Journal of the College of Languages

Roland Barthes’s essay “The Death of the Author” talks about the role of writers when they are creating content. I examined the meaning of Barthes’s essay, which advocates separating writers from their texts. Although the essay does not refer to the literal death of writers, it implies that distinguishing them from their texts can lead to an understanding of their content based on readers’ backgrounds and previous understandings. I concur with Barthes’s argument that if some readers attempt to understand writers, they might want to read the content from the writers’ perspective, which would limit the readers’ understanding of the texts. Therefore, for readers to fully grasp the meaning of a text, they must interpret the words based on their understanding and experiences, not from the authors’ point of view, because words have different meanings for people from different parts of the world.

The widely-held ideology that language is the reflection of its speakers is the hypothesis upon which this study is based. To verify this hypothesis, a fifty-one second clipped video broadcasted by Euronews agency, along with the realization of this footage in four languages (English, French, Arabic and Persian) are subjected to linguistic –metalinguistic analysis. The footage is differently envisaged, thus putting 'the journalistic code of ethics' and the notion of neutrality under scrutiny. The investigation first showed varying lengths in the realization of the footage across the four languages under investigation, with English being, by far, the most condensed language and Arabic being the least, with French and Persian intermediating between them. Other differences point to political-ideological differences where English manifests itself to be highly indicative due to its early tradition in the field of politics. French has, on the other hand, highlighted key values pertinent to the French society such as focus on democracy while Arabic dictates clearly the Arab's predictive-assertive build up of their mentality of the Arabs through the heavy use of future "س – will". Finally, Persian language has hermeneutically reflected the Persian mentality of being focusable on minute details and extra-explanations of surrounding details.

This research investigates female economic independence throughout the war in Brecht's play Mother Courage and her Children (1941). Mother Courage is a single mother alongside her three children making sacrifices and hustling to provide for herself and her children not being dependent on a male to live but only on her personal wagon. The methods used to prove her perseverance to achieve economic independence are through the lenses of two materialist feminist theories the first one is Simone De Beauvoir and her theories are taken from her book The Second Sex (2011). The second theory belongs to Charlotte Gilman and her book Women and Economics (1898). These theories are used to analyze the text of the play and spot the whereabouts of materialist feminism and how this character is following what is called materialist feminism, even though it was written before the theories. At the end of this study, a clear picture is formed of how Mother Courage truly proved herself worthy of the title “Mother Courage” in a sense of achieving or at least never giving up to create her financial goals to be an independent working mother through the worst possible scenarios.

Uglies (2005) is the first in Scott Westerfeld's Uglies series of novels. It is a literary work with a futuristic scenario thaP depicts a dystopian world in which people are preoccupied with unnatural standards of beauty. In a realm where science and fiction intertwine, the themes of beauty, identity, and the insidious influence of brainwashing take center stage, inviting readers to delve into the complexities of these interconnected concepts. The tapestry of the novel also involves a speculative discourse surrounding the deleterious implications of cosmetic surgery, thereby engendering an intellectual milieu wherein the ramifications of such practices are rigorously examined and debated. Drawing upon Erik Erikson's identity development theory (1950) and Henri Tajfel and John Turner's social identity theory (1979) as theoretical frameworks, this research paper aims to present an analysis of how the pursuit of beauty ideals contributes to the formation of an externally appealing but inwardly conflicted self-image.

