea by introducing reification, the process by which social relationships become objectified, and people are treated as commodities. The central aim of this research is to investigate how the novel portrays various forms of alienation and reification in a society dominated by capitalist logic. The study seeks to reveal how the characters, setting, and narrative structure reflect dehumanization, identity loss, and existential dislocation caused by commodified social relations. Methodology :This study employs a descriptive-analytical method based on library research. Within this framework, the text of Beirut 75 is closely examined and analyzed in light of the fundamental concepts presented in Karl Marx’s theory of alienation and Georg Lukács’ theory of reification. The core concepts under consideration include alienation from the product of labor, alienation from the process of production, alienation from others, alienation from the self, and reification. The aim of this approach is to reveal the manifestations of these concepts within the narrative structure, character development, and atmospheric elements of the novel. For this purpose, the study relies on primary theoretical sources, authoritative translations, and relevant academic research, striving to establish a coherent analysis that bridges the literary narrative with philosophical and sociological foundations. Results and Discussion: The analysis reveals that Beirut 75 vividly represents the conditions of alienation and reification in a fragmented and capitalist-influenced society. The characters—such as Farah, Yasmine, Abu Mulla, and Mustafa—each embody a form of existential and social detachment. Farah, who is objectified by Nishan and labeled “Mutrib al-rujula”, is reduced to a hollow symbol of masculinity—admired in public but emotionally destroyed in private. His commodification becomes literal as he is manipulated to serve economic and personal interests, stripped of dignity and autonomy. Yasmine’s experience—particularly her degrading wig-sale transaction and her emotional collapse under social and gender pressures—exemplifies how capitalist and patriarchal systems intersect to alienate women from themselves and their desires. The character of Abu Mulla, a religious figure, symbolizes another form of alienation: dogmatic rigidity that stifles critical thought and self-awareness. Mustafa, representing the youth, falls into despair, illustrating the disillusionment of an entire generation. Environmental descriptions in the novel—such as enclosed, chaotic, and disorienting urban spaces—intensify the sense of estrangement. Beirut is depicted not as a living city but as a prison of lost hopes and shattered identities. Social relations in the novel are largely transactional, where moral values are overridden by economic logic. The doctor who refuses to treat Farah without payment encapsulates this commodified morality in the phrase: “If you have money, you have value.” Through these portrayals, the novel affirms that alienation is not limited to the workplace or economic systems—it pervades interpersonal relations, identity, and spirituality. The logic of profit invades every sphere of life, dismantling the very foundations of human connection. Conclusion: Analyzing Beirut 75 through Karl Marx’s theory of alienation and Georg Lukács’s concept of reification offers a broad and thought-provoking portrayal of the human condition within unjust social and economic structures. Each of the main characters embodies a particular dimension of alienation, and their life trajectories reveal how individuals become detached from their identity, moral values, and human relationships. The findings indicate that alienation manifests at four interconnected levels: alienation from the product of labor, alienation from the labor process, alienation from others, and alienation from the self. These experiences are not confined solely to economic conditions or social functions; rather, they are also evident in personal relationships and everyday human interactions.At the individual level, the characters, constrained by dominant and profit-oriented structures, have little control over their own destinies, as their choices and decisions are shaped by the will and interests of others. From a social perspective, the society depicted in the novel lacks empathy and human solidarity, with individuals distancing themselves from one another in the pursuit of personal benefit. Lukács’s theory of reification complements this analysis by demonstrating that when human beings are reduced to tools or means for achieving others objectives, they inevitably lose their human essence and practical freedom.The overall findings suggest that Beirut 75 is not only a critique of Lebanon’s social and political structures in the 1970s, but also a universal representation of the condition of modern humanity. It portrays a human being who, under economic pressures, identity crises, social dependencies, and mechanisms of power, is transformed into a commodity-like entity. In the contemporary era, when human values are increasingly marginalized and sacrificed to profit and self-interest, the need to reconsider existing social structures becomes more urgent than ever. Accordingly, Beirut 75, on both philosophical and social levels, invites the reader to engage in profound reflection on the fate of humanity in the modern world. Keywords: Marx and Lukács, Alienation, Reification, Ghada Al-Samman, https://mcal.yazd.ac.ir/article_4098.html Analysis of the Novel Al-Wajha by Yusuf Al-Din Isa in the Context of Existentialism Abstract Objective and Introduction In the 20th century, philosophical perspectives on life gained significant prominence in literature, and existentialism is a clear example of this trend. The central focus of existentialism, which emerged in Europe during the 20th century, is human existence, deemed by its proponents to be the most significant issue of being, with nothing preceding it. This school of thought speaks to the essence of human existence, emphasizing the primacy of being over essence, and asserts that humans construct their own essence through freedom, making choices among available options and defining their values by rejecting previous norms. However, this freedom also brings a sense of responsibility, causing anxiety and dread. Furthermore, thoughts on death often lead to a sense of existential void, yet this void differs from nihilistic emptiness. Existentialism gained