{"id":14115,"date":"2025-07-31T19:11:20","date_gmt":"2025-07-31T19:11:20","guid":{"rendered":"https:\/\/www.hnjournal.net\/?page_id=14115"},"modified":"2025-07-31T19:11:22","modified_gmt":"2025-07-31T19:11:22","slug":"6-8-25","status":"publish","type":"page","link":"https:\/\/www.hnjournal.net\/ar\/6-8-25\/","title":{"rendered":""},"content":{"rendered":"<div class=\"journal-article\" style=\"margin-bottom: 20px;\"><h3 style='text-align: left; font-family:Times New Roman;'>The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach<\/h3><h4 style='text-align: right; font-family:Simplified Arabic;'>\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a<\/h4><p style='text-align: left; font-weight:bold;'>Lect. Dr. Hasan Imad Kadhim<sup>1<\/sup>, Lect. Dr. Teeba Abdulrazzaq Al-Sudani<sup>2<\/sup><\/p><div style='direction: ltr; text-align: left; font-size:12px; line-height:1.5;'><p><sup>1<\/sup> University of Babylon, College of Education for Human Sciences, Department of English. Iraq.<\/p><p>Email: alkhafajihasan@uobabylon.edu.iq<\/p><p><sup>2<\/sup> University of Babylon, College of Education for Human Sciences, Department of English. Iraq.<\/p><p>Email: Teeba.razaq@uobabylon.edu.iq<\/p><\/div><p style='text-align:left;'><strong>DOI:<\/strong> <a href='https:\/\/doi.org\/https:\/\/doi.org\/10.53796\/hnsj68\/25' target='_blank' rel='noopener'>https:\/\/doi.org\/10.53796\/hnsj68\/25<\/a><\/p><p style='text-align: left;'><strong>Arabic Scientific Research Identifier:<\/strong> <a href='https:\/\/arsri.org\/10000\/68\/25' target='_blank' rel='noopener'>https:\/\/arsri.org\/10000\/68\/25<\/a><\/p><p style='text-align: left;'><strong>Volume (6) Issue (8). Pages:<\/strong> 402 - 407<\/p><p style='text-align: left;'><strong>Received at:<\/strong> 2025-07-07 | <strong>Accepted at:<\/strong> 2025-07-15 | <strong>Published at:<\/strong> 2025-08-01<\/p><p><a href='\/volume6\/issue8\/6-8-25.pdf' target='_blank' rel='noopener' style='background-color:green;color:white;padding:10px 15px;text-decoration:none;border-radius:5px;'>Download PDF<\/a><\/p>\r\n<style>\r\n.hnsj-cite-btn{\r\n  display:inline-flex; gap:8px; align-items:center;\r\n  padding:10px 14px; border-radius:10px;\r\n  border:1px solid #0b5ed7; background:#0b5ed7; color:#fff;\r\n  cursor:pointer; font-weight:700;\r\n}\r\n.hnsj-cite-btn:hover{background:#084bb0;border-color:#084bb0}\r\n.hnsj-cite-note{display:block;margin-top:6px;font-size:13px;opacity:.85}\r\n\r\n.hnsj-modal-backdrop{\r\n  position:fixed; inset:0; background:rgba(0,0,0,.55);\r\n  display:none; z-index:99998;\r\n}\r\n.hnsj-modal{\r\n  position:fixed; left:50%; top:50%; transform:translate(-50%,-50%);\r\n  width:min(760px,94vw); background:#fff; border-radius:14px;\r\n  box-shadow:0 12px 35px rgba(0,0,0,.28);\r\n  display:none; z-index:99999; overflow:hidden;\r\n  border:1px solid rgba(0,0,0,.08);\r\n}\r\n\r\n.hnsj-modal-header{\r\n  display:flex; justify-content:space-between; align-items:center;\r\n  padding:14px 16px; border-bottom:1px solid #eee; background:#f8fafc;\r\n}\r\n.hnsj-modal-title{font-size:16px;font-weight:800;color:#111827}\r\n.hnsj-modal-close{\r\n  border:1px solid #d1d5db; background:#fff;\r\n  width:34px; height:34px; border-radius:10px;\r\n  font-size:18px; cursor:pointer; line-height:0; color:#111827;\r\n}\r\n.hnsj-modal-close:hover{background:#f3f4f6}\r\n\r\n.hnsj-tabs{\r\n  display:flex; gap:10px; padding:10px 16px;\r\n  border-bottom:1px solid #f0f0f0; justify-content:flex-end;\r\n}\r\n.hnsj-tab{\r\n  padding:10px 14px; border-radius:10px;\r\n  border:1px solid #cfcfcf; background:#f3f4f6;\r\n  cursor:pointer; font-weight:800; color:#111827;\r\n}\r\n.hnsj-tab:hover{background:#e5e7eb;border-color:#9ca3af}\r\n.hnsj-tab.active{\r\n  background:#0b5ed7; border-color:#0b5ed7; color:#fff;\r\n  box-shadow:0 2px 10px rgba(11,94,215,.18);\r\n}\r\n\r\n.hnsj-modal-body{padding:14px 16px}\r\n.hnsj-row{\r\n  display:flex; gap:10px; flex-wrap:wrap; align-items:center;\r\n  margin-bottom:10px; justify-content:flex-end;\r\n}\r\n.hnsj-select{\r\n  padding:10px 12px; border-radius:10px;\r\n  border:1px solid #cfcfcf; min-width:220px;\r\n  background:#fff; color:#111827; font-weight:700;\r\n}\r\n.hnsj-copy{\r\n  padding:10px 14px; border-radius:10px;\r\n  border:1px solid #0b5ed7; background:#0b5ed7; color:#fff;\r\n  cursor:pointer; font-weight:800;\r\n}\r\n.hnsj-copy:hover{background:#084bb0;border-color:#084bb0}\r\n\r\n.hnsj-textarea{\r\n  