https://dspace.qou.edu/handle/194/2478 Tue, 16 Dec 2025 20:02:22 GMT 2025-12-16T20:02:22Z https://dspace.qou.edu/handle/194/2737 Title: The image of Jerusalem in Arabic and Hebrew poetry from pre-Islamic times until 1967 Authors: Mahameed, Ahmad Abstract: This study reveals the reflection of the image of the city of Jerusalem in Arabic and Hebrew poetry, from ancient times until 1967, showing the status of Jerusalem among Arab and Hebrew poets, through the poetic and prose texts that were accompanying us in this study. This study attempts to reflect the image of Jerusalem in Arabic and Hebrew poetic texts, since pre-Islamic times, through the Middle Ages, and the Crusades in particular, through the Mandate era, and ending with the occupation of western Jerusalem in 1948, and its complete occupation in 1967. This study will attempt to answer the differences between the vision of the Arab poets and the Hebrew poets, revealing the aspects that contributed to feeding the nationalistic and ideological motives on both sides. The study was crowned with a preface on the Noble Jerusalem, and the status and prestige of this holy city in the human and global conscience, containing three main chapters, so the first chapter, consisting of four sections, reflecting and indicating the position of Jerusalem in the Islamic, Christian and Jewish conscience, mentioning the various names of Jerusalem. As for the second chapter entitled: "The Image of Jerusalem in Arabic and Hebrew Poetry, from the Crusades, until 1948", it came with ten sections, which were as follows: - The Crusades and the occupation of Jerusalem. - The image of Jerusalem in Arabic poetry during the Crusades. - The Image of Jerusalem in the Ancient Hebrew/Jewish Thought. - The image of Jerusalem in medieval Hebrew poetry. - The image of Jerusalem in Arabic poetry during the Mandate period. - Poetry in the face of assignment. - Poetry against Zionism. - The image of Jerusalem in Hebrew poetry until 1948. - The image of Jerusalem in modern Hebrew poetry, until 1948. - The Biblical Impact on Mahmoud Darwish's Poetry. - The impact of Yehuda Halevy on the Hebrew poets in the modern era. The third chapter was crowned and marked with the title: "The Image of Jerusalem after the Palestinian Nakba", and it contained four main sections, which were included as follows: - The Palestinian Nakba and its reflection in Arabic poetry. - The scene of Jerusalem and the nostalgia for it in Arabic poetry. - The image of Jerusalem in Hebrew poetry after the Nakba. - The image of Jerusalem in the poetry of Yehuda Amichai. Through this study, we will follow the motives that were a certain and a certain, of Arab poets, and Hebrew poets, in terms of adherence to the religious heritage of the Hebrew poets in particular, who drew these motives, and the ember of adherence to Jerusalem, and the nostalgia for them, and the nostalgia for them from Ages pass. On the other hand, this study will attempt to reveal the religious and nationalistic motives of Arab and Muslim poets, in relation to the scene of Jerusalem in their poems, clarifying and comparing the vision of Arabs and Muslims on the one hand, and the vision of the Hebrew poets on the other hand. This study will attempt to answer the following questions: - How is the image of Jerusalem reflected in the Arab, Islamic, Christian, and Jewish conscience in ancient and medieval times? - How did the Hebrew poets view the city of Jerusalem since the pre-Islamic era and the Middle Ages? - How did Arab poets view the city of Jerusalem when it was occupied in the Crusades? - How did the Arab poets view the city of Jerusalem after its liberation from the Crusaders? - How did the Arab poets view the city of Jerusalem during the Mandate era? - How did the Arab poets view the city of Jerusalem after occupying the western part of it, and its complete occupation? - How did the Hebrew poets view the city of Jerusalem in the modern era? - How did the Hebrew poets view the city of Jerusalem when occupying the western part of it? Tue, 04 Oct 2022 00:00:00 GMT https://dspace.qou.edu/handle/194/2737 2022-10-04T00:00:00Z https://dspace.qou.edu/handle/194/2736 Title: The Poetic Examples of Arab Female Poets in Lisan al-Arab Authors: Rizk, Ibrahim Abstract: The Lisan al-Arab Dictionary is the mother reference and the basis for linguistic and grammatical studies. To prove a grammatical, linguistic, or semantic witness, as it combines its two covers with the roots of the words of the Arabs. The book also includes the names of places, poets, tribal names, Arab dialects, and other issues that need study, research and exploration, and despite the fact that many studies have been conducted on this; However, the research in it is still ongoing, and this thesis that the researcher is doing is one of those studies that are based on an investigation of what was mentioned in it, from the evidence of Arab poets whose words were cited by the owner of the tongue, from the pre-Islamic era until the end of the era of linguistic protest. The research came in an introduction and conclusion, and three chapters: The first chapter includes two topics: the first: poets of the pre-Islamic era, the second: poets of unknown era with the