prominence between the two World Wars and became a key tool for articulating human struggles during times of collective unease.It seems that the disturbances and troubles after the world wars played a significant role in the expansion of the principles of this school, and existentialism was a reaction to all those disturbances and disturbances. Existentialists are divided into two categories: Christian (God) and non-religious (Atheist). The only thing these two groups have in common is that they all believe that existence precedes essence, or in other words, philosophy should start from introspection. Existentialism has a special view of man and his situation in the world, and it is also evident that he avoids abstract matters and tries to make philosophy objective and thus tries to bring about changes in human life style. Having transitioned from philosophy to literature, existentialism influenced Arabic literature in the 1950s and 1960s, with several Arab writers embracing its ideas, one of whom is the well-known Egyptian author Yusuf Al-Din Isa. This study examines the main existential themes reflected in Al-Din Isa’s novel Al-Wajha. Methodology This study adopts a descriptive-analytical approach, based on text analysis and library research, to explore the novel Al-Wajha by Yusuf Al-Din Isa through the lens of existentialism. The aim is to demonstrate how key existential concepts such as loneliness, death, freedom, and responsibility are vividly portrayed in the narrative. Findings Al-Wajha is a quintessential existential novel, manifesting almost all key existentialist elements. In the narrative, the city symbolizes the world, and the protagonist represents the contemporary human being. Just as everyone in this world is ultimately confronted with death, the citizens of this city are all condemned to execution. Much like humans in the real world, who do not know their origin or where they were before birth, the inhabitants of this city are unaware of how they arrived or what existed before their entry. Loneliness in this city is as agonizing as it is in the real world. Themes of death and freedom are deeply contentious both in this city and the world. Just as leaving the world is only possible through death, escaping the city is only achievable through execution. The protagonist carries a significant responsibility, both for themselves and for others, reflecting the existential view that every individual is responsible for their existence and actions.Therefore, a person is responsible for his actions, but this responsibility does not mean that a person is responsible of his own individuality, but each person is responsible for all human beings, therefore existentialism literature is called targeted literature that Jean-Paul Sartre is one of the most important leaders. he emphasizes this important point. Discussion and Results The protagonist, representing the modern human, is abandoned in this city, a symbol of the world, and despite being surrounded by others, including their own family, they feel a profound sense of loneliness. This isolation leads to fear and anxiety. The protagonist mirrors the contemporary human being, overwhelmed by their own solitude, and unable to escape it. Additionally, existentialism regards death as inevitable but rejects surrendering to the anxiety and nihilistic despair it may bring. Existentialism encourages humans to continue living and striving, contrasting with nihilism, which views emptiness as the starting and ending point. Existentialist emptiness differs from nihilistic void, as existentialists, unlike nihilists, seek to overcome this emptiness and realize their authentic self. Another key finding of this study is the intrinsic relationship between freedom and responsibility in existential thought. In this framework, freedom entails both individual and social responsibility. As seen in the novel, the protagonist, recognizing human freedom, remains committed to their responsibilities, holding themselves accountable until the final moments of their existence. ________________________________________ This translation retains the academic tone and formal structure of the original abstract, adhering closely to the philosophical themes and analysis of the novel Al-Wajha in relation to existentialism. https://mcal.yazd.ac.ir/article_4121.html Semiotics of the Ode to the "Al-Tufan al-Aswad" by Muhammad Fitouri Based on Heuristic and Semiotic Reading Introduction Michael Riffater, a French-American linguist, is a prominent figure in modern semiotics who has proposed an innovative theory for analyzing poetry. His main goal is to design a valid and systematic model for reading literature that can provide the audience with a more accurate understanding of the structure and meaning of the text. In this model, the reader has a central role and is directly involved in the process of discovering the meanings hidden in the text; according to this theory, the literary text and its meaning cannot be considered separately from the role that the reader plays in understanding the literary work. Because the text is reconstructed through the process of literary reading. (Bennett, Andrew Verville Nicholas, 2009: 12). From Riffater's perspective, every literary text has two layers: a superficial layer that includes direct and linguistic meaning and a deep layer that includes the denotative and symbolic load of the text. An effective reading of a literary text is possible when the audience is able to go beyond the surface and analyze the semiotic elements such as non-orders, descriptive systems, accumulations, hypograms, and structural matrices, thereby reaching the fundamental meaning of the poem. What led to the choice of Rifater's theory to examine Muhammad al-Fitouri's poetry is the multilayered and symbolic nature of his poetry, in which signs, linguistic structures, and poetic images are coherently placed in the service of a conceptual unity. Al-Fitouri's poems, especially the ode examined in this study, have a meaningful structure in which concepts such as homeland, oppression, awakening, and social anger are expressed in the form of signs. This structural correspondence with Rifater's perspective provides an opportunity to measure the effectiveness of his theory in discovering the internal codes of modern Arabic poetry by using the descriptive-analytical method. Methodology Using this theory and using a descriptive-analytical method, the present study examines the ode "Tofan al-Aswad" by