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All Journal Dzil Majaz Al-Irfan: Journal Of Arabic Literature and Islamic Studies
Setia Gumilar
Universitas Islam Negeri Sunan Gunung Djati Bandung
Religion Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Other

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Musawwighāt al-Mubtada’ bi al-Nakirah: Their Types and Functions in the Book Awa’iq Ath-Thalab by Sheikh Abdus Salam bin Barjas (A Syntactic Analysis) Muhammad Haritsah Rais; Akmaliyah Akmaliyah; Maman Abdul Djaliel; Setia Gumilar
Al-Irfan : Journal of Arabic Literature and Islamic Studies Vol. 9 No. 2 (2026): Articles in Press
Publisher : Sekolah Tinggi Agama Islam Darul Ulum Banyuanyar Pamekasan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58223/al-irfan.v9i2.948

Abstract

In Arabic grammar, the mubtada’ is generally required to be an isim ma‘rifah. However, Arabic texts frequently employ isim nakirah as the mubtada’, raising questions about the linguistic factors that permit its use. This study aims to identify the types and functions of musawwighāt al-mubtada’ bi an-nakirah in Awa’iq Ath-Thalab by Shaykh Abdus Salam bin Barjas based on Ibn Hisyām al-Anṣārī’s theory in Mughnī al-Labīb. This study employs a qualitative approach using the library research method. Data were collected through reading and note-taking by identifying sentences containing musawwighāt al-mubtada’ bi an-nakirah and analyzing them according to Ibn Hisyām al-Anṣārī’s framework. The findings reveal four types of musawwighāt al-mubtada’ bi an-nakirah: the general nakirah, the qualified nakirah, the nakirah whose predicate is a zharf, jar-majrūr, or jumlah, and the governing nakirah. The identified functions are ta‘mīm and takhṣīṣ. These findings indicate that the mubtada’ nakirah in Awa’iq Ath-Thalab is predominantly used to convey general meanings, advice, and motivation. This study contributes to Arabic syntactic studies by applying the theory of musawwighāt al-mubtada’ bi an-nakirah to the analysis of an Islamic classical text.
Representasi Kehidupan dan Perlawanan dalam Puisi ‘Ala Hadzihi Al-Ardh Ma Yastahiqqu al-Hayah Karya Mahmoud Darwish (Kajian Semiotika Roland Barthes) Muhammad Fachri; Akmaliyah Akmaliyah; Maman Abdul Djaliel; Setia Gumilar
Dzil Majaz: Journal of Arabic Literature Vol. 4 No. 1 (2026): January-April
Publisher : Sekolah Tinggi Agama Islam Darul Ulum Banyuanyar, Pamekasan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58223/dzilmajaz.v4i1.988

Abstract

This study aims to describe how Mahmoud Darwish’s poem ‘Ala Hadzihi Al-Ardh Ma Yastahiqqu Al-Hayah represents life through poetic signs and how forms of resistance are interpreted and articulated based on Roland Barthes’ semiotic approach. This study employed a qualitative descriptive method using library research and documentation techniques. The research data consist of poetic lines containing linguistic signs, imagery, and symbols, which were analyzed at the levels of denotation, connotation, and myth. The findings reveal that the representation of life is constructed through poetic signs derived from nature, everyday life, culture, and women's experiences, portraying life as a resilient force that endures amid oppression. Meanwhile, the representation of resistance is interpreted and articulated through collective memory, hope, courage, art, and love for the homeland as expressions of preserving identity and humanity. At the level of myth, the poem constructs a discourse in which life and resistance are inseparable elements in sustaining the identity and existence of the Palestinian people. The findings further indicate that Darwish’s poem represents Palestine not merely as a contested geographical territory but also as a humanitarian space that continues to exist through the representations of life and resistance, while simultaneously conveying an ideology of resilience and the struggle against oppression.
Constructing Moral Meaning in Ziad Doueiri’s the Insult: A Roland Barthes Semiotic Study Cut Zulfa Zainurrohmah; Setia Gumilar; Muhammad Nurhasan; Akmaliyah Akmaliyah
Al-Irfan : Journal of Arabic Literature and Islamic Studies Vol. 8 No. 2 (2025)
Publisher : Sekolah Tinggi Agama Islam Darul Ulum Banyuanyar Pamekasan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58223/al-irfan.v8i2.639

Abstract

This study addresses the problem of how moral messages are constructed and communicated in films that portray socio-political conflict within plural societies, particularly in contexts shaped by historical trauma and sectarian division. Focusing on Qadiyya Raqm 23 (The Insult), directed by Ziad Doueiri, the study aims to uncover the moral meanings embedded in the film and to explain how cinematic signs function as vehicles of ethical discourse. Methodologically, the research adopts a qualitative descriptive approach grounded in Roland Barthes’ semiotic framework, emphasizing the levels of denotation, connotation, and myth. Key scenes, dialogues, and visual symbols are analyzed to identify patterns of meaning and ideological representation. The results reveal that the film represents personal conflict as a symbolic extension of collective memory, identity politics, and unresolved historical grievances in Lebanese society. At the denotative level, the narrative depicts a legal dispute between two individuals, while at the connotative level it exposes deep-seated emotions of humiliation, pride, and resentment. At the mythic level, the film constructs a broader moral discourse that critiques inherited hatred, sectarian prejudice, and social discrimination, while emphasizing human dignity, empathy, and the necessity of reconciliation. This study contributes to film and cultural studies by demonstrating the relevance of Barthesian semiotics in decoding moral narratives in Middle Eastern cinema. It also offers insight into how film can function as a reflective medium for promoting ethical awareness and social coexistence in plural and post-conflict societies.
Co-Authors Akmaliyah Akmaliyah Cut Zulfa Zainurrohmah Maman Abdul Djaliel Muhammad Fachri Muhammad Haritsah Rais Muhammad Nurhasan