{"id":2978,"date":"2025-01-15T08:00:00","date_gmt":"2025-01-15T08:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=2978"},"modified":"2025-02-24T14:08:26","modified_gmt":"2025-02-24T14:08:26","slug":"arguments-enigma-discourse-dialogical-strategy-poetics-satire-sign","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=2978","title":{"rendered":"Article 41-Issue 01 vol 6 January 2025"},"content":{"rendered":"\n

Satire and Enigma Discourse in  the Contemporary Arabic Poetry: The Incomplete Descriptions<\/em> by Ahmed Mater  as a Case Study<\/strong><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n

\u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0648\u062e\u0637\u0627\u0628 \u0627\u0644\u0623\u0644\u063a\u0627\u0632 \u0641\u064a \u0627\u0644\u0634\u0639\u0631 \u0627\u0644\u0639\u0631\u0628\u064a \u0627\u0644\u0645\u0639\u0627\u0635\u0631 \u0644\u0627\u0641\u062a\u0629 (\u0623\u0648\u0635\u0627\u0641 \u0646\u0627\u0642\u0635\u0629) \u0644\u0640 (\u0623\u062d\u0645\u062f \u0645\u0637\u0631) \u0646\u0645\u0648\u0630\u062c\u0627<\/strong><\/bdo><\/strong><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n

Samira Garoui<\/strong>
University of Abess Lagrour Khenchela, Algeria
 Samia.garoui@univ-khenchela.dz<\/a>
https:\/\/orcid.org\/0000-0003-0312-1062<\/a><\/strong><\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n

Abstract<\/strong><\/p><\/div><\/div>\n\n\n\n

Ahmed Matar, the poet, delves into the realm of contrast and diversity within the architectural framework of his poems, aptly termed )signs(. He adorns each poem with a refined artistic touch, crafting a unique artistic identity for each, while framing them within a satirical discourse. Recognizing the nuanced nature of every discourse, our study aims to explain the limits of the ideologization of his speech in the poem Incomplete Description<\/em> and identify the mechanisms he used to ridicule the miserable Arab reality and the limits of argumentation and poeticism that framed it. Leveraging structural analysis methodologies, we unravel the intricacies of the satirical enigmatic discourse, elucidating the rhetorical finesse of the arguments employed and revealing the dialogical strategy that structured the sign. The findings of our study illuminate that the embrace of dark satire manifested through linguistic paradoxes and evasive manoeuvres, served as a responsive avenue to the poet’s emotional and psychological cadence, encapsulating the twists of his discontented sentiments amidst the burdensome Arab reality and the political theatre entrenched in deceit and hubris<\/p><\/div><\/div>\n\n\n\n

Keywords:<\/strong> Arguments, Enigma Discourse, dialogical strategy, poetics, satire, sign<\/p><\/div><\/div>\n\n\n

\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

DOI: https:\/\/doi.org\/10.70091\/Atras\/vol06no01.41
<\/strong><\/h1><\/div><\/div>\n\n\n\n

How to Cite this Paper :<\/strong><\/strong> <\/p><\/div><\/div>\n\n\n\n

\u0633\u0645\u064a\u0631\u0629 \u0642\u0631\u0648\u064a .(2025) . \u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0648\u062e\u0637\u0627\u0628 \u0627\u0644\u0623\u0644\u063a\u0627\u0632 \u0641\u064a \u0627\u0644\u0634\u0639\u0631 \u0627\u0644\u0639\u0631\u0628\u064a \u0627\u0644\u0645\u0639\u0627\u0635\u0631 \u0644\u0627\u0641\u062a\u0629 (\u0623\u0648\u0635\u0627\u0641 \u0646\u0627\u0642\u0635\u0629) \u0644\u0640 (\u0623\u062d\u0645\u062f \u0645\u0637\u0631) \u0646\u0645\u0648\u0630\u062c\u0627. \u0645\u062c\u0644\u0629 \u0623\u0637\u0631\u0627\u0633\u060c 6<\/em>(1)\u060c 615-625<\/bdo><\/p><\/div><\/div>\n\n\n\n