Muhammad al-Fitouri; a contemporary poet whose poetry is full of symbols, ambiguities, and semiotic codes. Results and Discussion The application of Riffaterre's semiotic framework to Fitouri's *Al-Tufan al-Aswad* reveals a sophisticated interplay between textual surfaces and submerged meanings. At the heuristic level, the poem's vivid imagery of storms and oppression presents a direct commentary on colonial violence, yet its true complexity emerges through semiotic decoding. The "black storm" motif operates simultaneously as natural phenomenon and revolutionary symbol, its shifting connotations reflecting the poem's central tension between destruction and rebirth. This duality exemplifies Riffaterre's concept of poetic significance, where words transcend literal meaning through their position in the text's symbolic network. The analysis demonstrates how Fitouri's strategic deviations from conventional Arabic syntax - particularly his use of inverted structures and unconventional word pairings - create semantic gaps that demand active reader participation to resolve, thereby reinforcing the poem's themes of disruption and resistance. Further examination uncovers how the poem's descriptive systems organize around core oppositions: darkness/light, silence/sound, and bondage/liberation. These binaries are not static but dynamically interrelated, with images of dawn and song gradually overwhelming representations of oppression as the poem progresses. The research identifies the hypogram of "buried voices rising" as the generative subtext that animates these symbolic relationships, manifested through recurring references to muted cries, stifled breath, and eventual explosive utterance. This progression culminates in the matrix of "reclaimed speech," which serves as the poem's ultimate interpretive key, transforming its aesthetic elements into a unified political statement about the power of poetic language to challenge historical erasure. The study particularly highlights how Fitouri's manipulation of classical Arabic poetic forms - including his subversion of traditional qasida conventions - itself becomes a semiotic act, encoding contemporary resistance within inherited structures in ways that parallel the poem's thematic concern with cultural reclamation. Conclusion The findings of this study showed that the application of Michael Rifater's semiotic theory in the analysis of the poem "Al-Tufan Al-Aswad" by Muhammad Al-Fitouri provides an efficient and scientific framework for discovering the deep structures of contemporary Arabic poetry, especially in texts that have a density of signs and multilayered levels of meaning. The first level of reading, namely exploratory reading, reveals the narrative and referential layer of the poem, which is influenced by the historical context of colonialism and the experience of black Africans. However, what is revealed in semiotic reading is a system of internal codes and hidden semantic structures that are organized based on the logic of permissiveness, metaphor, repetition, and opposition. Textual analysis shows that Al-Fitouri, by utilizing tools such as syntactic and lexical irregularities, accumulations, descriptive rhyme schemes, and the selection of symbolic words, creates a complex and symbolic structure in which words carry not only lexical connotations but also ideological and cultural connotations. In this context, the concept of “storm” is not simply a metaphorical image, but rather a fundamental hypogram around which other signs and metaphors find meaning and serves as the unifying axis of the entire semantic structure of the poem. On the other hand, the results of the research indicate that in this poem, concepts such as colonialism, slavery, social anger, resistance, and the re-creation of identity are manifested in the form of a structural matrix whose semantic core is “Africa as a living, repressed, and resurgent identity.” This matrix not only forms the foundation of meaning throughout the poem, but also allows the reader to achieve a deeper understanding of the lived experience of the continent and its people through processes of semantic reconstruction. Keywords: Semiotics, The ode "Al-Tufan al-Aswad", Muhammad Al-Fitouri, Exploratory Reading, Semiotics. https://mcal.yazd.ac.ir/article_4183.html A Study of Social Influence and Its Consequences in the Novel " Al-Tut Al-Morr " Based on Elliott Aronson's Theory of Social Psychology EXTENDED ABSTRACT Introduction In the contemporary era, with the formation and spread of new sciences, new fields of discovery and innovation were opened up to mankind, the knowledge of which made the need for interdisciplinary sciences and knowledge more evident than ever before. The world of literature was not far from this issue, and with the formation of new literary genres, especially the novel genre, and also with the introduction of social and psychological phenomena and events, etc. into the theme of historical and realistic novels, the need for theories based on sociological and psychological sciences was felt for a complete and accurate understanding of the subject matter of such novels. Therefore, we are witnessing the formation of theories in the criticism and study of contemporary novels that have arisen from the relationship of these sciences with literature. Theories such as developmental structuralist criticism, sociological criticism, Marxist criticism, and postmodern criticism of the novel fall into this category. Since the novel genre, especially historical, social, and realistic novels, is considered one of the closest literary genres to the truth of human societies, by examining the theme and course of events in these types of novels based on the sciences of sociology and psychology, and the like, very useful results can be achieved that will give researchers and critics greater depth and clarity to their understanding of the events in the story. Methodology The present study was conducted using a descriptive-analytical method and a library method in collecting the desired data. Accordingly, the attempt was to obtain a proper understanding of the topic of social influence and its related behavioral consequences, and then examine the reflection of this issue in the novel " Al-Tut Al-Morr " based on psychological criticism. Conclusion The present study was dedicated to examining the social influence in the novel Al-Tut Al-Morr. The importance of this issue lies in the relationship between literature and