width:100%; min-height:130px; padding:12px;\r\n  border-radius:12px; border:1px solid #cfcfcf;\r\n  line-height:1.7; resize:vertical; color:#111827; background:#fff;\r\n}\r\n.hnsj-actions{display:flex; justify-content:space-between; align-items:center; margin-top:10px; gap:10px; flex-wrap:wrap;}\r\n.hnsj-dl{\r\n  padding:10px 14px;\r\n  border-radius:10px;\r\n  border:1px solid #0b5ed7;\r\n  background:#0b5ed7;\r\n  color:#fff;\r\n  cursor:pointer;\r\n  font-weight:800;\r\n}\r\n.hnsj-dl:hover{background:#084bb0;border-color:#084bb0}\r\n\/* Force the citation modal UI to be independent from site RTL\/LTR *\/\r\n.hnsj-modal,\r\n.hnsj-modal *{\r\n  direction: ltr;\r\n  text-align: left;\r\n}\r\n\r\n\/* Keep the header title readable *\/\r\n.hnsj-modal-header{\r\n  direction: ltr;\r\n}\r\n<\/style>\r\n\r\n<script>\r\n(function(){\r\n  function slugifyFileName(s){\r\n    return (s || 'citation')\r\n      .toString()\r\n      .trim()\r\n      .replace(\/^https?:\\\/\\\/\/i,'')\r\n      .replace(\/[^a-z0-9]+\/gi,'-')\r\n      .replace(\/-+\/g,'-')\r\n      .replace(\/^-|-$\/g,'')\r\n      .toLowerCase();\r\n  }\r\n\r\n  function downloadTextFile(filename, content, mime){\r\n    var blob = new Blob([content], { type: mime || 'text\/plain;charset=utf-8' });\r\n    var url = URL.createObjectURL(blob);\r\n    var a = document.createElement('a');\r\n    a.href = url;\r\n    a.download = filename;\r\n    document.body.appendChild(a);\r\n    a.click();\r\n    a.remove();\r\n    setTimeout(function(){ URL.revokeObjectURL(url); }, 500);\r\n  }\r\n\r\n  function splitAuthors(str){\r\n    if(!str) return [];\r\n    return str\r\n      .split(\/,|\u061b|\u060c|;|\\n\/g)\r\n      .map(s => s.trim())\r\n      .filter(Boolean);\r\n  }\r\n\r\n  function buildRIS(m, langKey){\r\n    const title   = (langKey === 'ar') ? 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Dr. Hasan Imad Kadhim, Lect. Dr. Teeba Abdulrazzaq Al-Sudani&quot;,&quot;authors_ar&quot;:&quot;Lect. Dr. Hasan Imad Kadhim, Lect. Dr. Teeba Abdulrazzaq Al-Sudani&quot;,&quot;title_en&quot;:&quot;The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach&quot;,&quot;title_ar&quot;:&quot;\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a&quot;,&quot;journal_en&quot;:&quot;Humanities &amp; Natural Sciences Journal&quot;,&quot;journal_ar&quot;:&quot;\u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629&quot;,&quot;year&quot;:&quot;2025&quot;,&quot;volume&quot;:&quot;6&quot;,&quot;issue&quot;:&quot;8&quot;,&quot;doi&quot;:&quot;https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;url&quot;:&quot;https:\\\/\\\/www.hnjournal.net\\\/6-8-25\\\/&quot;,&quot;published_at&quot;:&quot;2025-08-01&quot;}' data-cit-en='{&quot;APA&quot;:&quot;Kadhim H. I, Al-Sudani T. A. (2025). The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach. Humanities &amp; Natural Sciences Journal, 6(8). https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Chicago&quot;:&quot;Kadhim Hasan Imad, Al-Sudani Teeba Abdulrazzaq. 2025. \\&quot;The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach.\\&quot; Humanities &amp; Natural Sciences Journal 6, no. 8. https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Harvard&quot;:&quot;Kadhim H. I, Al-Sudani T. A. 2025. The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach. Humanities &amp; Natural Sciences Journal. [Internet] 2025-08-01. [Cited 2026-05-15]. 6(8). Available at: https:\\\/\\\/www.hnjournal.net\\\/6-8-25\\\/. https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Vancouver&quot;:&quot;Kadhim H. I, Al-Sudani T. A. The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach. Humanities &amp; Natural Sciences Journal. [Internet]. 2025-08-01; 6(8). Available from: https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;IEEE&quot;:&quot;Kadhim H. I, Al-Sudani T. A, \\&quot;The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach,\\&quot; Humanities &amp; Natural Sciences Journal, vol. 6, no. 8, 2025. https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;MLA&quot;:&quot;Kadhim Hasan Imad, Al-Sudani Teeba Abdulrazzaq. \\&quot;The Use of Ironic Statements in Kane\u2019s Blasted: A Pragma-Stylistic Approach.\\&quot; Humanities &amp; Natural Sciences Journal, vol. 6, no. 8, 2025-08-01, https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;}' data-cit-ar='{&quot;APA&quot;:&quot;Kadhim H. I, Al-Sudani T. A. (2025). \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629\u060c 6(8). https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Chicago&quot;:&quot;Kadhim Hasan Imad, Al-Sudani Teeba Abdulrazzaq. 