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The Qur’ānic rhythmicity, represented in the intonations of the music emitted in folds of the Great Qur'ān came as the basis for the passion for recitation and listening pleasure. Although there have been several studies on this subject, the focus of the research has been on rhythmic forms: What they are, their composition, and the effect of their representation in Qur’ānic styles as a kind of renewed vision, understanding, and perception of Qur’ānic discourse. The research, therefore, followed the approach of characterizing these forms and analyzing them by devising the bonds t hat m ade t he r hythm s pread m eaning d ifferently. I t began b y r eferring t o t he r ole o f music provided by the rhythms of the Qur’ānic verses in paying attention to the vocal miracle, next presents the basic types of this rhythm and shows the foundations of this study that support the idea of its presence in the verses, to highlight its role in clarifying the meaning. This study focused on illustrating the forms of rhythm, ranging from the splendid through the rhythm of the suggestive rhythm, and ending with the syllabic rhythm, by describing each form and searching for it between letters, words, structures, and methods. Besides, it pays attention to rhythm's effects and indicates its reflection on meaning. The research has shown that the rhythm makes emotion peak, showing meaning embodied in terms. This embodiment represents the power of performance in demonstrating the exact purpose of speech choices within specific contexts and through various exquisite styles colored in psychological meanings. The importance and objectives of the research Rhythm are directly related to the different connotations it generates. Phonetic formations are activities and interactions between meanings. The sound structure, an essential element in the Holy Qur’ān, is one of the elements that form the rhythm in the structure of the verses of the Qur’ān. Its interaction with other elements contributes to shaping the Qur’ānic discourse with its creative vision and artistic and aesthetic dimensions while showing verbal consistency, collecting homogeneous words, and linking words. Common and synonymous in one sentence is something that avoids the language, and we find it common in the language of the Qur’ān to the maximum extent, to give it a harmonious rhythm distinct from the rhythm of poetry among the Arabs, and this is what attracted them to it and prompted them to pay attention to what it conveyed to them. The research aims to explain the importance of rhythm in the verses of the Holy Qur’ān, in addition to highlighting the relationship between rhythm, meaning, and context in the texts of the Qur’ān, and its role in making this rhythm an element of the Qur’ānic miracle, as it has thus denoted a distinct Qur’ānic rhythm that made it that strange phenomenon that characterizes the Qur’ān in paving his letters and arranging his words in order without every arrangement and system used by people in their speech. Previous studies: The interest in the rhythm of the Qur’ān as part of a whole appeared in their talk about the miraculousness of the Qur’ān according to al-Rumani, al-Khattabi, al-Askari, al- Baqalani, al-Jurjani, al-Sakaki, and al-Zamakhshari, through his interest in the phonetic beauty of the Holy Qur’ān in terms of application, while he was partly independent of the study according to contemporaries. Where Al-Rafi’i saw that this wonderful literary characteristic of the Qur’ānic discourse lies in the elegant rhythm, and he worked on studying the commas and their effects, and Subhi Al-Saleh followed him in studying the internal music of the Qur’ān, and After him, Naim Al-Yafi came to lay down nine rules for the formation of the melody in the music of the Qur’āan, as Bakri Sheikh focused Amin and other scholars on Qur’ānic rhythm, among them Muhammad Abdullah Daraz, and Al-Mubarak. While the study of rhythm in poetry was independent by Kamal Abu Deeb in his book (On the Rhythmic Structure of Arabic Poetry), and Muhammad Al-Ayashi in his book (The Theory of Rhythm in Arabic Poetry). Research methodology and plan: In terms of the fact that the research aimed to shed light on the forms of Qur’ānic rhythm, clarify the relationship between meaning and rhythm, and what rhythm offers to mean in terms of vision, understanding and realization of the Qur’ānic discourse, and making it in papers accessible to anyone who wants, without delving or going too deep and going too far, The approach in this matter is not limitless. The research began with an introduction in which he explained the importance of the research and its objective in addition to the methodology it followed. Then the research was presented in two frameworks: A theoretical framework that spoke briefly about sounds and rhythm in Arabic, in two points. A practical framework in which the rhythmic forms were identified between the rhythmic rhythms of the Budaiya, the rhythmic suggestive, and the rhythmic syllables, and then the Qur’ānic evidence was mentioned on these forms and their branches, with their analysis, and a reference to the conclusions that were reached, then the conclusion. [ABSTRACT FROM AUTHOR]

The experience of the actor in unexpected short kinetic performances is of interest in this research. The focus is particularly on addressing rhythm-related aspects that serve as a tool to break the horizon of expectations and create a sense of shock. Therefore, the research explores the components of rhythm in acting, the mechanisms, and the metaphors associated with rhythm in this field. It provides an overview and analysis of the methods through which rhythm has been embodied and understood by actors, directors, theater teachers, and playwrights. [ABSTRACT FROM AUTHOR]

