Abstract
This research examines the kinetic elements of still life and their significance in the poetry of Ibrahim Touqan and Khalilullah Khalili, in light of Michael Riffaterre's semiotic theory. This theory is based on the distinction between meaning at the linguistic level and signification at the structural and symbolic levels. The aim of the semiotic analysis of the poetry of these two poets, who belong to different languages and environments, is to reveal the hidden semantic layers within their respective poetic texts. The research focuses on kinetic elements such as water, wind, breeze, and storm as linguistic and pictorial signs that transcend their physical properties and transform into political, social, and cultural symbols within the poetic context. The methodology employed in this research is descriptive-analytical, in addition to a comparison between Arabic and Afghan poetry. One of the key themes of the study is the element of water, which is used in the poetry of Ibrahim Touqan as a mirror of self-identity, while in the poetry of Khalilullah Khalili it appears as a symbol of renewed life. The research also explored the sea as a symbol of crisis, the wind as an agent of change and upheaval, and the breeze in Ibrahim Touqan's poetry as a bearer of hope and gentleness amidst hardship, while in Khalilullah Khalili's poetry it appears as a powerless force that has no effect on tranquil surfaces. The findings show that both poets, despite their differences in language and culture, share the use of natural elements as subtle symbols to express ideas, social transformations, and crises. There is a notable degree of similarity between them in this symbolic employment. This research underscores the importance of semiotic analysis in achieving a deeper understanding of poetic texts and opens new horizons for comparative studies in the field of Arabic and Afghan literature.