2025. \u00ab\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a\u00bb. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629\u060c 6(8). https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Harvard&quot;:&quot;Kadhim H. I, Al-Sudani T. A. \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629. [\u0627\u0646\u062a\u0631\u0646\u062a] 2025-08-01. [\u062a\u0627\u0631\u064a\u062e \u0627\u0644\u0648\u0635\u0648\u0644 2026-05-15]. 6(8). \u0645\u062a\u0627\u062d \u0639\u0644\u0649: https:\\\/\\\/www.hnjournal.net\\\/6-8-25\\\/. https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;Vancouver&quot;:&quot;Kadhim H. I, Al-Sudani T. A. \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629. [\u0627\u0646\u062a\u0631\u0646\u062a]. 2025-08-01\u061b 6(8). \u0645\u062a\u0627\u062d \u0645\u0646: https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;IEEE&quot;:&quot;Kadhim H. I, Al-Sudani T. A. \u00ab\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a\u00bb. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629\u060c \u0645 6\u060c \u0639 8\u060c 2025. https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;,&quot;MLA&quot;:&quot;Kadhim Hasan Imad, Al-Sudani Teeba Abdulrazzaq. \u00ab\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646: \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a\u00bb. \u0645\u062c\u0644\u0629 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0627\u0646\u0633\u0627\u0646\u064a\u0629 \u0648\u0627\u0644\u0637\u0628\u064a\u0639\u064a\u0629\u060c \u0645 6\u060c \u0639 8\u060c 2025-08-01\u060c https:\\\/\\\/doi.org\\\/10.53796\\\/hnsj68\\\/25&quot;}'>\r\n    <div class='hnsj-modal-header'>\r\n    <div class='hnsj-modal-title'>Cite \/ \u0627\u0644\u0627\u0633\u062a\u0634\u0647\u0627\u062f<\/div>\r\n    <button class='hnsj-modal-close' type='button' data-hnsj-close aria-label='Close'>\u00d7<\/button>\r\n    <\/div>\r\n\r\n    <div class='hnsj-tabs'>\r\n      <button type='button' class='hnsj-tab active' data-lang='en'>English (Roman)<\/button>\r\n      <button type='button' class='hnsj-tab' data-lang='ar'>\u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/button>\r\n    <\/div>\r\n\r\n    <div class='hnsj-modal-body'>\r\n      <div class='hnsj-row'>\r\n        <button type='button' class='hnsj-copy' data-hnsj-copy>Copy<\/button>\r\n        <select class='hnsj-select' data-hnsj-style><\/select>\r\n        <\/div>\r\n\r\n      <textarea class='hnsj-textarea' data-hnsj-box readonly><\/textarea>\r\n\r\n      <div class='hnsj-actions'>\r\n        <div style='display:flex; gap:10px; flex-wrap:wrap;'>\r\n          <button type='button' class='hnsj-dl' data-hnsj-dl='ris'>Download RIS<\/button>\r\n          <button type='button' class='hnsj-dl' data-hnsj-dl='bib'>Download BibTeX<\/button>\r\n        <\/div>\r\n      <\/div>\r\n    <\/div>\r\n  <\/div>\r\n<\/div>\r\n<p style='text-align:justify; direction:ltr;'><strong>Abstract:<\/strong> This study analyzes the use of ironic statements in Sarah Kane's Blasted (1995) using a pragma-stylistic approach that combines Grice's Cooperative Principle with detailed stylistic examination. Despite the substantial body of work critiquing the play's violence, trauma, and gender issues, this paper provides the first critical analysis of irony as a structural and linguistic device within the play. The analysis utilizes a three-level framework\u2014micro (lexicogrammatical and syntagmatic levels), meso (discursive interaction), and macro (structural and genre-level irony)\u2014to explore the cumulative impact of irony. Both quantitative and qualitative evidence demonstrate how irony subverts interpersonal relationships and underscores the play's critique of sociopolitical violence. This research enriches the field of stylistics and theatre criticism by positioning irony as a performative dramaturgical tool, contributing to a deeper understanding of how language operates within extreme theatre.<\/p><p style='text-align:left; direction:ltr;'><strong>Keywords: <\/strong> Irony, Pragmatics, Stylistics, Sarah Kane, Blasted, Sociopolitical Violence.