other sciences, which leads to the formation of interdisciplinary sciences and greatly contributes to a greater understanding of literature and the hidden intentions behind the author's statements. In addition to a better understanding of the novel in question for its readers, this work provides the basis for understanding the hidden relationship between psychology and literature, and as a result, it also increases the audience's understanding of social and psychological novels. At the same time, this study provides the basis for conducting similar studies. Another important point is that many of the results obtained from this study can be generalized to the real world and, based on it, a model can be presented for a better understanding of human relationships in human societies to help better understand these relationships. Results and discussion In the course of events and incidents of the novel Al-Toot Al-Mur, three major human-social categories were evident, which were: 1. Emotional and human tensions in Abdullah's family due to his marriage to a disabled girl 2. The formation of the Youth Rescue Association in an effort to combat drug use in the village by its youth 3. Finally, Ibrahim's confrontation with his father due to his father's allegiance to the French colonialists and Ibrahim's burning of his father's shop. In each of these categories, the role of social influence and its consequences, such as acceptance, obedience, and conformity, were clearly visible. In this regard, it should be said that in the novel Al-Tut Al-Moor, social influence and its consequences are presented not only as a common feeling among several characters, but also as an independent language that organizes the fictional world. It is as if the real world in the novel is emotionless, flawed, and unjust, and the world of emotion is healing, meaningful, and ultimately saving. In this context, it was clearly demonstrated how social influence and its consequences are used at the heart of the story. Conclusion The present article was dedicated to examining the reflection of social influence and its consequences in the novel Al-Tut Al-Morr written by Muhammad Al-Arousi Al-Matwi based on Eliot Arnonson's theory in social psychology. In this regard, an attempt was made to present the definition of social influence and its consequences, and then to examine its reflection in the novel. In the course of events and incidents of the novel Al-Tut Al-Marr, three major human-social categories were evident, which were: 1. Emotional and human tensions in Abdullah's family due to his marriage to a disabled girl 2. The formation of the Youth Rescue Association in an effort to combat drug use by young people 3. Finally, Ibrahim's confrontation with his father due to his father's allegiance to the French colonialists and Ibrahim's burning of his father's shop. In each of these categories, the role of social influence and its consequences such as acceptance, obedience, and conformity were clearly visible. In this context, Abdullah, as the main character of this novel, is not a narrator or observer; He is the point of intersection of all these emotional currents; someone who builds a bridge from his own pain to understand another. If the elm berry tastes bitter, it is not because of despair, but because of the nectar hidden beneath the layers of suffering. And the consequence of the conformity formed in this novel is also in this harmony with the voiceless. Therefore, the main reflection of social influence in this novel can be considered the consequence of emotional conformity that emerges in a behavioral pattern with a problem-oriented focus at the heart of the novel. Emotional conformity and the consequences of acceptance and obedience are placed in later places and with weaker feedback. Keywords: Social Psychology, Elliot Eronson, Social Influence, Mohamed Al-Arousi Al-Matwi, Al-Tut Al-Morr. https://mcal.yazd.ac.ir/article_4200.html Introduction: Since both painting and literature originate from human emotions, there is a thin line between them. The influence of literature on factors such as art and music has been evident in different periods, which has led to the creation of new literary styles and schools. Impressionism is one of the art styles that became popular in France in the first half of the 19th century and then entered literature as well. Impressionist artists focused on individual intuition in depicting their works. In their view, the artist should merely record his impression of objects and landscapes. These paintings were formed with the help of successive brushstrokes to illustrate the effects of light and color on objects, and accurate illustration was avoided. In literature, Impressionism is also focused on the author's personal perception of things and everything is written as it is felt by the author. Gibran Khalil Gibran is one of the contemporary Arab writers who pays special attention to personal perception, light, and color in his novel "Al-Ajnaha Al-Mutakassirah". The novel "Al-Ajnaha Al-Mutakassirah" tells a love story in a spiritual context, in which Gibran depicts love and its impact on his lost life. This novel is also full of personal descriptions and the narrator's momentary impressions of his surroundings, so it is a good case for studying Impressionism. The aim of this research is to examine the characteristics of the Impressionist style in the novel Al-Ajnaha Al-Mutakassirah and how Kahlil Gibran employed the Impressionist style in this novel. Numerous studies have been conducted on Kahlil Gibran’s works so far, but since this study focuses on an Impressionist reading of the novel Al-Ajnaha Al-Mutakassirah, it is considered a novel and purposeful research in its own right. Methodology: This article, using a descriptive-analytical method and relying on the characteristics of the Impressionist style, aims to examine how this style is reflected in the novel Al-Ajnaha Al-Mutakassirah. this study explores Al-Ajnaha Al-Mutakassirah based on the artistic style of Impressionism, reviewing its details to investigate the reflection of Impressionist painters' techniques in fictional literature. Initially, paragraphs that reflect light, shadow, color, and appearance in the narrator’s descriptions are identified and analyzed. Additionally, the retelling of the story based on the narrator’s mental perceptions and the role of literary devices in Impressionist descriptions are examined. The distinguishing feature of this study