The truthfulness and accuracy of the information presented in the itinerary made this work a historical, geographical and tourist guide for travelers of that century, and it represents a clear and distinct literary value for the genre of travel literature.
Chateaubriand's impressions are written in a somewhat descriptive style, descriptions drowning in veneration, it is a painter's style, but they are paintings, arranged in the manner of portraits of martyrs' churches, and were paintings of historical landscapes, while those of his Itinerary of the Journey from Paris to Jerusalem are Pictures or real copies of reality.
Studying Chateaubriand's impressions of the East, one can first note the impressions of admiring the beautiful landscapes, eastern cities and the great monuments of the East.
As a keen pilgrim to visit the holy places, throughout his journey Chateaubriand maintains his religious goal of deepening his faith. And his impressions in this religious atmosphere were confused, as he thinks that he hears the voice of the prophets and see the shadows of the ancients, and the ancient Jerusalem (Jerusalem) rises before him. But Chateaubriand's impressions show us another side of his vision of the East, and that is the vision of the passionate pilgrim who accuses Muslims of cruelty, tyranny and subservience. He politically condemns the shortcomings of Ottoman rule.
The most prominent and widespread impressions in the book are sadness and loneliness. The Orient, with its atmosphere, charm and history, evokes in Chateaubriand a sad pleasure that fits perfectly with the mysterious feeling that surrounds his gloomy soul. But this feeling, which burdens the romantic traveler, is more connected with the author's state of mind than with the Orient itself.
Résumé
La véracité et l'exactitude des informations présentées dans l'Itinéraire de Paris à Jérusalem ont fait de cet ouvrage un guide historique, géographique et touristique pour les voyageurs du siècle, et il représente une valeur littéraire claire et distincte pour le genre de la littérature de voyage. Les impressions de Chateaubriand sont écrites dans un style un peu descriptif, les descriptions noyées dans la vénération, c'est le style d'un peintre, mais ce sont des peintures, disposées à la manière des portraits d'églises des Martyrs, qui étaient des peintures de paysages historiques, tandis que celles de son Itinéraire de Voyage de Paris à Jérusalem sont des Images ou de vraies copies de la réalité. En étudiant les impressions d'Orient de Chateaubriand, on peut d'abord noter l'impression d'admiration pour les beaux paysages, les villes orientales et les grands monuments d'Orient. En pèlerin avide de visiter les lieux saints, Chateaubriand maintient tout au long de son parcours son objectif religieux d'approfondir sa foi. Dans cette atmosphère religieuse, ses impressions sont confuses, car il croit entendre la voix des prophètes et voir les ombres des anciens. Mais les impressions de Chateaubriand nous montrent un autre aspect de sa vision de l'Orient, c'est la vision du pèlerin passionné qui accuse les musulmans de cruauté, de despotisme et de servilité. Il condamne politiquement les lacunes de la domination ottomane. Les impressions les plus marquantes et les plus répandues dans le livre sont la tristesse et la solitude. L'Orient par son atmosphère, son charme et son histoire provoque chez Chateaubriand un triste plaisir qui convient parfaitement avec la vague sensation enveloppant son âme mélancolique. Mais ce sentiment, qui pèse lourdement sur le voyageur romantique, est plus lié à l'état d'âme de l'auteur qu’à l’Orient lui-même.

