Graffiti have received a great attention from scholars as they have been considered a vital cultural phenomenon for many years (Trahan, 2011;Divsalar & Nemati, 2012;Zakareviciute, 2014;Farnia, 2014;El-Nashar & Nayef;. Although there are extensive contemporary researches on graffiti in many disciplines, such as linguistics, cultural studies, politics, art, and communication (Pietrosanti, 2010;Farnia, 2014;Oganda, 2015), there are few studies exploring graffiti on classrooms' walls in higher education milieus (Farnia, 2014). To the best knowledge of the researchers, very few studies were done on the Jordanian context (e.g. Al-Haj Eid, 2008;Abu-Jaber, et al., 2012) and none was done on the Jordanian universities. Therefore, this study aims at analysing the content and communicative features of writings found on universities' classrooms' walls, corridors, and washrooms and their relation to the socio-cultural values of the society in order to explore how universities help students voice their attitudes and thoughts. The linguistic features that characterise these writings were also examined. Graffiti-writings, which were collected from the University of Jordan and the Hashemite University, were coded and analysed using the thematic content analysis technique (Braun & Clarke, 2006) and Critical Discourse Analysis (Fairclough, 1995). The analysis of the data has shown that graffiti serve different communicative language functions related to personal, social, national, religious, political, and taboo matters. The most salient linguistic features of these graffiti are simplicity and variation. It can be concluded that graffiti are distinctive and silent ways of communication, particularly in students' society. The study will be of great importance to linguists, sociologists, educators, administrators, teachers and parents. It is enrichment to the available literature on linguistic studies.

Intertextuality appears to be extremely important to better realize the different layers of the intended meaning of texts (Ahmadian and Yazdani, 2013). To the best of the researchers’ knowledge and considering its significance, very few studies were done on intertextuality in Arabic poetry (e.g. Bahar, 2014; Zawahreh, 2013 and Al-Khawaldeh et.al, 2016) and none was done on intertextuality in Habib Al-Zyoudi’s poetry. Thus, this study aims to highlight the aesthetics of the intertextuality in Habib Al-Zyoudi’s poetry. It particularly analyzes some examples of these salient embedded religious and literary texts, and highlights their positive impact on enriching the text besides illuminating some associated issues in modern Jordanian poetry. The content analysis of Al-Zyoudi’s poetry collections reveals how intertextuality helps the poet enrich the poetic notions of language and rhyme, raise readers’ awareness of the all-encompassing impact of cultural, religious, literary issues and figures on poetry which in turns aids readers to understand the intended meaning of the poems. Thus, the researchers recommend that translators have a proper background knowledge of religious, cultural, proverbial and poetical phases that might be typically different across languages.

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Abstract:This article examines how theatre functions as an effective means for exploring an occluded precolonial period by constructing an alternative history that refracts the official accounts of colonialist history. Here we study Girish Karnad's The Dreams of Tipu Sultan (2004), which rewrites the tragic decline of Tipu Sultan who governed the Kingdom of Mysore in the southern parts of India during the last two decades of the eighteenth century. The article concludes that what Karnad wishes to achieve, through this counter-historical theatrical project, is to dismantle the image of the ruthless and unprincipled 'Other' propagated by British historians, dramatists, and performers by creating or even recreating an alternative humane and noble character of Tipu Sultan.

Through examining the texts of Ama Ata Aidoo's  play Anowa (1970), Jack Davis's play Kullark (or Home)(1979), and Dennis Scott's play An Echo in the Bone (1974); this paper  shows how postcolonial drama functions as an effective means for exploring occluded pre-colonial and colonial periods through constructing alternative histories that both refract the official accounts of the colonialist history and redress or treat contemporary societal and political exclusions. To this end, the researchers argue that the counter-discursive/ counter-historical task of many historical postcolonial dramas is to reconstruct their histories in a way that confirms the essential socio-political function of such plays. In this sense, a conscious linkage is being made between contemporary post-colonial communities and their past pre-colonial and colonial histories.