This paper views folk literature as one of acceptability and of rejection at the same
time. It is also concerned with the dramatic dimension of the art of lullaby in classical
Arabic literature because choreography was associated with the art of si
nging all along,
and lullabies are considered an example of their combination, because they were arranged
in accordance with a choreographic effect. And, since movement is the basis of drama,
there follows the relation between lullabies and drama.
This paper examines this subject in terms of the following mechanism:
-Identifying the terms which will form the pivot of this paper.
- The dramatic content of these lullabies
- The characteristics of dramatic discourse
This study stems from the idea that every discourse has a counter- discourse, and that
every thought has its counter–thought. Thus, what is the relation between voice and
thought on the one hand, and what are the dramatic discursive interactions in these
lullabies on the other?