lies in the new dimensions it explores regarding the relationship between the perceptions of the author and the painter in depicting the work. Results and Discussion: In response to the research questions, it can be said that the narrator's descriptions are akin to a painting. it is explained that the narrator's descriptions are like a painting. The author has given the text a painting effect by inserting their light, color, shadows, and sparkle behind the words, just like a painter who uses dark and light colors to convey his emotions in the moment. Also, the author has used the juxtaposition of contrasting colors to express the effects of light and his momentary descriptions. In fact, he is always trying to record the changes in natural light through his descriptions, and he places a lot of emphasis on the objective and ephemeral experiences of nature. The novel "Al-Ajnaha Al-Mutakassirah", like the style of Impressionism, considers the turning point of the narrative on the narrator's perceptions of the moment of affairs and believes that everything adheres to the author's personal inferences and most of Gibran's descriptions adhere to this fact. The author has shown how the narrator feels the world and the phenomena around him. From the beginning of the story, the author has mixed all reality with his impressionism and is very skilled in creating emotional spaces. The nature and all the scenes are described in a way that arises from the narrator's concerns and beliefs about his problems. Gibran relies primarily on his momentary perceptions. He then describes these perceptions and emotions in the form of shape, color, light, and shadow. Finally, it is clear that literary arrays play a significant role in combining reality and fantasy for the narrator's descriptions. The paragraphs are full of implicit meanings and The dominant element of this novel is an array of similes that create beautiful imaginary images, just like the Impressionist painters who painted the reflection of light and color with imaginary images in the creation of their works. Conclusion: The results of the research show that in the novel "Al-Ajnaha Al-Mutakassirah", Gibran has a pen in his hand to create an impressionist painting .This narration is a translation of an emotional image of the narrator's life, which by merging it with the imagination, has depicted a more beautiful manifestation of personal perceptions, and indeed, his skill in painting has been manifested in this narrative. In this narration, everything is narrated as it is perceived by the narrator, not as it is. Just like the painters of the Impressionist art style, he avoids lengthy elaboration and expresses his sentences in a concise manner while being perfect. Literary arrays are one of the tools that have increased the effectiveness of the author's images and sensory descriptions in this narrative with the help of imagination. As a result, the artistic use of vocabulary has had a significant impact on better instilling concepts. Also, the narrator's focus has been on his personal inferences. In order to better convey concepts, the novel "Al-Ajnaha Al-Mutakassirah" has used imagery instead of speech. The narrator's attention is focused on reflecting the phenomena and feelings in the text based on his mental states. In fact, in the novel "Al-Ajnaha Al-Mutakassirah", originality is with the inner world and subjectivity of images arising from the narrator's personal intuition. As a result, this novel is one of the distinctive examples of the Impressionist story based on the school of Impressionist painting. https://mcal.yazd.ac.ir/article_4205.html One of the topics that has drawn the attention of literature researchers In recent years is the analysis of literary texts based on Lakoff and Johnson's Conceptual Metaphor Theory. This theory offers a new and different understanding of metaphor, where, unlike the traditional definition, metaphor Is not merely examined from its superficial aspect. Instead, it focuses on the semantic layers or concepts hidden behind the words. Abul-Qasim Al-Shabbi (1909-1934) is a prominent Tunisian poet who used additional verbal pairings (Additional verbal arguments) in his verses to create artistic appeal. In these combinations, the mudhaf (first term of an idafa construction) Is a sensory matter, while the mudhaf ilayh (second term) is an abstract matter. Connecting tangible things to intangible concepts in combinations with underlying metaphorical or similic structures is a method that semantically enriches and deepens poetry. The aim of this research Is to analyze concepts related to the target semantic domain, namely sorrow (Sadness), in Abul-Qasim Al-Shabbi's collected works, and to understand the poet's perspective on the notion of sorrow. This research seeks to answer the fundamental question: What semantic implications and new aesthetic dimensions do the verbal pairings within the domain of al-asā (deep sorrow), based on conceptual metaphor, add to the poetry, and what concepts are used as source domains In the metaphors of the semantic domain of sorrow? Methodology: This research was conducted using a descriptive-analytical method based on Lakoff and Johnson's (1980) Conceptual Metaphor Theory. Results and Discussion Additional verbal pairings (Additional verbal arguments) are one of the most Important tools for imagery in Abul-Qasim Al-Shabbi's poems. These additional combinations function similarly to conceptual metaphors; in that they, like conceptual metaphors, are formed from two semantic domains: a target semantic domain and a source semantic domain. The source domain In these combinations consists of sensory and concrete matters such as (mountain, wave, lightning), and the target domain consists of abstract matters such as (sorrow, pain, death). The abstract target domain is understood through the concrete source domain. In essence, a less familiar (more) and more abstract domain Is made comprehensible through a more familiar (more) and tangible domain. These combinations, like conceptual metaphors, are meaning-creating; that is, they bring novelty to words and meaning, bestow fresh and new meanings upon speech, and cause other concepts to be understood through the use of certain words. For example, In the pairing "mountain of life" (Mountain of Life) and the simile of life to a mountain, we understand the hardships and difficulties of life through the vastness and weight of a mountain. In other words, with simple, tangible, and