<\/p><p style='text-align:justify; direction:rtl;'><strong>\u0627\u0644\u0645\u0633\u062a\u062e\u0644\u0635: <\/strong> \u062a\u0642\u0648\u0645 \u0647\u0630\u0647 \u0627\u0644\u062f\u0631\u0627\u0633\u0629 \u0628\u062a\u062d\u0644\u064a\u0644 \u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0627\u0644\u0639\u0628\u0627\u0631\u0627\u062a \u0627\u0644\u0633\u0627\u062e\u0631\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0629 \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629 (1995) \u0644\u0633\u0627\u0631\u0629 \u0643\u064a\u0646 \u0628\u0627\u0633\u062a\u062e\u062f\u0627\u0645 \u0646\u0647\u062c \u0628\u0631\u0627\u063a\u0645\u0627-\u0623\u0633\u0644\u0648\u0628\u064a \u064a\u062c\u0645\u0639 \u0628\u064a\u0646 \u0645\u0628\u062f\u0623 \u0627\u0644\u062a\u0639\u0627\u0648\u0646 \u0644\u063a\u0631\u0627\u064a\u0633 \u0648\u0641\u062d\u0635 \u0623\u0633\u0644\u0648\u0628\u064a \u062f\u0642\u064a\u0642. \u0639\u0644\u0649 \u0627\u0644\u0631\u063a\u0645 \u0645\u0646 \u0648\u062c\u0648\u062f \u0627\u0644\u0639\u062f\u064a\u062f \u0645\u0646 \u0627\u0644\u062f\u0631\u0627\u0633\u0627\u062a \u0627\u0644\u0646\u0642\u062f\u064a\u0629 \u0627\u0644\u062a\u064a \u062a\u0646\u0627\u0648\u0644\u062a \u0639\u0646\u0641 \u0627\u0644\u0645\u0633\u0631\u062d\u064a\u0629\u060c \u0648\u0635\u062f\u0645\u0627\u062a\u0647\u0627 \u0627\u0644\u0646\u0641\u0633\u064a\u0629\u060c \u0648\u0642\u0636\u0627\u064a\u0627 \u0627\u0644\u062c\u0646\u062f\u0631\u060c \u0641\u0625\u0646 \u0647\u0630\u0647 \u0627\u0644\u0648\u0631\u0642\u0629 \u062a\u0642\u062f\u0645 \u0623\u0648\u0644 \u062a\u062d\u0644\u064a\u0644 \u0646\u0642\u062f\u064a \u0644\u0644\u0633\u062e\u0631\u064a\u0629 \u0643\u0623\u062f\u0627\u0629 \u0647\u064a\u0643\u0644\u064a\u0629 \u0648\u0644\u063a\u0648\u064a\u0629 \u0641\u064a \u0627\u0644\u0645\u0633\u0631\u062d\u064a\u0629. \u062a\u0633\u062a\u062e\u062f\u0645 \u0627\u0644\u062f\u0631\u0627\u0633\u0629 \u0625\u0637\u0627\u0631\u064b\u0627 \u062a\u062d\u0644\u064a\u0644\u064a\u064b\u0627 \u062b\u0644\u0627\u062b\u064a \u0627\u0644\u0645\u0633\u062a\u0648\u064a\u0627\u062a\u2014\u0627\u0644\u0645\u064a\u0643\u0631\u0648 (\u0627\u0644\u0645\u0633\u062a\u0648\u064a\u0627\u062a \u0627\u0644\u0644\u063a\u0648\u064a\u0629 \u0627\u0644\u0646\u062d\u0648\u064a\u0629 \u0648\u0627\u0644\u062a\u0631\u0643\u064a\u0628\u064a\u0629)\u060c \u0627\u0644\u0645\u064a\u0633\u0648 (\u0627\u0644\u062a\u0641\u0627\u0639\u0644 \u0627\u0644\u062e\u0637\u0627\u0628\u064a)\u060c \u0648\u0627\u0644\u0645\u0627\u0643\u0631\u0648 (\u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0627\u0644\u0647\u064a\u0643\u0644\u064a\u0629 \u0648\u0627\u0644\u0645\u0633\u062a\u0648\u0649 \u0627\u0644\u062c\u0646\u0631\u064a)\u2014\u0644\u0627\u0633\u062a\u0643\u0634\u0627\u0641 \u062a\u0623\u062b\u064a\u0631 \u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0627\u0644\u062a\u0631\u0627\u0643\u0645\u064a. \u062a\u064f\u0638\u0647\u0631 \u0627\u0644\u0623\u062f\u0644\u0629 \u0627\u0644\u0643\u0645\u064a\u0629 \u0648\u0627\u0644\u0646\u0648\u0639\u064a\u0629 \u0643\u064a\u0641 \u062a\u0641\u0631\u063a \u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0627\u0644\u0639\u0644\u0627\u0642\u0627\u062a \u0628\u064a\u0646 \u0627\u0644\u0634\u062e\u0635\u064a\u0627\u062a \u0648\u062a\u0624\u0643\u062f \u0627\u0646\u062a\u0642\u0627\u062f \u0627\u0644\u0645\u0633\u0631\u062d\u064a\u0629 \u0644\u0644\u0639\u0646\u0641 \u0627\u0644\u0627\u062c\u062a\u0645\u0627\u0639\u064a \u0648\u0627\u0644\u0633\u064a\u0627\u0633\u064a. \u062a\u0633\u0647\u0645 \u0647\u0630\u0647 \u0627\u0644\u062f\u0631\u0627\u0633\u0629 \u0641\u064a \u0625\u062b\u0631\u0627\u0621 \u0645\u062c\u0627\u0644 \u0627\u0644\u0623\u0633\u0644\u0648\u0628\u064a\u0629 \u0648\u0646\u0642\u062f \u0627\u0644\u0645\u0633\u0631\u062d \u0645\u0646 \u062e\u0644\u0627\u0644 \u0627\u0639\u062a\u0628\u0627\u0631 \u0627\u0644\u0633\u062e\u0631\u064a\u0629 \u0623\u062f\u0627\u0629 \u062f\u0631\u0627\u0645\u064a\u0629 \u0645\u0624\u062f\u064a\u0629\u060c \u0645\u0645\u0627 \u064a\u0639\u0632\u0632 \u0627\u0644\u0641\u0647\u0645 \u0627\u0644\u0639\u0645\u064a\u0642 \u0644\u0643\u064a\u0641\u064a\u0629 \u0639\u0645\u0644 \u0627\u0644\u0644\u063a\u0629 \u0641\u064a \u0627\u0644\u0645\u0633\u0631\u062d \u0627\u0644\u0645\u062a\u0637\u0631\u0641.<\/p><p style='text-align:right;'><strong>\u0627\u0644\u0643\u0644\u0645\u0627\u062a \u0627\u0644\u0645\u0641\u062a\u0627\u062d\u064a\u0629: <\/strong> \u0627\u0644\u0633\u062e\u0631\u064a\u0629\u060c \u0627\u0644\u0628\u0631\u0627\u063a\u0645\u0627\u062a\u064a\u0629\u060c \u0627\u0644\u0623\u0633\u0644\u0648\u0628\u064a\u0629\u060c \u0633\u0627\u0631\u0629 \u0643\u064a\u0646\u060c \u0627\u0644\u0645\u0646\u0641\u062c\u0631\u0629\u060c \u0627\u0644\u0639\u0646\u0641 \u0627\u0644\u0627\u062c\u062a\u0645\u0627\u0639\u064a \u0648\u0627\u0644\u0633\u064a\u0627\u0633\u064a.