The truthfulness and accuracy of the information presented in the itinerary made this work a historical, geographical and tourist guide for travelers of that century, and it represents a clear and distinct literary value for the genre of travel literature.
Chateaubriand's impressions are written in a somewhat descriptive style, descriptions drowning in veneration, it is a painter's style, but they are paintings, arranged in the manner of portraits of martyrs' churches, and were paintings of historical landscapes, while those of his Itinerary of the Journey from Paris to Jerusalem are Pictures or real copies of reality.
Studying Chateaubriand's impressions of the East, one can first note the impressions of admiring the beautiful landscapes, eastern cities and the great monuments of the East.
As a keen pilgrim to visit the holy places, throughout his journey Chateaubriand maintains his religious goal of deepening his faith. And his impressions in this religious atmosphere were confused, as he thinks that he hears the voice of the prophets and see the shadows of the ancients, and the ancient Jerusalem (Jerusalem) rises before him. But Chateaubriand's impressions show us another side of his vision of the East, and that is the vision of the passionate pilgrim who accuses Muslims of cruelty, tyranny and subservience. He politically condemns the shortcomings of Ottoman rule.
The most prominent and widespread impressions in the book are sadness and loneliness. The Orient, with its atmosphere, charm and history, evokes in Chateaubriand a sad pleasure that fits perfectly with the mysterious feeling that surrounds his gloomy soul. But this feeling, which burdens the romantic traveler, is more connected with the author's state of mind than with the Orient itself.
Résumé
La véracité et l'exactitude des informations présentées dans l'Itinéraire de Paris à Jérusalem ont fait de cet ouvrage un guide historique, géographique et touristique pour les voyageurs du siècle, et il représente une valeur littéraire claire et distincte pour le genre de la littérature de voyage. Les impressions de Chateaubriand sont écrites dans un style un peu descriptif, les descriptions noyées dans la vénération, c'est le style d'un peintre, mais ce sont des peintures, disposées à la manière des portraits d'églises des Martyrs, qui étaient des peintures de paysages historiques, tandis que celles de son Itinéraire de Voyage de Paris à Jérusalem sont des Images ou de vraies copies de la réalité. En étudiant les impressions d'Orient de Chateaubriand, on peut d'abord noter l'impression d'admiration pour les beaux paysages, les villes orientales et les grands monuments d'Orient. En pèlerin avide de visiter les lieux saints, Chateaubriand maintient tout au long de son parcours son objectif religieux d'approfondir sa foi. Dans cette atmosphère religieuse, ses impressions sont confuses, car il croit entendre la voix des prophètes et voir les ombres des anciens. Mais les impressions de Chateaubriand nous montrent un autre aspect de sa vision de l'Orient, c'est la vision du pèlerin passionné qui accuse les musulmans de cruauté, de despotisme et de servilité. Il condamne politiquement les lacunes de la domination ottomane. Les impressions les plus marquantes et les plus répandues dans le livre sont la tristesse et la solitude. L'Orient par son atmosphère, son charme et son histoire provoque chez Chateaubriand un triste plaisir qui convient parfaitement avec la vague sensation enveloppant son âme mélancolique. Mais ce sentiment, qui pèse lourdement sur le voyageur romantique, est plus lié à l'état d'âme de l'auteur qu’à l’Orient lui-même.

This article deals with the Arab-Islamic influence on the Argentine writer Luis Jorge Borges who is considered one of the greatest writers of the twentieth century. He speaks many languages and has a very significant cultural background. He is known for his great love of the Arabic language and his deep knowledge of oriental culture. Islamic and Arabic themes have always been present in his literary works and his writing style, whether in a novel, essay, or poetry. This descriptive study tries to study how the author uses Arabic material to express other ideas in an international literary style through quotes or metaphors. The article shows a small part of this Arab- Islamic influence by analyzing the poem entitled “Metaphors in the Thousand Nights and a Night” by the Argentine writer Luis Borges.

Jorge Luis Borges es un escritor argentino considerado como uno de los mayores exponentes de la literatura del siglo XX políglota y poseedor de una cultura muy amplia, conocido por su gran amor por lo árabe y su profundo conocimiento de la cultura oriental. Los temas islámicos y árabes siempre han estado presentes en sus obras literarias y en el estilo de su escritura, ya sea narrada en novela, ensayo o poesía. En este estudio descriptivo intentamos estudiar cómo el autor empleó el material árabe para expresar sus ideas filosóficas en estilo o técnica literaria universal a través de las palabras adaptadas o las metáforas. El objetivo del artículo es mostrar la influencia árabe-islámica en la poesía del autor argentino Luis Borges mediante el análisis de su poema Metáfora en las Mil y Una Noches.

This paper deals with the use of additive discursive markers by Arab students who learn Spanish as a foreign language through brief written compositions that they carry out within the framework of the subjects taught at the University of Baghdad. The objective is to know if these Arab students, who have a B1 level of Spanish, use these linguistic elements and the problems they may face to express the cohesion of the discourse. For this study, a learning corpus of more than 3,200 words of the texts written by the students has been compiled to carry out an analysis of their use. By studying the results, we want to shed light on whether or not students use discourse markers, and what difficulties can be found both in learning and in teaching.
Resumen
El presente trabajo aborda el uso de los marcadores discursivos aditivos de los estudiantes iraquíes que aprenden español como lengua extranjera, a través de breves composiciones escritas que realizan en el marco de las asignaturas impartidas en la Universidad de Bagdad. El objetivo es conocer si estos alumnos iraquíes, que cuentan con el nivel B1 de español, utilizan estos elementos lingüísticos y los problemas a los que se pueden afrontar para expresar la cohesión del discurso. Para este estudio se ha recopilado un corpus de aprendizaje más de 3.200 palabras de los textos realizados por los estudiantes para realizar un análisis de su uso. Al estudiar los resultados, queremos arrojar luz sobre si los alumnos utilizan o no marcadores discursivos, y qué dificultades se pueden encontrar tanto en el aprendizaje como en la docencia.

