This research deals with the patterns of dialogue formation in one of Ghassan Kanafani's stories, which is the story of the Forbidden Weapon from his collection of short stories, The Land of Sad Oranges, according to Mikhail Bakhtin's theory of dialogue. He first discussed the concept of dialogue in language and terminology, its function, conditions and types, and then discussed the principle of dialogue according to Mikhail Bakhtin, who is considered the inventor of this term, as he considered it the basis of prose work in general and the novel and story in particular, as the art of the novel is a dialogic art, and dialogue revolves through Bakhtin's vision in two aspects from an interactive perspective, which are external dialogue and internal dialogue. After that, the principle of dialogue, its manifestations and patterns in the story of the Forbidden Weapon were discussed by presenting many dialogue models representing the two aspects of dialogue as defined by Bakhtin and their interaction with each other to produce the complete meaning. The research showed how dialogue in its two aspects had a great impact in revealing the ideologies of the story characters, forming the plot and creating the conflict, leading to producing the general and intentional meaning of dialogue in the story of the weapon. Muharram.
Ibrahim Hamdy omar (Sat,) studied this question.