References<\/strong>:<\/p><\/div><\/div>\n\n\n\n

\u0625\u0641\u0631\u0627\u0632\u0646\u060c \u0639\u0632\u064a. \u0627\u0644\u0639\u0644\u0648\u064a\u060c \u062f\u0644\u064a\u0644\u0627. (2020).  \u0623\u0644\u063a\u0627\u0632 \u0645\u062c\u0646\u0648\u0646\u0629 200 \u0644\u063a\u0632 \u0645\u062f\u0647\u0634 \u0641\u064a \u0627\u0644\u0645\u0646\u0637\u0642 \u0648\u0627\u0644\u062a\u0641\u0643\u064a\u0631 \u0627\u0644\u0645\u0628\u062f\u0639. \u06371.   \u0645\u0637\u0628\u0639\u0629 \u0627\u0644\u0623\u0646\u0648\u0627\u0631 \u0627\u0644\u0630\u0647\u0628\u064a\u0629. \u062e\u0631\u064a\u0628\u0643\u0629.
\u0627\u0644\u062c\u0627\u062d\u0638\u060c \u0623\u0628\u0648 \u0639\u062b\u0645\u0627\u0646 \u0639\u0645\u0631\u0648 \u0628\u0646 \u0628\u062d\u0631. (2003).  \u0627\u0644\u0628\u064a\u0627\u0646 \u0648\u0627\u0644\u062a\u0628\u064a\u064a\u0646. \u062c5. \u062a\u062d\u0642\u064a\u0642 \u0639\u0628\u062f \u0627\u0644\u0633\u0644\u0627\u0645 \u0647\u0627\u0631\u0648\u0646.  \u0645\u0643\u062a\u0628\u0629 \u0627\u0644\u062e\u0627\u0646\u062c\u064a. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u0627\u0644\u062c\u0648\u0632\u064a\u0647\u060c \u0627\u0628\u0646 \u0627\u0644\u0642\u064a\u0645. (1981).  \u0627\u0644\u0623\u0645\u062b\u0627\u0644 \u0641\u064a \u0627\u0644\u0642\u0631\u0622\u0646 \u0627\u0644\u0643\u0631\u064a\u0645. \u062a\u062d\u0642\u064a\u0642 \u0633\u0639\u064a\u062f \u0645\u062d\u0645\u062f \u0646\u0645\u0631 \u0627\u0644\u062e\u0637\u064a\u0628. \u062f\u0627\u0631 \u0627\u0644\u0645\u0639\u0631\u0641\u0629 \u0644\u0644\u0637\u0628\u0627\u0639\u0629 \u0648\u0627\u0644\u0646\u0634\u0631. \u0644\u0628\u0646\u0627\u0646.
\u0627\u0644\u0639\u0632\u0627\u0648\u064a\u060c \u0623\u0628\u0648 \u0628\u0643\u0631. (2009).  \u0627\u0644\u0644\u063a\u0629 \u0648\u0627\u0644\u062d\u062c\u0627\u062c. \u06372.  \u0627\u0644\u0631\u062d\u0627\u0628 \u0627\u0644\u062d\u062f\u064a\u062b\u0629 \u0644\u0644\u0646\u0634\u0631 \u0648\u0627\u0644\u062a\u0648\u0632\u064a\u0639. \u0644\u0628\u0646\u0627\u0646.
\u0627\u0644\u0641\u064a\u0631\u0648\u0632\u060c \u0622\u0628\u0627\u062f\u064a. (1996).  \u0627\u0644\u0642\u0627\u0645\u0648\u0633 \u0627\u0644\u0645\u062d\u064a\u0637. \u06375.  \u0645\u0624\u0633\u0633\u0629 \u0627\u0644\u0631\u0633\u0627\u0644\u0629. \u0628\u064a\u0631\u0648\u062a.
\u0627\u0644\u0642\u0627\u0631\u0635\u064a\u060c \u0645\u062d\u0645\u062f \u0639\u0644\u064a \u0648\u0622\u062e\u0631\u0648\u0646. (2010).  \u0623\u0647\u0645 \u0646\u0638\u0631\u064a\u0627\u062a \u0627\u0644\u062d\u062c\u0627\u062c \u0641\u064a \u0627\u0644\u062a\u0642\u0627\u0644\u064a\u062f \u0627\u0644\u063a\u0631\u0628\u064a\u0629 \u0645\u0646 \u0623\u0631\u0633\u0637\u0648 \u0625\u0644\u0649 \u0627\u0644\u064a\u0648\u0645. \u06371.  \u0645\u0646\u0634\u0648\u0631\u0627\u062a \u0643\u0644\u064a\u0629 \u0645\u0646\u0648\u0628\u0629. \u062a\u0648\u0646\u0633.