There is a deep-rooted linguistic relationship between Turkish and Arabic, and it is known that the Arabic language influenced the Turkish language, and although the influence of the Turkish language was not as much as the Arabic language, it affected the Arabic dialects, especially the Mosulli dialect, and the influence of the Turkish language on the Mosulli dialect is more of Iraqi or other Arabic dialects. This effect appears in many names, titles, adjectives, village names, and popular proverbs used by Mosulli people. In this study, which focuses on the influence of the Turkish language on the Mosulli dialect, data is collected by identifying Turkish words from dictionaries, different language books, proverbs, terminology, and studies published in Iraq and Turkey. In addition, in order to identify the Turkish words used in the Mosulli dialect, various interviews are conducted with elderly people living in Mosul who speak this dialect. This study concludes with the various forms of Turkish influence on the Mosulli dialect, and among the most important forms of this influence are: the entry of Turkish words into the Mosul dialect while preserving their meaning, the Turkish words that entered with the same pronunciation and difference in meaning, some suffixes that entered the dialect with the same meaning, and many Turkish words used by Mosulli people in their proverbs and many Turkish proverbs.

Özet

Türkçe ile Arapça arasında köklü bir dilsel ilişki vardır. Arap dilinin Türk dilini etkilediği bilinmektedir. Türkçe, Arapça kadar olmasa da Arap dilini, özellikle Musul ağzını da da etkilemiştir. Birçok dilbilimci, Musul ilinde konuşulan Musul ağzının kökeninin Arap diline ve gramerine dayandığından bahsetmektedir. Ancak Türk dilinin Musul ağzı üzerindeki etkisi diğer Irak veya Arap ağızlarından daha fazladır. Bu etki birçok isim, unvan, sıfat, köy ismi ve Musulluların kullandığı halk atasözlerinde görülmektedir. Türk dilinin Musul ağzı üzerindeki etkisine odaklanan bu çalışmada, Irak ve Türkiye'de yayınlanan sözlüklerden, çeşitli dil kitaplarından, atasözlerinden ve deyimlerden Türkçe kelimeler tespit edilerek veriler toplanmıştır. Ayrıca günlük konuşmada kullanılan Türkçe kelimeleri tespit etmek amacıyla Musul ilinde yaşayan bu ağzı konuşan yaşlılarla çeşitli görüşmeler yapılmıştır. Bu çalışma, Türkçenin Musul ağzına çeşitli etki biçimleri sonucuna varmıştır. Bu etkilerin en önemlileri: Türkçe sözcükler Musul ağzına anlamlarını koruyarak girmesi, Türkçe sözcükler bu ağza aynı telaffuz ve anlam farklılığı ile girmesi, Türkçe eklerin bir kısmı Musul ağzına aynı anlamda girmesi, birçok Türkçe sözcük Musul atasözlerine girmesi, Türk dili ile Musul ağzı arasında ortak olan onlarca atasözü olmasıdır. Çağdaş Arap lehçeleri ve Irak Arap ağzılarının incelenmesi, bu ağız ve lehçelerdeki birçok ortak dil olgusunu tespit etmek ve bunlarda meydana gelen dilsel gelişime ilişkin bilgileri ortaya çıkarmak mümkün olduğu için büyük önem taşımaktadır. Türk dili ile Arap dili arasında uzun süreli bir dilsel ilişki vardır. Türk dili, Arap dilinin yoğun etkisi altında kalmış ve bu dilden birçok kelime almıştır. Bu arada Türk dili de Arap dilini etkilemiş ve ona birçok kelime kazandırmıştır. Bu kelimelerin tespiti için birçok çalışma hazırlanmış, ancak tek bir çalışmada kelime, ek ve atasözlerinin derlenmesi incelenmemiştir. Bu çalışmada Musul ağzında kullanılan Türkçe kelime, ek ve atasözleri tespit edilerek üzerinde durulacaktır. Bu lehçede kullanılan Türkçe kelime ve eklerin anlamları da açıklanacaktır. Daha sonra Musul atasözlerinde geçen Türkçe kelimelerin anlamları açıklanacak ve atasözlerinin Türkçe karşılığı verilecektir. Bu araştırma aynı zamanda bazı Iraklıların, özellikle Musul halkının bu kelimelerin kökenini bilmemesi ve bazılarının bu kelimelerin Farsçaya veya başka dillere ait olduğunu düşünmesinden dolayı Arap kütüphanelerindeki boşluğu doldurmayı amaçlamaktadır.