preponderance of the pre-Islamic era, and the second: the veteran poets (pre-Islamic and early Islam), and the third: the early Islamic ages: early Islam, the Umayyad Abbasi.. The research concluded with results, including: Arab poets are not measured by what was mentioned about the poets’ evidence, as they in total did not exceed fifty poets, between a poet with court records such as Al-Khansa’ and Laila Al-Akhiliya, and a woman who said a line or two lines that the owner of the tongue inferred to form a witness to a certain meaning. Contrary to what the author of the tongue brought to hundreds of testimonies from great poets who had weight in Arabic poetry throughout the period of linguistic protest. Sat, 11 Jun 2022 00:00:00 GMT https://dspace.qou.edu/handle/194/2736 2022-06-11T00:00:00Z https://dspace.qou.edu/handle/194/2721 Title: Palestine in Radwa Ashour's Oeuvre Authors: Ziad Jawad Diab Al-Atawneh Abstract: This MA Thesis aims at showing Palestine portrayal in Radwa Ashour's oeuvre in its critical and narrative achievements and its biographical aspect that reinforced the intellectual realm to the Palestinian Cause . Consequently, this study came in three chapters and each chapter Consists several elements. In Chapter One which is titled: Critical Visions by Radwa Ashour in the Novels of Ghassan Kanafani has five subdivisions. The first: The 1948-Nakba (Disaster) and the dispossession of Palestinians in Kanafani's hat All That's Left to You. The second, exile in Kanafani's Men in the Sun. The third, the Armed Revolution in Kanafani's Um Sa'ad. The fourth, the Intellectual Revolution in Kanafani's The Blind and the Deaf. The fifth, the Influence of Human Thought on Kanafani. The Second Chapter is titled: Palestine portrayal in the Intellectual Realm by Radwa Ashour. It has three subdivisions. First, The Human Space. The second, the literary and intellectual Space. The third, the Political Space. The Third Chapter which is titled (The Incarnation of Palestine in the Narrative Speech) is distributed into three sections: First, the portrayal of the Second Palestinian Intifada in the novel Part of Europe. Second, the Refugee Portrayal in Ashour's Tantourieh. The Third, is the aesthetic portrayal. This study arrived at several important findings. The most important by Radwa Ashour who envisioned that Ghassan Kanafani in his novella Men in the Sun does not only narrate/represent the actions of some Palestinian personaes but exceeds that and portrays a realistic Palestinian vision. Ashour emphasized Kanafani's epistemological realm, as an exiled author, at his intellectual height. She also highlights the struggle role of the Palestinian intellectual Edward Said. Moreover, Ashour documented in her novel Tantourieh, the tragic and catastrophic consequences of Palestinian refugees and she aesthetically incarnated the Palestinian tragedy. Sat, 01 Jan 2022 00:00:00 GMT https://dspace.qou.edu/handle/194/2721 2022-01-01T00:00:00Z https://dspace.qou.edu/handle/194/2715 Title: The Aesthetics of plastic Art in literary discourse Authors: Maryam Ghassan Sami Yassin Abstract: The study aims to monitor the semantic relationship between plastic painting and literary discourse in the modern era by adopting the semiotic approach in analysis. The study consisted of a preface and three chapters. The modern preface dealt with the synergy of the arts, the integration of knowledge, and the relationship between plastic art and literature. However, the first chapter, entitled "Semantic interrelationship between textual thresholds and content of literary discourse” was divided into three sections: The first section: The semantic relationship between the textual thresholds, the second: the relationship of the cover with the content of the literary discourse, and the third: the relationship of the title to the content of the literary discourse. The second chapter was marked as "plastic art in poetic discourse" divided into two sections. The first: is the effect of plastic painting on the poetic text. The second: is the effect of the poetic text on plastic painting. Finally, the third chapter, entitled "plastic art in the narrative discourse," is divided into two sections: firstly, the dialectical relationship between plastic painting and fictional art. Secondly: the dialectical relationship between plastic painting and biography. The study came out with a set of results, the most important of which are: The cognitive and psychological fluctuations of the cover are inseparable from the space of the title of the literary discourse and its content. The cover is a natural extension of them, and the manifestation of plastic painting in poetic texts gives us an artistic space that links the words of the poetic text with the plastic painting by revealing the semantic relationship between them. Then, the dialectical relationship between plastic painting and the art of the novel creates a semantic continuity which leads to the interaction of the visual space with the centrality of the narrative body; adding semantic dimensions that the text acquires in its interaction with the space of the plastic painting, or vice versa. Sat, 01 Jan 2022 00:00:00 GMT https://dspace.qou.edu/handle/194/2715 2022-01-01T00:00:00Z