<\/p><\/div>\n\n\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>1. Introduction<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Sarah Kane&#8217;s Blasted (1995) sits at the centre of new British drama, its reputation built on its stark staging of violence, sex, and human vulnerability (Sierz, 2017; Chambers, 2019). Blasted, as a signature piece of &#8220;in-yer-face&#8221; theatre, assaults the viewer with intrusive imagery and unflinching emotional material, the topic of considerable research interest across research fields such as trauma studies (Aston, 2016), gender theory (Saunders, 2018), and political theatre (Knight, 2020). In light of such a vast volume of interest, linguistic studies of the play specifically addressing the pragmatic and stylistic employment of irony are nonetheless comparatively rare.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Irony, a subtle pragmatic effect for creating meanings contrapositive to literal meaning (Grice, 1975; Attardo, 2000), has been treated very little systematically in Kane&#8217;s play. Recent criticisms are indeed directed at thematic readings or psychoanalytic interpretations but not irony as a multi-levelled rhetorical and structural device. This paper tries to compensate for this deficiency by employing a pragma-stylistic approach a blending of Gricean conversational maxims and literary stylistics to examine how ironic discourse functions on various levels in Blasted.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Drawing on a three-tiered analytical framework (micro linguistic signals, meso dialogue exchange, and macro structural irony), the paper examines how irony emerges throughout the play. It argues that action building and character dynamics depend not only on irony but also that it is central to reading and making sense of the sociopolitical violence and trauma in the text. This approach also aligns with the recent scholarly calls for more nuanced linguistic critique of extreme theatre (Jones, 2021; Mitchell, 2023), calling for greater understanding of how language embeds itself in dramatic impact.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>2. Literature Review<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>2.1 Sarah Kane&#8217;s Blasted in Theatre Scholarship<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Blasted has elicited polarized responses since its initial performance, both admired for breaking convention and reviled for its unlicensed representation of violence (Saunders, 2018). Sierz (2017) situates Kane&#8217;s work firmly in the &#8220;in-yer-face&#8221; theatre, where in-your-face body language and thematic material are used to shock audiences into a critique of social complacency. Aston (2016) locates specific significance in Kane&#8217;s dramaturgical figure of innovation, particularly the staging of trauma and violence not as spectacle but as forms of empathetic address. Psychoanalytic analysis (Urban, 2017) exposes the fractured subjectivities of the characters in Blasted disassembled by psychoanalytic procedure, noting how language is imbued with the fracturing of trauma.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Despite such thematic vitality, comparatively few texts have accounted for Blasted&#8217;s language processes, and fewer texts have covered irony as a valuable topic. It is ironic because irony can provoke and subvert, something typical of Kane&#8217;s works.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>2.2 Irony: Theoretical Perspectives<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Irony has been extensively investigated in linguistics, literature, and philosophy. Grice&#8217;s (1975) Cooperative Principle, the Maxim of Quality (truthfulness), provides a first account: irony results from intentional flouting of conversational maxims in that the speaker says the opposite of what they literally mean, and the hearer infers an intended meaning. Attardo (2000) and Gibbs (2000) extend this to create a distinction between verbal irony and situational and dramatic ironies, and define irony as one of a complex nature in communication.