The Iraqi Turkmen poet Falkoglu is considered a self made man who occupies a special place among the greatest Iraqi Turkmen poets in the twentieth century. No doubt, he left his fingure prints on his age despite the influence of the classical poetry (Al-Diwan poetry) in his poems. Moreover, the effects of Al-Saz poets are obvious in his poems. It is clear that he was a great popular poet whose poetry was about patriotism and religious values. His poetic styles were amazing. The poet loved his country as much as he loved his language. He started writing poetry on the concepts of love, nationalism, religion and wisdom. In addition to his other poems, the poet wrote a lot of Khweirat ( sung poems). He wrote classical poems as well as free modern pomes ( Al-Aroodh and Al-Hijaa). Moreover, the poet was influenced by our great poet Fudholi Al-Baghdadi.

The present paper includes a comprehensive summary of the poet where we touched upon his life, his literary character, his poetry, popular poetry and homeland love. Country and nation love is the subject of our study since it comes first in his poetry. His poetry is transformed from the Iraqi Turkmen language into modern Turkish. I hope this study will be beneficial for researchers.

ÖZET

yüzyılın en başarlı Irak Türkmen şairleri arasında özgü bir yer tutan Felekoğlu şüphesiz yaşadığı yüzyıla damga vurmuştur. Şiirlerinde hem divan şirinin izi ve etkisi bulunduğu halde, saz şairlerinin izleride onun şiirlerinde ortaya çıkar ve büyük bir halk şairi olduğu da açıkca belirlenir.

Çalışmamızın ana teması olan millet ve yurt sevgisinin anlayışı, şairin şiirlerinde oldukça derin duygular barındıran insanı hayrete düşüren bir üslupla önümüze çıkmaktadır. Millet ile yurt oldukça yoğun bir şekilde kasidelerinde işlenmiştir.

yazdığı şiirlerin çoğunuda (lahut) felsefesini yaymak isteyen şair yurt severlik ve millet severlik konularını da unutmayan bir şairdir. Dilini sevdiği kadar yurdunu da severmiş. şiire sevda yoluyla geçmiştir. “Gazel, milli, dini hikmet lahut” alanlarında şiirler yazan şairin bir çok hoyratlarıda vardır. Aruz ve hece vezinleriyle şiirlerini yazan Felekoğlu, şiirlerinde büyük şairimiz Fuzulinin etkisinden bir türlü kurtulamamıştır.

Bu çalışmamıza kapsamlı özetle başlıyoruz. Ondan sonra çalışmamızın öznesi olan Felekoğlunun hayatı, edebi kişiliği, eserleri, vatan ve millet tanımı, tȕrkmen edebiyatında halk şiirie, değindikten sonra şairin eserlerinde ön plana çıkan millet ve yurt severlik şiirlerini ele alıp Irak Türkmen dilinden yeni Türkçeye çevirıp açıklamaktayız. Bu çalışmanın araştırma yapacaklara da yararlı olacağı değerlendirilmektedir.