\u0627\u0644\u0643\u0627\u062a\u0628\u060c \u0625\u0633\u062d\u0627\u0642 \u0628\u0646 \u0648\u0647\u0628. (2012).  \u0627\u0644\u0628\u0631\u0647\u0627\u0646 \u0641\u064a \u0648\u062c\u0648\u0647 \u0627\u0644\u0628\u064a\u0627\u0646. \u062a\u062d\u0642\u064a\u0642 \u0623\u062d\u0645\u062f \u0645\u0637\u0644\u0648\u0628 \u0648\u062e\u062f\u064a\u062c\u0629 \u0627\u0644\u062d\u062f\u064a\u062b\u064a. \u06371.  \u0645\u0643\u062a\u0628\u0629 \u0627\u0644\u0631\u0634\u062f. \u0627\u0644\u0631\u064a\u0627\u0636.
\u0627\u0628\u0646 \u0645\u0646\u0638\u0648\u0631\u060c \u0623\u0628\u0648 \u0627\u0644\u0641\u0636\u0644 \u062c\u0645\u0627\u0644 \u0627\u0644\u062f\u064a\u0646 \u0627\u0644\u0623\u0646\u0635\u0627\u0631\u064a.  \u0644\u0633\u0627\u0646 \u0627\u0644\u0639\u0631\u0628. \u0645\u062c 15.  \u062f\u0627\u0631 \u0627\u0644\u0645\u0639\u0627\u0631\u0641. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u062c\u0648\u0627\u0645\u0639\u060c \u0639\u0642\u064a\u0644\u0629. (2021). “\u062a\u062c\u0644\u064a\u0627\u062a \u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0648\u0622\u0644\u064a\u0627\u062a \u0627\u0634\u062a\u063a\u0627\u0644\u0647\u0627 \u0641\u064a \u0639\u0646\u0648\u0627\u0646 \u0627\u0644\u0642\u0635\u064a\u062f\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629”\u060c \u062f\u0641\u0627\u062a\u0631 \u0627\u0644\u0628\u062d\u0648\u062b \u0627\u0644\u0639\u0644\u0645\u064a\u0629 (\u0627\u0644\u0645\u0631\u0643\u0632 \u0627\u0644\u062c\u0627\u0645\u0639\u064a \u062a\u064a\u0628\u0627\u0632\u0629): \u0627\u0644\u0645\u062c\u0644\u062f 9 (1): 769-789.
\u0645\u0627\u064a\u064a\u0631\u060c \u0645\u064a\u0634\u064a\u0644. (2010).  \u0627\u0644\u0644\u063a\u0629 \u0648\u0627\u0644\u0645\u0646\u0637\u0642 \u0648\u0627\u0644\u062d\u062c\u0627\u062c. \u062d\u0627\u0641\u0638 \u0625\u0633\u0645\u0627\u0639\u064a\u0644\u060c \u0639\u0644\u064a\u0648\u064a. \u0627\u0644\u062d\u062c\u0627\u062c \u0645\u0641\u0647\u0648\u0645\u0647 \u0648\u0645\u062c\u0627\u0644\u0627\u062a\u0647\u060c \u062f\u0631\u0627\u0633\u0627\u062a \u0646\u0638\u0631\u064a\u0629 \u0648\u062a\u0637\u0628\u064a\u0642\u064a\u0629 \u0641\u064a \u0627\u0644\u0628\u0644\u0627\u063a\u0629 \u0627\u0644\u062c\u062f\u064a\u062f\u0629. \u0627\u0644\u062c\u0632\u0621 \u0627\u0644\u062e\u0627\u0645\u0633. \u0646\u0635\u0648\u0635 \u0645\u062a\u0631\u062c\u0645\u0629. \u06371.  \u0639\u0627\u0644\u0645 \u0627\u0644\u0643\u062a\u0628 \u0627\u0644\u062d\u062f\u064a\u062b. \u0625\u0631\u0628\u062f
\u0645\u0637\u0631\u060c \u0623\u062d\u0645\u062f. (1996).  \u062f\u064a\u0648\u0627\u0646 \u0644\u0627\u0641\u062a\u0627\u062a7. \u06371.  \u0644\u0646\u062f\u0646.
\u0646\u062c\u0641\u064a\u0627\u0646\u060c \u0645\u0646\u064a\u0631\u0629. (2021). “\u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0627\u0644\u062b\u0648\u0631\u064a\u0629 \u0641\u064a \u0627\u0644\u0634\u0639\u0631 \u0627\u0644\u0639\u0631\u0627\u0642\u064a \u0627\u0644\u0645\u0639\u0627\u0635\u0631 -\u0634\u0639\u0631 \u0623\u062d\u0645\u062f \u0645\u0637\u0631 \u0646\u0645\u0648\u0630\u062c\u0627-“. \u0645\u062c\u0644\u0629 \u0622\u062f\u0627\u0628 \u0627\u0644\u0643\u0648\u0641\u0629 (\u062c\u0627\u0645\u0639\u0629 \u0622\u0632\u0627\u062f \u0627\u0644\u0625\u0633\u0644\u0627\u0645\u064a\u0629 \u0622\u0628\u0627\u062f\u0627\u0646): 1 (39): 245-282.