sensory words, the speaker's intended concepts are quickly conveyed. Conclusion: This research demonstrates that Abul-Qasim Al-Shabbi extensively utilized ontological and structural metaphors in the form of verbal pairings to conceptualize sorrow. The source domains predominantly include natural phenomena (wave, sea, storm, fog), materIal objects (thorn, clothing, cup, mask), and concepts related to place and performance. These metaphors portray sorrow as an omnipresent, destructive, painful, and ambiguous force, and sometimes as a scene of social passivity. This approach revealed how abstract concepts are formed In the poet's mind through systematic mappings from tangible domains, enabling him to express complex emotions in a concrete and impactful manner. Furthermore, Shabbi was able to embody the concept of sorrow In various ways through verbal pairings containing diverse metaphorical images, including: "Valley of Sorrow" (Wadi al-Asā) to denote prolonged and paralyzing sorrows and states of deep depression. "Slaves of Sorrow" (ʿAbīd al-Asā) to evoke internalized and structural sorrows. "Palm of Sorrow" (Kaff al-Asā) for materialized and palpable sorrows. Keywords: Divan of Abolqasem Shabi, sadness, conceptual metaphor, verbal metaphor, Lakoff, Johnson. References: Holy Quran Ibn Faris, Ahmad. (1404 AH). Mu'jam Maqayis al-Lughah. Qom: Islamic Media Publications. Ibn Manzur, Muhammad ibn Karam. (1414 AH). Lisan al-Arab. Edited and researched by Jamal al-Din Mirdamadi. 3rd Edition. Beirut: Dar Sadir. Abu Shabāb, Wasif. (1988). Al-Qadim wa al-Jadid fi al-Shi'r al-Arabi al-Hadith. Beirut: Dar al-Nahda. Isfahani, Raghib. (1404 AH). Al-Mufradat fi Gharib al-Quran. Qom: Daftar Nashr Kitab. Basaj, Ahmad Hassan; Al-Shabbi, Abul-Qasim. (2005). Diwan Shabbi. Beirut-Lebanon: Dar al-Kutub al-Ilmiyya. Rita, Awad. (1983). A'lam al-Shi'r al-Arabi al-Hadith, Abul-Qasim al-Shabbi. 3rd Ed. Beirut: Al-Mu'assasah al-Arabiyya li al-Dirasat wa al-Nashr. Al-Abd, Muhammad. (1998). Ibda' al-Dalalah fi al-Shi'r al-Jahili. Faculty of Al-Alsun, Ain Shams University. Abd al-Latif, Muhammad. (1995). Zawahir Nahwiyyah fi al-Shi'r al-Hurr. Cairo: Maktabat al-Khanji. Abd al-Karimi, Sepideh. (1393 [2014/2015]). Farhang-e Tousifi-ye Zaban Shenasi Shenakhti (Descriptive Dictionary of Cognitive Linguistics). Tehran: Elmi Publications. Atiyyah, Sulaiman Ahmad. (2004). Al-Ibda' wa al-Muzawajah fi Daw' al-Dars al-Lughawi al-Hadith. Dar al-Kutub al-Ilmiyya li al-Nashr wa al-Tawzi'. Ghoneimi Hilal, Muhammad. (n.d.). Al-Romantikiya. Nahdat Misr li al-Tiba'ah wa al-Nashr wa al-Tawzi', p. 47. (2019 printing cited). Fotouhi, Mohammad. (1385 [2006/2007]). Balaghat-e Tasvir (Rhetoric of Image). Tehran: Sokhan Publications. Cohen, Jean. (1986). Binyat al-Lughah al-Shi'riyyah (The Structure of Poetic Language). Translated by Muhammad al-Walid and Muhammad al-Omari. Maktabat al-Adab al-Maghribi. Lakoff, George and Johnson, Mark. (1397 [2018/2019]). Est'arehha-ye ke ba an Zendegi Mikonim (Metaphors We Live By). Translated by Hajar Aqa Ebrahimi. 3rd Ed. Tehran: Elm Publications. Muhammad Dawood, Muhammad. (1435 AH). Al-Mu'jam al-Musawi li al-Ta'bir al-Istilahi fi al-Lughah al-Arabiyyah. 1st Ed. Cairo: Maktabat al-Adab. Mirlohi, Seyyed Ali. (1392 [2013/2014]). Taradof dar Quran Karim (Synonymy In the Holy Quran). Qom: Islamic Sciences and Culture Research Institute. Barati, Bagher; Molouk, Masoumeh. (1399 [2020/2021]). Barrasi va Tahlil-e Namadin-e Tabiatgara'I dar Shi'r-e Malek al-Sho'ara Bahar va Abul-Qasim Shabbi (A Symbolic Study and Analysis of Naturalism in the Poetry of Malek al-Sho'ara Bahar and Abul-Qasim Shabbi). Pazh Quarterly. https://mcal.yazd.ac.ir/article_4208.html A Hermeneutic Reading of Badr Shakir al-Sayyab's "Anshuda al-Matar" Based on Hans-Georg Gadamer's Philosophy Introduction Badr Shakir al-Sayyab’s seminal poem, "Anshuda al-Matar," is a canonical text resisting definitive interpretation. Traditional formalist, sociological, or symbolic analyses often confine meaning to authorial intention or its original context, treating the text as a static object. This research argues such methods are insufficient. The poem's inherent ambiguity and dialectical structure—oscillating between despair and hope—demand a more dynamic framework. This study posits the central problem is not what the poem means, but how meaning is constituted in the reader's encounter. Therefore, employing Gadamer's philosophical hermeneutics, this research aims to demonstrate that the poem's enduring power lies in its capacity to generate new questions through continuous dialogue with its readers. Methodology This study employs a descriptive-analytical method grounded in the application of Hans-Georg Gadamer's philosophical hermeneutics. Instead of treating hermeneutics as a set of rules, this research adopts its core philosophical principles as a lens for understanding the interpretive act. The methodology is structured around four key Gadamerian concepts: 1. Historicity of Understanding: The analysis reconstructs the text's "historical horizon" by synthesizing existing scholarship. This delineates the web of personal, political, and mythological layers of its origin, including al-Sayyab’s suffering, 1950s Iraqi turmoil, and Mesopotamian fertility myths. 2. The Role of Prejudices : The study articulates the "historical horizon of the contemporary interpreter," identifying the legitimate "pre-understandings" (Vorverständnis) a 21st-century reader brings to the text (e.g., awareness of failed revolutions, ecological crises). These are not biases to be eliminated but are the necessary starting point for dialogue. 3. Fusion of Horizons : This core concept demonstrates how meaning emerges in the dialogical "fusion" of the text's and interpreter's horizons. The analysis focuses on key symbols (rain, the beloved's eyes) and structural tensions to show how meaning is dynamically produced in this interpretive event. It traces how the reader's pre-understandings activate the text's potential, and conversely, how the text reshapes the reader's horizon. 