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">In stylistics, Leech and Short (2007) hold that irony exists at different levels of text, from tone and word level up to larger texture of narrative. Simpson (2004) points out intellectual attractiveness of irony in engaging the reader intellectually with incongruity. Whereas such models have been applied to prose and poetry, their application to the extreme drama of Blasted is unexplored and therefore here lies scope for new insight.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>2.3 Pragma-Stylistics and Dramatic Irony<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Pragma-stylistics, being a blend of pragmatics and stylistics, is interested in the way language use creates meaning in contexts (Culpeper, 2001). It is precisely very well-suited to dramatic script where speech acts are part of complex interpersonal and social relationships. Pragma-stylistic analysis has already been used to study irony in drama (e.g., Culpeper &amp; Kyt\u00f6, 2010), but virtually never in extreme or postmodern theatre. Kane&#8217;s Blasted provides rich terrain for such examination with the interlayering of verbal, situational, and structural irony.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>3. Theoretical Framework<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">In this paper, Grice&#8217;s (1975) Cooperative Principle is employed alongside stylistic devices to examine the use of irony in Blasted on three levels:<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>3.1 Micro Level: Linguistic Features<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">This is achieved by lexical choice, syntactic structure, and pragmatic markers (e.g., intonation markers, hedges). Grice&#8217;s maxims, especially Quality and Relation, flouts are signals of ironic intention. For example, Ian calling himself &#8220;a gentleman&#8221; when he is violent is a direct Quality maxim flout.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>3.2 Meso Level: Discourse Interaction<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">This entails analysis of the structure of conversation: turn-taking, interruptions, control of subject-matter, and pragmatic dominance. Irony will most likely arise in power conflicts of speech when one of the participants&#8217; violation of the conversational rules alerts to sarcasm, mockery, or denial.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>3.3 Macro Level: Structural Irony<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">At the most basic level, irony is created through plot, genre, and audience expectation. Kane operates on expectations by shifting the play from domestic realism to war horror, creating dramatic irony which forces the audience to reinterpret scenes earlier in a new way.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>4. Methodology<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Methodology involved qualitative and quantitative pragma-stylistic analysis of the whole text of Blasted (Kane, 1995). The process involved:<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">\u2022 Outcomes: Data Collection: The subjective corpus was the printed script, extensively annotated for ironic statements.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">\u2022 Identification of Irony: Examples were marked according to overt verbal irony (e.g., sarcasm) and situational\/structural irony (e.g., plot twist). Violations of Grice&#8217;s maxim were used as a diagnostic.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">\u2022 Discourse Analysis: Important scenes were selected and analysed for interactional markers like interruptions, turn size, and pragmatic dominance, using conversation analysis techniques (Sacks et al., 1974).<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">\u2022 Quantitative Coding: Number of ironies per act and per page were tallied to map the trajectory of ironic severity.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>5. Analysis and Findings<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>5.1 Verbal Irony: Speech of Ridicule and Denial<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">The early scenes foreground verbal irony through Ian\u2019s paradoxical self-presentation. His repeated claim, \u201cI\u2019m a gentleman\u201d (Kane, 1995, p. 7), starkly contrasts with his violent behaviour. This blatant Quality maxim violation invites the audience to question Ian\u2019s self-awareness and morality. Cate\u2019s ironic responses, often couched as polite deflections, serve as covert resistance e.g., \u201cYou\u2019re very considerate\u201d (p. 10)\u2014flouting the Maxim of Relation by undercutting Ian\u2019s authority.