This research aims to study the poet's memory relationship with rhythm and to clarify this relationship by highlighting it in some of the poems collected in the book of the Fatimids, and the researcher chose (counterpart, alliteration, rotation and repetition); Because it formed a prominent phenomenon in the poets' use of it extensively in the Fatimids book, as well as its good ability to create a hidden rhythm that attracts the listener, and shows the poet's linguistic and artistic ingenuity, then we link these generated rhythms with the memory of the poet. [ABSTRACT FROM AUTHOR]

This study consists of a preface, three sections, and a conclusion. The preface proposes a new hypothesis in the study of the Arabic prosody, which is to highlight the importance of the intersected educational chanting of poetry based on the rhythmic timing rather than the impactful recitation that is based on meaning in teaching the poetic meters, as they share the rhythmic variations in their melodies, the double, triple, and quadruple melodies. In the first section, I dealt with the quadruple poetic meters: al-Tawīl, al-Madīd, and al-Basīt. In the second section, I analyzed the triple poetic meters: al- Raml, al-Khafīf, and al-Mujtath. In the third section, I dealt with the double poetic meters: al-Wāfir, al-Kāmil, al-Hazaj, al-Rajaz, al-Sarī', al-Munsarih, al-Mudari', al-Muqtāib, al-Mutaqārib, and al-Mutadārak. The researcher developed a detailed table for each of the meters showing the rhythmic structure of each of: ([awtād], [asbāb], feet and poetic meters) with applied poetic models detailing the method of educational chanting performance based on the rhythmic timing rather than the impactful recitation that is based on meaning. The conclusion presented the most important results, such as: the science of Arabic prosody has an audio-lingual dimension, a numerical dimension, and a rhythmic dimension, thus it incorporates several theories that attempted to analyze Arabic poetry such as the quantitative theory, the qualitative numerical theory, and the rhythmic theory. We emphasize that this proposed chanting method is only a means of understanding and an instructional aid rather than an alternative for the Khalili Arabic prosody approach. The study recommendations suggested employing the chanting method in teaching the meters of Arabic poetry according to the scientific foundations proposed in this study and represented in singing the rhythmic nuclei that consist of ([sabab], [watad], or a minor interval) as follows: Each rhythmic nucleus has one tone equal to the rest of the tones in melodic timing. I also recommended conducting an empirical study to reshape the state of the art of teaching prosody at the University level by implementing the chanting method and measuring the effect of this method on comprehension and achievement. [ABSTRACT FROM AUTHOR]

The displacement phenomenon took over an outstanding level in modern stylistic studies, in a capacity of existing on a familiar in the literary text, and a displacing from the criteria of zero point in linguistic use. The study coped with the phenomenon of stylistic displacement in the poem “Against Who” by the Arab poet Amal Donqul, and his use of the language’s capabilities in violation of what is familiar in normal linguistic use. He played a key role in approaching poetic discourse from a semiotic perspective, by devastating previous traditional moulds, creating a state of creativity, and innovation in formulating meaning and communicating significance. The study monitored a set of phonemic shifts in the poem under study, which were disrupted at the level of the internal rhythm by repeating sounds, words and phrases, and the external rhythm by deviating from many of the features of weighted poetry until the poem approached the prose, which reflected the psychological state in which the poet was suffering under the pressure at the time of writing the poem. The research adopted the descriptivestatistical-analytical approach in the study of this poem, showing the effect of stylistic displacement in indicating semantics, and detecting the hidden semantics within the fabric of the poetic discourse under study. [ABSTRACT FROM AUTHOR]

This research aims to monitor the rhythmic shifts in Mahmoud Darwish's poetry, because it is decisive turn after leaving Beirut, accompanied by the demise of the Grand narratives that dominate the first poetic discourse, where the truth was based on a tribal horizon to express the collective Palestinian or Arab concern. The second discourse started from the unknown after it abandoned the high structures and transcendental structures, to produce knowledge that unfolds on the horizon of language, a knowledge that is fluid, and changes with each reading, which in turn will be called the change of the rhythmic pattern, or let us say that it called for a different rhythm through which knowledge is actually revealed. After it was manifested on the horizon of significance in words, this change and change in the images of rhythm that accompanied the transformation and change of the images of knowledge perhaps the concept of knowledge itself_ which is what the research seeks to reveal in significant models of the poet's poetry. [ABSTRACT FROM AUTHOR]