There are many changes in words and suffixes in the

ncient Anatolian Turkish language. One of these changes is the obstruction of consonants phonemes in Old Anatolian Turkish. This obstruction was the reason for the approximation in the ancient Anatolian Turkish phonemes. The most important aim of this study is to show this approximation.
The research plan, before engaging the study, clarifies the general reasons and the opinions of Turkish linguists about the consonants that obstruct phonemes in the ancient Anatolian Turkish words and their suffixes, and we illustrate with examples the effect of the consonants that obstruct phonemes in ancient Anatolian Turkish words with an attempt to evaluate it. Then divide the examples that we used into two parts, first is examples about the Turkish linguists’ books, while the second is about some texts of the ancient Anatolian Turkish language, such as Yusuf Zulaikha and Soheil Nobehar.
The aim of the study is to explain the reasons and the changes in the form of ancient Anatolian Turkish words and their suffixes based on examples from the most famous books of Turkish linguists to present them to the researcher and learner of the ancient Anatolian Turkish language.

Özet
Eski Anadolu Türkçesinde kelime ve eklerde çeşitli değişiklikler vardır. Eski Anadolu Türkçesinin seslerinde Dudak Uyumu Bozulması, bu değişiklerinden biridir. çünkü Eski Anadolu Türkçesinin seslerinde yuvarlaklaşma sebebi idi. Bu çalışma en önemli amacı bu değişmiş yuvarlaklanmışını göstermektir .
Çalışma planı, çalışma konusuna girmeden önce Türk dilcilerin Eski Anadolu Türkçesinin kelimleri ve eklerinin seslerinde Dudak Uyumu Bozulması hakkındaki genel sebebleri ve göüşlerini izah ederek, Eski Anadolu Türkçesinin kelimlerinde seslerinde Dudak Uyumu Bozulması örnekle izah ederk, Eski Anadolu Türkçesinin eklerinin seslerinde Dudak Uyumu Bozulması örnekle izah ederk, düzlenmeye çalıştık. Kullandıklarımız örnekler ikiye ayrılır biri Türk dilciler kitaplarının örnekleri, bazı Eski Anadolu Türkçesinin metinlerinden örnekleriydi ‘‘Yusuf u Zeliha ve Süheyl ü Nev Bahar ’’ gibidir.
Çalışma gayesi, Eski Anadolu Türkçesinin hakkında Araştıran ve Öğrenene sunmak için Eski Anadolu Türkçesinin kelimleri ve eklerinin seslerinde Dudak Uyumu Bozulmasının sebepleri ve şekil değişilmesinin örneklerle ve en ünlü Türk .dilcilerini kitapların dayanarak izah etmektedir

The research deals with the scientific and academic necessity in the field of contemporary linguistic research and translation studies called for new and advanced scientific theories in line with technological developments and modern information in the world, using different letters between the fields of science and knowledge, and thus resulted in new research methods with the linguistic phenomenon to vary its communicative functions. the overview, theories, the appearance of the formula in its wide form and the legal translation in a narrower form.
Research aims: discuss the most important content of legal language and its translation methods, equivalence and translation equivalence, translation transformations such as rearranging, addition, deletion and replacement, legal linguistic levels, including the level of legal discourse, and its relationship to other legal linguistic levels. The research adopts the qualitative field-experimental approach by benefiting from the researcher’s experiences in addition to studying a number of official translations of documents, documents, legal texts and contracts between the Arabic and Persian languages. The course of the study should be from the general to the specific, i.e. a review of the general translation, then the sworn translation, down to the problems associated with it.