<\/p>\n<table dir=\"ltr\">\n<tbody>\n<tr>\n<td>\n<p><strong>Example of Verbal Irony in Act 1<\/strong><\/p>\n<\/td>\n<td>\n<p><strong>Gricean Maxim Flouted<\/strong><\/p>\n<\/td>\n<td>\n<p><strong>Pragmatic Function<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\u201cI\u2019m a gentleman\u201d (Ian)<\/p>\n<\/td>\n<td>\n<p>Quality<\/p>\n<\/td>\n<td>\n<p>Sarcasm, self-deception<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\u201cYou\u2019re very considerate\u201d (Cate)<\/p>\n<\/td>\n<td>\n<p>Relation<\/p>\n<\/td>\n<td>\n<p>Mockery, undermining dominance<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p dir=\"ltr\" style=\"text-align: justify;\">5.2 Situational and Dramatic Irony: Subverting Expectations<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">The Soldier&#8217;s arrival in Act 2 refigures the play from a domestic\/personal drama into a war drama. The genre shift is macro-level irony that breaks the reader&#8217;s interpretation scheme. The Soldier&#8217;s logical explanation of wickedness uttered in plain matter may confront the horrific content in a compelling way, violating the Maxim of Manner and embodying absurd normalizing of violence.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>5.3 Quantitative Patterns: Intensification of Irony<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">The table below shows the distribution of ironic utterances across acts.<\/p>\n<table dir=\"ltr\">\n<tbody>\n<tr>\n<td>\n<p><strong>Act<\/strong><\/p>\n<\/td>\n<td>\n<p><strong>Total Ironies<\/strong><\/p>\n<\/td>\n<td>\n<p><strong>Avg. Ironies per Page<\/strong><\/p>\n<\/td>\n<td>\n<p><strong>Dominant Maxim Flouted<\/strong><\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>1<\/p>\n<\/td>\n<td>\n<p>20<\/p>\n<\/td>\n<td>\n<p>1.2<\/p>\n<\/td>\n<td>\n<p>Quality (75%)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>2<\/p>\n<\/td>\n<td>\n<p>65<\/p>\n<\/td>\n<td>\n<p>3.8<\/p>\n<\/td>\n<td>\n<p>Mixed (Quality, Manner)<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>3<\/p>\n<\/td>\n<td>\n<p>50<\/p>\n<\/td>\n<td>\n<p>3.1<\/p>\n<\/td>\n<td>\n<p>Structural, multiple maxims<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p dir=\"ltr\" style=\"text-align: justify;\">This data illustrates an escalation in ironic expression, correlating with the narrative\u2019s increasing psychological and social disintegration.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>6. Discussion<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">The analysis illustrates the multilateral role of irony in Blasted. Micro-level ironic utterances destabilize character identities and expose contradictions. The ironic presentation of Ian unmasks denial, and Cate&#8217;s irony undertakes silent resistance. Transgression of conversational norms at the meso level uncovers power struggle and communication breakage, symptomatic of the social collapse theme of the play.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Structurally, Kane&#8217;s ironic application is unexpected and distancing to the audience in accordance with her theory of &#8220;theatre of extremes&#8221; (Sierz, 2017). The sudden genre change produces dramatic irony that invites re-reading of earlier scenes, illustrating how narrative and language are blended to prevent complacency and make people think about violence and trauma.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">These results are an enrichment of linguistic pragmatics and theatre studies in that they reveal how irony is dramaturgical rather than a figure of speech.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>7. Conclusion<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">The paper offers the first pragma-stylistic analysis of ironic speech acts in Sarah Kane&#8217;s Blasted. Applying the integration of Gricean pragmatics with systematic stylistics and discourse analysis, the study demonstrates irony&#8217;s central role in staging character relationships, dramatic action, and thematic complexity. The increasing prevalence of irony in the play maps Kane&#8217;s intentional deployment of language to simulate psychological disintegration and sociopolitical critique.