The divine signs are among the prose books that were characterized by their poetry, rhythm and music because they were written in a highly artistic and relative language. Those rhythm of the singular, the rhythm of the composition, repetition, parallelism, tandem, contrast, rhyme, contrast and conformation. [ABSTRACT FROM AUTHOR]

This Research study of stylistic phenomenon in the experience of the Mosuli poet, as he is considered one of the Mosul poets who achieved a distinguished presence .in their poetic writings The research tried hard to approach the semantic level and the sentence structure and structures. Moreover it focused on the phenomenon of rhythm, which achieved a remarkable presence in this poetic group. The study has taken from the constructivist stylistic approach in analyzing the poetic verses, which is how the construction of the word and how the parts have been placed in any building, which leads to the beauty of formation and highlights the semantics, structure, and rhythm. Two poems have been chosen from the diwan because they represent a model that expresses the aesthetic, stylistic phenomena that characterized the poet's writings and his distinguished style for this group. As the study touch the rhythmic aesthetic inherent in his poetry, which raised the stylistic search mechanism and touched on the mechanisms of its aesthetic potential under his words, which called for a trend towards the analytical research field according to the technical techniques and linguistic, poetic and aesthetic value that the study sought to analyze. [ABSTRACT FROM AUTHOR]

Palestinian poetry still takes into consideration rhythm، and its role in building the structure of the text، as well as the expression of feeling. Thus، it depends on the pillars of Arabic poetry. It includes plethora of figures of speech as an expression of the revolutionary emotions of the people. his poetry. This part used the statistical approach، considering the number of verses and not the number of poems، because the number of poems does not reveal the extent of the meter’s hesitation and the foot’s frequency. The simple meters in Abd a- Rahim Mahmoud’s poetry were found to be more frequent than the complex meters. Most frequent foot and rhyme in his poetry were studied to find out the changes and weight of the rhythm، as well as the construction forms and their impact on the rhythmic formation. At the end of this section، the researcher dealt with rhythm and its parameters. In the second part، the researcher dealt with the structure of repetition، explaining its effect on shaping the inner rhythm. The study also tackled repetition and alliteration forms. Then، the researcher explained the effect of topicalization on the cohesion of the text and its rhythm. Moreover، rhyming couplets were tackled and its effect on meaning، in addition to parallel rhythm. At the end of the research، results were concluded، most important of which are: Abd al- Rahim Mahmoud›s poetry managed to express his emotions effectively. Moreover، although he followed elements of classic poetry، he was also influenced by modern poetry movement of his era، as he resorted to al- Kamil meter in most of his poetry، and the personification in his images، as well as the association of rhyme with meaning. [ABSTRACT FROM AUTHOR]

We chose this research to study poetic rhythms which have gusher music from one side, and it stand on main and branch title related with the poetic text strongly from another side, the branch titles are same to the (spider's houses) from the image prospective which spread its lines with the main title in divan of (A Bridge on the Ash Valley) which lead to strong join and interlink with the poetic text. The title is such a head with the body, and what existence in the text from chain from the textual elements like inception, text, and conclusion. These elements listed under title the modern poetic poem which aimed to separate the modern poetry which stand on the non separating textual unity when it is grow and interact with the poetic text. [ABSTRACT FROM AUTHOR]

This study tries to explain the effect of rhythm on the textual cohesion in the anthology of the Umayyad poet Al-Arji, following the integrative approach, which instead of following a specific method, it tries to take advantage of all modern approaches to directly analyze the texts of Al-Arji poetry. It reveals the effect of rhythm to achieve textual cohesion, based on the fact that Al-Araji, in his attempt of expressing his experience, uses his available potentials peculiarly, on several levels; sound, syntax and semantics. By creating the rhythm of these levels among other elements constituting his poetry, the poetic text is formed and gains its specificity. The study, in quality and content, requires sectioning into a forward and introduction to elucidate the two key terms: the rhythm and textual cohesion, and two topics. [ABSTRACT FROM AUTHOR]

In this article, we approach the temporal rhythm in the novel Doumiatennar of the Algerian novelist *Bachir MEFTI*, from the perspective of the temporal rhythm between the acceleration and the slowdown; the first rhythm reflects the forward chronology with the techniques (Summary,Ellipsis,Anticipation) or the slow rhythm with the techniques (Scene, Pause, Analepsis).These techniques constitute the narrative elements that reflect actually the style of the novelist in the constitution of the events. This article aims to study the structure of temporal rhythm and its contribution to highlight the nature of the novel style and its relationship with the novel’s intention and its objectives. [ABSTRACT FROM AUTHOR]