Poetry, as one of the branches of art, follows the general rules of art aesthetics, and ambiguity is one of its essential elements, which is considered an attractive factor and an aesthetic criterion in poetry criticism. In this sense, ambiguity is understood as a phenomenon that evokes certain types of reading and understanding in the text. Uncertainty, polysemyand openness of meaning are the characteristics of ambiguous literary text. In this research, after studying the history, concept and function of ambiguity in contemporary Arabic poetry, we have analyzed this phenomenon in the ode "Rasail al-Imam al-Shafi'i" by Abdul Wahab al-Bayati. From the findings of the research, which was carried out in a descriptive analytical way, it was found that artistic ambiguity is a prominent feature of original poetic works, but trying to organize or regularize it is difficult or impossible because multiple readings of an ambiguous text do not necessarily lead to a complete and accurate understanding, but rather Our taste is affected by the fields of our awareness and mental perceptions. We also found that Bayati's poetry has a level of artistic ambiguity that has emerged in the context of new interpretation techniques such as symbolism, mask, myth and intertextuality, and by deepening the poetic experience, it has made his poetic style lasting and effective.
چکیده
شعر به مثابه یکی از شاخه‌های هنر از قوانین کلی زیبایی‌شناسی هنر تبعیت می‌کند و ابهام یکی از عناصر ضروری آن است که عامل جاذبه و معیار زیبایی‌شناختی در نقد شعر تلقی می‌شود؛ در این مفهوم ابهام به عنوان پدیده‌ای درک می‌شود که انواع خاصی از خوانش و درک را در متن برمی‌انگیزد. نبود قطعیت، چندمعنایی و گشودگی معنا از ویژگی‌های بارز متن ادبی مبهم است. در این پژوهش ضمن بررسی تاریخچه، مفهوم و کارکرد ابهام در شعر معاصر عربی به تحلیل این پدیده در قصیده «رسائل الی الامام الشافعی» اثر عبدالوهاب البیاتی پرداخته‌ایم. از یافته‌های پژوهش که به شیوه تحلیلی توصیفی انجام شد چنین دریافت شد که ابهام هنری ویژگی بارز آثار اصیل شعری است اما تلاش برای مرزبندی یا قاعده‌مند کردن آن کاری دشوار یا ناممکن است زیرا خوانش‌های متعدد از متن مبهم لزوما به ادراک کامل و دقیق منتهی نمی‌شود بلکه ذوق ما متاثر از زمینه‌های آگاهی و دریافت‌های ذهنی‌مان است. همچنین دریافتیم که شعر البیاتی دارای سطحی از ابهام هنری است که در بستر روش‌های جدید تعبیر ادبی مانند نمادپردازی، نقاب، اسطوره و بینامتنیت ظهور یافته و با عمق بخشیدن به تجربه شاعرانه باعث ماندگاری و تاثیرگذاری سبک شعری وی شده است.

This research sheds light on realism in the Hebrew novel, “Mutayrul-Hamam" (Birdman) by the Jewish writer, of an Iraqi origin, Eli Amir. Realism is a method for portraying life in all its aspects honestly, as it describes the var-ious abstract things, the lifestyle of the environment accurately. Realism derives its material from reality and reflects it as much as it can through the various literary productions that appear. The Jewish writer used this genre in writing his novel (The Bird of Pigeons), which occupied the list of the most widely read novels. This novel reveals to us the extent of the Jews' attachment to their Iraqi singing heritage, in addition to that, the writer was able to take the reader to the alleys of Baghdad, the beaches of the Tigris, and the picturesque nature. And since the novelist Eli Amir is a Jew of Iraqi origin, it became clear to me that his novel is closely related to the Iraqi environment, and we find among its folds many events that reflect his biography and the history of the Jewish community in Iraq. For the Baghdadi families and other sects, and all these events formed a major suggestive source in his novel, in order to draw the reader's attention to the situation in Iraq and to highlight the aesthetic side of the novel.
תקציר
מחקר זה שופך אור על הריאליזם באחד הרומנים העבריים, שהוא הרומן "מפריח היונים" מאת הסופר היהודי ממוצא עיראקי, אלי עמיר. ריאליזם הוא שיטה לתיאור החיים על כל היבטיהם ביושר, שכן הוא מתאר את הדברים המופשטים השונים, את אורח החיים של הסביבה בצורה מדויקת. הריאליזם שואב את החומר שלו מהמציאות ומשקף אותה ככל יכולתו באמצעות ההפקות הספרותיות השונות המופיעות. הסופר היהודי השתמש בז'אנר זה בכתיבת הרומן שלו "מפריח היונים", שתפס את רשימת הרומנים הנקראים ביותר. הרומן הזה חושף בפנינו את מידת ההתקשרות של היהודים למורשת השירה העיראקית שלהם, בנוסף לכך הצליח הסופר לקחת את הקורא לסמטאות בגדאד, לחופי החידקל ולטבע הציורי ומכיוון שהסופר אלי עמיר הוא יהודי ממוצא עיראקי, התברר לי שהרומן שלו קשור קשר הדוק לסביבה העיראקית, ואנו מוצאים בין קפליו אירועים רבים המשקפים את הביוגרפיה שלו ואת תולדות הקהילה היהודית בעיראק.
למשפחות הבגדדיות ולכתות אחרות, וכל האירועים הללו היוו מקור סוגסטיבי מרכזי ברומן שלו, כדי להסב את תשומת לב הקורא למצב בעיראק ולהדגיש את הצד האסתטי של הרומן.

