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Spatial structure plays an important role in the seven suspended odes, "Mu'allaqat," being tightly interrelated by sequential compositional manifestations to the narrative format of the circular journey through the spatial nature of the Arabian Peninsula. This is because they denote a compiled configuration with clarity and profundity regarding this systematic representation. Literary rhetoric bestows upon them distinctiveness, illumination, and embellishment. The research branches into two paths, demarcating the spatial signs into two forms: static space and interactive space. To capture the meanings of these two spaces through the interpreter of each sign, it requires a comprehensive excavation of the archaeological and historical foundations of civilization. The initial stages of cultural forms incorporate the spatial structure of the Arabian Peninsula and serve as the foundational cornerstone for the semiotic analysis, since the effectiveness of interpreting the markers of spatial structure highlights the interaction between the signifier and the signified. The formats of the suspended odes embody multifaceted depictions among the poets of the lengthy verses. Semiotic interpretation contributes to improving the discursive nature of the sign, as the spatial model archetype in the suspended odes finds its pre-eminence in literary semiotics.
Naceur Stamboul (Thu,) studied this question.