\u0633\u0639\u064a\u062f\u064a\u060c \u0645\u062d\u0645\u062f (1998).  \u0627\u0644\u0623\u062f\u0628 \u0627\u0644\u0634\u0639\u0628\u064a \u0628\u064a\u0646 \u0627\u0644\u0646\u0638\u0631\u064a\u0629 \u0648\u0627\u0644\u062a\u0637\u0628\u064a\u0642. \u06371.  \u062f\u064a\u0648\u0627\u0646 \u0627\u0644\u0645\u0637\u0628\u0648\u0639\u0627\u062a \u0627\u0644\u062c\u0627\u0645\u0639\u064a\u0629. \u0627\u0644\u062c\u0632\u0627\u0626\u0631.
\u0634\u0631\u0641\u060c \u0639\u0628\u062f \u0627\u0644\u0639\u0632\u064a\u0632 \u0634\u0631\u0641. (1992).  \u0627\u0644\u0623\u062f\u0628 \u0627\u0644\u0641\u0643\u0627\u0647\u064a. \u06371.  \u0627\u0644\u0634\u0631\u0643\u0629 \u0627\u0644\u0645\u0635\u0631\u064a\u0629 \u0627\u0644\u0639\u0627\u0644\u0645\u064a\u0629 \u0644\u0644\u0646\u0634\u0631 \u0644\u0648\u0646\u062c\u0645\u0627\u0646. \u0627\u0644\u0642\u0627\u0647\u0631\u0629.
\u062a\u0645\u0627\u0645\u060c \u062d\u0633\u0627\u0646. (1994).  \u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0645\u0639\u0646\u0627\u0647\u0627 \u0648\u0645\u0628\u0646\u0627\u0647\u0627. \u06371.  \u062f\u0627\u0631 \u0627\u0644\u062b\u0642\u0627\u0641\u0629. \u0627\u0644\u062f\u0627\u0631 \u0627\u0644\u0628\u064a\u0636\u0627\u0621.
\u0639\u0644\u0648\u064a\u060c \u062d\u0627\u0641\u0638 \u0627\u0633\u0645\u0627\u0639\u064a\u0644\u064a. (2010).  \u0627\u0644\u062d\u062c\u0627\u062c \u0645\u0641\u0647\u0648\u0645\u0647 \u0648\u0645\u062c\u0627\u0644\u0627\u062a\u0647\u060c \u062f\u0631\u0627\u0633\u0627\u062a \u0646\u0638\u0631\u064a\u0629 \u0648\u062a\u0637\u0628\u064a\u0642\u064a\u0629 \u0641\u064a \u0627\u0644\u0628\u0644\u0627\u063a\u0629 \u0627\u0644\u062c\u062f\u064a\u062f\u0629. \u062c5.  \u0639\u0627\u0644\u0645 \u0627\u0644\u0643\u062a\u0628 \u0627\u0644\u062d\u062f\u064a\u062b. \u0639\u0645\u0627\u0646.<\/p><\/div><\/div>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Copyright for all articles published in ATRAS <\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles. ATRAS <\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in ATRAS <\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Arguments, Enigma Discourse, dialogical strategy, poetics, satire, sign<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[599],"tags":[784,786,785,787,788,789],"class_list":["post-2978","post","type-post","status-publish","format-standard","hentry","category-vol-06-n01-2025","tag-arguments","tag-dialogical-strategy","tag-enigma-discourse","tag-poetics","tag-satire","tag-sign"],"gutentor_comment":0,"yoast_head":"\nArticle 41-Issue 01 vol 6 January 2025 - ATRAS journal<\/title>\n<meta name=\"description\" content=\"Arguments, Enigma Discourse, dialogical strategy, poetics, satire, sign Ahmed Matar, the poet, delves into the realm of contrast and diversity within the architectural framework of his poems, aptly termed )signs(. He adorns each poem with a refined artistic touch, crafting a unique artistic identity for each, while framing them within a satirical discourse. Recognizing the nuanced nature of every discourse, our study aims to explain the limits of the ideologization of his speech in the poem Incomplete Description and identify