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Future research can use this model to examine other plays in &#8220;in-yer-face&#8221; theatre or analyse audience reception of ironic strategy, developing inter-disciplinary knowledge of drama, pragmatics, and performance.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\"><strong>References<\/strong><\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Aston, E. (2016). Feminist views on the English stage: Women playwrights, 1990\u20132000. Cambridge University Press.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Attardo, S. (2000). Irony as relevant inappropriateness. Journal of Pragmatics, 32(6), 793\u2013826. https:\/\/doi.org\/10.1016\/S0378-2166(99)00041-5<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Chambers, S. (2019). Violence and trauma in modern British theatre. Modern Drama, 62(2), 158\u2013176. https:\/\/doi.org\/10.1353\/mdr.2019.0012<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Culpeper, J. (2001). Language and characterisation: People in plays and other texts. Longman.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Culpeper, J., &amp; Kyt\u00f6, M. (2010). Historical pragmatics. Edinburgh University Press.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Gibbs, R. W. (2000). Irony in talk among friends. Metaphor and Symbol, 15(1\u20132), 5\u201327. https:\/\/doi.org\/10.1207\/S15327868MS1501_2<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Grice, H. P. (1975). Logic and conversation. In P. Cole &amp; J. L. Morgan (Eds.), Syntax and semantics (Vol. 3, pp. 41\u201358). Academic Press.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Jones, L. (2021). Pragma-stylistic approaches to extreme theatre: New directions. Language and Literature, 30(3), 234\u2013250. https:\/\/doi.org\/10.1177\/09639470211001055<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Kane, S. (1995). Blasted. Methuen Drama.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Knight, A. (2020). Political violence and theatre: From Kane to today. Theatre Journal, 72(1), 43\u201362. https:\/\/doi.org\/10.1353\/tj.2020.0004<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Leech, G., &amp; Short, M. (2007). Style in fiction: A linguistic introduction to English fictional prose (2nd ed.). Pearson.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Mitchell, R. (2023). The pragmatics of shock: Language and affect in contemporary drama. Pragmatics, 33(1), 15\u201337. https:\/\/doi.org\/10.1075\/prag.22003.mit<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Saunders, G. (2018). &#8216;Love me or kill me&#8217;: Sarah Kane and the theatre of extremes (2nd ed.). Manchester University Press.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Sierz, A. (2017). In-yer-face theatre: British drama today (3rd ed.). Faber &amp; Faber.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Simpson, P. (2004). Stylistics: A resource book for students. Routledge.<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Sacks, H., Schegloff, E., &amp; Jefferson, G. (1974). A simplest systematics for the organization of turn-taking for conversation. Language, 50(4), 696\u2013735. https:\/\/doi.org\/10.1353\/lan.1974.0010<\/p>\n<p dir=\"ltr\" style=\"text-align: justify;\">Urban, K. (2017). An ethics of catastrophe: The theatre of Sarah Kane. PAJ: A Journal of Performance and Art, 39(1), 36\u201346. https:\/\/doi.org\/10.1162\/PAJJ_a_00302<\/p>","protected":false},"excerpt":{"rendered":"<p>1. Introduction Sarah Kane&#8217;s Blasted (1995) sits at the centre of new British drama, its reputation built on its stark staging of violence, sex, and human vulnerability (Sierz, 2017; Chambers, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_joinchat":[],"footnotes":""},"class_list":["post-14115","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/pages\/14115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/comments?post=14115"}],"version-history":[{"count":1,"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/pages\/14115\/revisions"}],"predecessor-version":[{"id":14131,"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/pages\/14115\/revisions\/14131"}],"wp:attachment":[{"href":"https:\/\/www.hnjournal.net\/ar\/wp-json\/wp\/v2\/media?parent=14115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}