4. The Logic of Question and Answer: This structures the interpretation as a dialectical process. The reader poses questions, and the text’s ambiguities are seen not as flaws but as responses that generate new questions. This guides the reading away from definitive answers. This methodology enacts the "event of understanding" rather than performing a static analysis. Results and Discussion The hermeneutic analysis of "Anshuda al-Matar" reveals meaning as a dynamic event. The central symbol of "rain" (al-matar) transcends any single allegory (e.g., revolution). Through the "fusion of horizons," it becomes an archetypal symbol for transformative events. For the contemporary reader, aware of both creative and destructive change, the rain embodies this dialectic: it is simultaneously mourning ("its heavy tears") and rebirth ("Iraq will grow green with rain"). Meaning is thus experienced in the unresolved tension between destruction and creation, resonating with contemporary crises. The poem’s oscillating structure (despair to hope) is interpreted not as a linear progression to salvation, but as the architecture of historical existence. For a reader familiar with cycles of political hope and disillusionment, this structure becomes a lived experience of "waiting" in a liminal space. The "fusion of horizons" merges the predicament of 1950s Iraq with the reader's own existential anxieties, transforming the poem into a universal meditation on being-in-history. The enigmatic opening image—"Your eyes are two palm groves... Or two balconies..."—is revealed as a microcosm of the poem's dialectic. The logic of question and answer understands this image not just as a lover, but as a symbolic representation of "homeland" or "identity." The "fusion of horizons" allows the reader to see this identity as fundamentally split: rooted in fertile tradition (palm groves) yet experiencing modern loss and alienation (receding moon). This tension encapsulates the poem's broader crisis. Conclusion This hermeneutic reading of "Anshuda al-Matar" demonstrates that its enduring significance lies not in a fixed message, but in its capacity to function as a living, dialogical partner. By applying Gadamer's philosophy, this study concludes that meaning is an "event" produced via the "fusion of horizons" between the text's world and the reader's. The poem's foundational ambiguities, particularly the dual nature of "rain," are not weaknesses but the source of its power, inviting each generation to engage with its own experiences of suffering and hope. This study affirms that a classic text like al-Sayyab's does not belong to the past; it speaks to the present by compelling readers to confront fundamental questions. Ultimately, this reading repositions the poem from a static object to a dynamic work of art that perpetuates the act of questioning. Keywords: Gadamerian Hermeneutics, Badr Shakir al-Sayyab, Anshuda al-Matar, Fusion of Horizons, Constitution of Meaning https://mcal.yazd.ac.ir/article_4209.html Title: Cognitive Linguistic Modeling of the Concepts of “Liberation” and “Void” in the Poetry of Nazik Al-Malaika Phenomenological and Discursive Semiotic Approach (Case Study: Marthiyyah li-Imra’ah La Qīmata Lahā) 1. Introduction and Objectives In the realm of modern Arabic poetry, Nazik Al-Malaika stands as a pioneering figure whose poetic discourse transcends conventional aesthetic boundaries and ventures into the philosophical and existential dimensions of language. Her poetry, particularly the poem Marthiyyah li-Imra’ah La Qīmata Lahā, exemplifies a profound engagement with the concepts of “liberation” and “void,” not as abstract themes but as lived, cognitive states embedded within the linguistic fabric of the text. These concepts are not merely symbolic; they are structurally and semantically enacted through the poem’s syntactic, lexical, and metaphorical architecture. This study aims to model the cognitive-linguistic representation of “liberation” and “void” in Al-Malaika’s poem by employing an integrated theoretical framework that combines phenomenology and discursive semiotics. The research seeks to answer two central questions: (1) How is the concept of “void” cognitively represented through linguistic and semiotic structures from a phenomenological and discursive semiotic perspective? (2) How is the concept of “liberation” portrayed not as freedom, but as a gradual dissolution of the subject from meaning, memory, and human relationality? By addressing these questions, the study contributes to a deeper understanding of how language in modern Arabic poetry functions not only as a medium of expression but as a site of existential tension and cognitive construction. 2. Methodology The research adopts a descriptive-analytical methodology grounded in qualitative textual analysis. The primary corpus consists of the poem Marthiyyah li-Imra’ah La Qīmata Lahā, which is examined through a multi-layered linguistic lens. The study utilizes cognitive linguistic tools to identify and classify the syntactic, lexical, metaphorical, and semiotic components that contribute to the modeling of “liberation” and “void.” The theoretical framework is based on two complementary paradigms: Phenomenology, particularly Ricoeur’s hermeneutic phenomenology, which allows for the interpretation of lived experience and existential absence as encoded in poetic language Discursive Semiotics, drawing on Greimasian theory, which facilitates the analysis of signs, absences, and negations within the poem’s discursive structure The analysis proceeds in two stages: First, the linguistic features associated with “void” and “liberation” are extracted and categorized according to their syntactic, semantic, and metaphorical functions. Second, these features are interpreted within the phenomenological and semiotic frameworks to reveal their cognitive and existential implications. 3. Findings The findings indicate that the concept of “void” is linguistically constructed through a constellation of negation-based syntactic structures, decay-oriented lexical items, and metaphors of absence and dissolution. Specifically: Syntactic structures such as negation verbs and omission of agency reflect existential passivity and the erasure of subjectivity. Lexical choices including terms like “bones,” “forgetfulness,” “polluted water,” and “echo” evoke semantic fields of decay, violence, and disconnection. Conceptual metaphors of death, erosion, and silence translate the internal experience of void into spatial and temporal imagery. Phenomenological markers such as the absence of empathy, isolation, and exclusion from collective memory underscore the lived experience of existential detachment. Discursive semiotic elements including repetitive negation, silence, and failure of meaning transmission reinforce the dominance of “non-being” over “being.” Conversely, the concept of “liberation” is not framed as emancipation or transcendence, but as a gradual cognitive and existential unraveling. It manifests through: The absence of mourning and emotional response in the social sphere. The erasure of narrative and inability of death to generate memory. These elements collectively portray “liberation” as a cognitive state of dissolution, where the subject is progressively severed from meaning, memory, and relational presence. 