This research paper is devoted to create the term of ‘Creeping of Al-Khabab’ for describing one of the prosodic changes that come on the rhythm of Al-Mutadarak’s metre, as a term and concept. As the previous and contemporary views of those who interested in prosody did not provide an accurate view of its description, free from the anomaly of the prosodic rules that described by Al-Khalil bin Ahmad Al-Farahidi in regulating the work of creeping in the measures of the Arabic poetry meters, Therefore, this research paper provides a new dissertation for removing the ambiguity and anomaly described by the rhythm of this poetic meter. [ABSTRACT FROM AUTHOR]

The purpose of this research is summarized to refute the argument that the Qur'anic textual structure is linguistically void of any logic. This would be done through the demonstration of the inimitability of its textual structure, its superiority in terms of rhetorical and artistic structure as well as the eminence of the Qur'anic style in comparison to other linguistic styles. The author will set off by highlighting the characteristics of the Qur'anic term as each single word was wisely chosen and masterly positioned in its proper place and congruent context that any other term could not replace it. This research also aims to reveal the characteristics of the Quranic structure and systems through exhibiting its verbal consistency, internal rhythm that is consistent with the sense, its concise and adequate expression in meaning. This proves that its style is devoid of being tedious and boring and its sound is harmonious in its systems, its euphony and its impact on the psyche of its addressee comes out as if it is in agreement and coherence. Therefore, it is realized that it falls out of mankind’s capacity and it is impossible for them to produce the like thereof. [ABSTRACT FROM AUTHOR]

Abu Firas took the woman in his poem as a mask addressed to him by his cousin Saif al-Dawah al-Hamdani، who did not redeem him. He helped him in this، as did the traditional Arabic poem that took the woman or the maid as an introduction to her. There is no woman in the poem except for a deliberate appearance behind him.We proved that the building of this poem in its external and internal rhythm، came coherent with the meaning connected to him conveying the poet tortured in captivity and flowed by the torrent of his turbulent feelings، it is clear that the poetic sea، which walked the poem chosen by a wonderful talent، carried the meaning، and we have provided the poet from the death of his father To his death، taking this historical talk Maayan to reach the back of the verses and hidden from us. [ABSTRACT FROM AUTHOR]

This study aimed to discuss the status of Arabic song in a more specialized way; based on that rhythm is one of the most important musical components which shape the Arabic song, and to clarify the negatives of the “mutual influence” between the components of this song; between Arabic song and the impact of the non-meaningful attempts to imitate some aspects of the world music and singing, by analyzing the rhythm’s role in Arabic song; based on that song - itself - is the most capable way to disseminate musical culture to a larger segment of the community. The study also discusses the Arab song, in terms of it’s ancient past and the present, and how can we maintain the musical identity with all these attempts of innovation and imitation? [ABSTRACT FROM AUTHOR]

The interval was used in the grammar, prosody, punctuation, and Quranic sciences. It is located at the end of each verse or phrase. The interval is considered as a form of rhyme in sound, which is formed by the repetition of a sound at the end of each poetic stanza. But the Quranic interval is more closely related to the rhythmic aspect and gives a beautiful model and wonderful spiritual melody. [ABSTRACT FROM AUTHOR]

Sayyed Qutb is one of the few critics who dedicated his efforts is studying the Quranic text with 20th century perspectives. His study was known as the theory of aesthetic images of the Quran but on the other hand, I do find that he had was also interested in another area which is obvious from his works on the Quran: the Quranic rhythm and intonation. He discussed about it as a very interesting subject that requires special analysis. In his study, there are two types of rhythm and intonation: first is what he termed as partial rhythm and intonation that come from a single sound, a word or a phrase. The second type is the total rhythm and intonation- the focus of this paper- that originates from an event, a story, a surah or a chapter of the Quran. The study is based on descriptive and analytical methods in order to discover the approach of Sayyed Qutb in studying the aspect of Quranic reception and in identifying its esthetical aspects. His idea about the reception through listening to the Quran was direct and this had prompted him to describe it descriptively and aesthetically most of the times. I found that his treatment of the subject is distinct in the use of his own specific terminologies as he distinctively described the differences between the various rhythm and intonation in various expressions. He stressed in many instances that the Quranic rhythm need special treatment and study due its undeniable importance as a characteristic of the Quranic verses. [ABSTRACT FROM AUTHOR]

The Arabic poem was able to preserve its structure for centuries since it was discovered by the critics of the second century of Hijrah, who discovered poems of al-Muhalhil, Imru'l-Qays and 'Antara which were written one hundred fifty years before Islam. The Hanged (Mualaqa) poem of Imru'l-Qays was a unique poem to follow up the characteristics of the ancient Arabic poetry's structure, so many papers were written about it. This paper is taking up this Hanged poem in a modern view, focusing on the language and the rhythm which are the basic pillars of the ancient Arabic poetry. [ABSTRACT FROM AUTHOR]