This research is an attempt to analyze the dialogue techniques in (Agri bn Ka) novel by (Saeed Nakam) and present the importance of these techniques in exposing the characters. This is because dialogue is one of the main and foundational columns and cores of the novel events through which the characters’ roles will be revealed while communicating and addressing one another. Despite this, dialogue represents the thinking method, way of living, educational level, open-mindedness, and maturity of the novel characters. Therefore, the dialogue technique in (Agri bn Ka) novel has been made the title of this research. Further, this research tries to present the novelist’s dominance and power in the dialogues and it is by the characters’ dialogues that (Saeed Nakam) is able to convey his political and social messages. This research is divided into two sections: the first section is theoretical one and deals with the definitions, history, language and significance of dialogue. While the second section is practical and application to the selected novel and analyzes the types and methods of the novel dialogues. Finally, the most important findings and conclusions as well as the consulted sources are provided.

پوختەى توێژینەوە

لەم توێژینەوەیەدا هەوڵدراوە (تەکنیکەکانى دیالۆگ لە ڕۆمانى (ئاگرى بن کا)ى (سەعید ناکام) شیکار بکرێت و گرنگییەکەى لە خستنەڕووى کەسایەتییەکان بەدەربخات، چونکە دیالۆگ یەکێکە لە کۆڵەکە سەرەکى و بنچینەییەکانى چنینى ڕووداوەکان لە ڕۆماندا، کە لەمیانییەوە ڕۆڵى کەسایەتییەکان لە ساتى گفتوگۆکردنى نێوانیانەوە بەدەر دەکەوێت، سەرەراى ئەمەش دیالۆگ شێوازى بیرکردنەوەو چۆنیيەتى ژیان و ئاستى ڕۆشنبیریی و تێگەیشتوویی و پێگەیشتوویی کەسایەتییەکان لە نێو ڕۆماندا دەنوێنێت، بۆیە تەکنیکى دیالۆگ لە ڕۆمانى (ئاگرى بن کا)دا کراوە بە ناونیشانى توێژینەوەکە، بۆ ئەوەى باڵادەستى ڕۆماننوس لە چینینى دیالۆگ لە ڕۆمانەکەیدا بخرێتەڕوو، لەگەل ئەمەشدا (سەعید ناکام) پەیامە سیاسى و کۆمەڵایەتییەکان لە گفتوگۆى نێوان کەسایەتییەکانى نێو ڕۆمانەکەیەوە خستۆتەڕوو، بۆ ئەم مەبەستە توێژینەکە دوو بەشى لە خۆ گرتووە، بەشێکى تایبەت کراوە بە لایەنى تیۆرى سەبارەت بە پێناسەو مێژوو و زمان و گرنگى دیالۆگ، بەشەکەى تریشیان لایەنى پڕاکتیکى ڕۆمانەکەیە، بۆ ئەوەى جۆرو شێوازەکانى دیالۆگ لە ڕۆمانەکەدا شیکار بکەین، لە کۆتاییدا گرنگترین ئەنجامەکان لەگەڵ ئەو سەرچاوانەى ئەم توێژینەوەیەیان پێکهێناوە خراونەتەڕوو.