the mechanisms he used to ridicule the miserable Arab reality and the limits of argumentation and poeticism that framed it. Leveraging structural analysis methodologies, we unravel the intricacies of the satirical enigmatic discourse, elucidating the rhetorical finesse of the arguments employed and revealing the dialogical strategy that structured the sign. The findings of our study illuminate that the embrace of dark satire manifested through linguistic paradoxes and evasive manoeuvres, served as a responsive avenue to the poet's emotional and psychological cadence, encapsulating the twists of his discontented sentiments amidst the burdensome Arab reality and the political theatre entrenched in deceit and hubris\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/atras-univ-saida.dz\/en\/?p=2978\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Satire and Enigma Discourse in \u00a0the Contemporary Arabic Poetry: The Incomplete Descriptions by Ahmed Mater\u00a0 as a Case Study\" \/>\n<meta property=\"og:description\" content=\"Ahmed Matar, the poet, delves into the realm of contrast and diversity within the architectural framework of his poems, aptly termed )signs(. He adorns each poem with a refined artistic touch, crafting a unique artistic identity for each, while framing them within a satirical discourse. Recognizing the nuanced nature of every discourse, our study aims to explain the limits of the ideologization of his speech in the poem Incomplete Description and identify the mechanisms he used to ridicule the miserable Arab reality and the limits of argumentation and poeticism that framed it. Leveraging structural analysis methodologies, we unravel the intricacies of the satirical enigmatic discourse, elucidating the rhetorical finesse of the arguments employed and revealing the dialogical strategy that structured the sign. The findings of our study illuminate that the embrace of dark satire manifested through linguistic paradoxes and evasive manoeuvres, served as a responsive avenue to the poet's emotional and psychological cadence, encapsulating the twists of his discontented sentiments amidst the burdensome Arab reality and the political theatre entrenched in deceit and hubris\" \/>\n<meta property=\"og:url\" content=\"https:\/\/atras-univ-saida.dz\/en\/?p=2978\" \/>\n<meta property=\"og:site_name\" content=\"ATRAS journal\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/p\/ATRAS-journal-100083161450894\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-01-15T08:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-24T14:08:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"278\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"atras\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Satire and Enigma Discourse in \u00a0the Contemporary Arabic Poetry: The Incomplete Descriptions by Ahmed Mater\u00a0 as a Case Study\" \/>\n<meta name=\"twitter:description\" content=\"Ahmed Matar, the poet, delves into the realm of contrast and diversity within the architectural framework of his poems, aptly termed )signs(. 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