4. Discussion and Conclusion The study reveals that Al-Malaika’s poetic language operates as a cognitive and existential mechanism that models “void” and “liberation” not as abstract literary motifs, but as structured experiences encoded in linguistic form. The integration of phenomenological and semiotic approaches enables a nuanced reading of how absence, negation, and dissolution are linguistically and conceptually enacted. “Void” emerges as a dominant existential condition, linguistically reinforced through syntactic negation, semantic decay, and metaphorical absence. It signifies not only the erasure of agency but the collapse of memory and meaning. “Liberation,” in turn, is portrayed as a paradoxical release—one that leads not to transcendence but to fragmentation and cognitive disintegration. Thus, language in this poem is not a passive vessel of expression; it is an active field of existential construction. The poem becomes a discursive elegy for the collapse of meaning, memory, and human presence in the modern world. This research, by modeling these concepts through cognitive linguistic analysis, offers a novel contribution to the study of modern Arabic poetry and its philosophical underpinnings. https://mcal.yazd.ac.ir/article_4220.html Introduction: Bayn al-Quṣrayn (Between two palaces) narrates life of a traditional family living in Cario around the time period of World War 1. This novel is written based of realistic style and shows the social and political circumstances in Egypt during the First World War. Sayed Ahmed, father of family is strict and self-centered one, and poses severe ethics and meaningless traditions on his family members. He establishes firm rules based on piety in the house, forbids all kinds of pleasures for family members including listening to music, falling in love and even laughing. He has such dominance on his family member that none of them dare asking him why he stays out of house until late time of night. He has a critical role in the novel in a way that his characters overshadows the manners all of characters and events of the novel. The family member cannot oppose their father consciously, but unconsciously their treatment are opposed to the principles of their fatehrs. present reading, consider interaction between Sayed Ahmed and his sons as mechanisms of the different parts of psych and so it aims to reading the father/sons relations as the interplays between three part of human psych noted in Freud theory of personality (Id, ego, super-ego). Methodology: More precisely in this reading, Sayed Ahmed is assumed as Father/Superego who forces his family members to accept his orders (beliefs, traditions), and the sons are regarded as different parts of psych (id, ego) which confronts their Father/Superego by special mechanisms. In other words the father/sons are considered opposed parts of psych that encounter each other by relations of conflict and reconciliations. This article wants to investigate these relations. Results and discussion: The results indicate that strict manners of Father/Superego to control his sons have some unexpected subsequences. First of reaction is seen by Sayed himself. The unconscious of Sayed Ahmed ( precisely Id part of it) cannot bear his omnipotent superego, that is formed of void norms and insufficient traditions, so its unconscious react and let his id distinct be released in hidden way. To put it simply, his unconscious, in parallel with the strict character in day and in house, let a hedonistic character be appeared in night which is symbol of unconscious. The id appeared in the night is not completely opposed with Sayed’s super-ego, because it emerges at the in a sublimated form.presicely speaking his desires in the night parties in accompanying with women, are sexual but they emerges with morality and art. so by this mechanism (Sublimation) a reconciliation occurs between two opposed parts,” id and superego’. Yasin the first son of family in reaction to the father/superego converts to an extreme id, his character is either an extreme id opposed to extreme super ego of father at home, or an extreme form of sublimated id of his father. The second son, Fahmi has a rational and moderate character. The Fahmi literally abbreviated from Fahm which in Arabic means conscience. He, contrary to his father and Yasin, has controls on his emotions and barely becomes enraged. In the novel he is symbol of ego. Is some occasion Fahmi encounter with father/superego, first of that is when he falls in love with Meryam the daughter of his neighbor. Sayed Ahmad as a super-ego suppressed his platonic love. He studies law and at the university become aware of political conditions of his country and joins to the the national anti-British groups. By starting political acts with the nationalist and patriarch students, his ego –which is dominant part of his character- tend to be a very idealistic superego. The superego dimension of Fahmai becoms so strong at the point that Father/superego cannot encounter it and suppress it. In sum, when Fahmi is ego cannot confront his father, so his ego converts to a super-ego till be able to defeat the meaningless norms and traditions of his Father/ super-ego. Inclination to the adventures and playfulness is the characteristic of the youngest son kamal. Kamal always is willing to realize his desires (plays) at the moment and want to continue it and make it longer and longer, this are some of Id’s characteristics that want everything at current time and extend it as long as possible.in an episode, Kamal goes with his mother –who has been encouraged by her sons and dauthers to go out when Seyad is on trip- and tries to motivated his mother to stay out more. Kamal’s willing to adventures cause his mother to be hit by a car. The accident brings about that Sayed be awar of disobedience of his wife and his pride be injured. Conclusion: so, characters of Bayn al-Quṣrayn (Between two palaces) and their behaviors and relations are meaningful and can be investigated according to the some psychoanalytic approaches and theories.