Journal of Al_Anbar University for Language and Literature

This study explores the features of Sufi literature within both Islamic and Christian thought through an analytical approach. It focuses on the shared mystical experience between the two religions by shedding light on artistic concepts such as symbolism and imagination, as well as spiritual-philosophical notions like annihilation (fanā\') and divine love, among others. The study also examines prominent figures such as Ibn Arabi, al-Hallaj, and Ibn al-Farid in Islamic mysticism, alongside Wordsworth, Blake, and John Keats in Christian mystical thought.
The study concludes that Sufi literature reflects a unified spiritual experience despite doctrinal differences, employing symbolic language to express a knowledge that surpasses rational understanding. Sufism is not merely a religious current but a humanistic philosophy imbued with aesthetic and spiritual dimensions, making it a cultural bridge among nations. It also emphasizes the role of Sufism in fostering interfaith and intercultural dialogue between Islam and Christianity and calls for further comparative studies to deepen our understanding of the literary and philosophical dimensions of mysticism across various religious traditions.

Objectives: This study aims at investigating the semantic and artistic aspects in the novel (Attrass Alkalam) for the Iraqi novelist Abdulkhaleq Al-Rekabi and an attempt to follow the strategy adopted by this novel in the formation of the semantics of the text.
Methods: The study is based on the semiotic approaching in following the movement of the semantic production as well as on some artistic aspects pertaining the narrative analysis of the text especially at ((Jerar Janet).
Results: This study concluded the capability of reaching the hidden significances in the texts; through opening up the horizon of the reading and interpretation, where the reader has a role in reproducing the text according to the methodological and religious devices enabled him to penetrate cohesion of the texts structure and deconstruct its units to reach its depth and to hold the hidden significances in it. Among other results demonstrated by this study were that the discourse of the novel was formed on the relation of the (confrontation and meeting) between the major actors. On this basis, the novel seemed established on the active conflict between these actors and the desire of each one to possess the object of the value and establishing its own narrative programme. This study also puts the reader as a participant in constructing the semantics of the text, since his role is not a recipient only.
Conclusions: The study explores the concept of the formation of semantics and determines its conceptions, forms and what it includes of semantic patterns through following and induction the significances in the literary texts which need an attempt of grasping and exploring the meaning by the reader.

This study is founded on a central hypothesis: that religious intertextuality in modernist poetry—whether with the Qur\'an, the Prophetic Hadith, or religious heritage—is not merely a formal invocation of texts, but rather an active mechanism for generating meaning and reshaping poetic discourse within modernist frameworks that oscillate between absorption and transcendence. This is achieved through elevated language, radiant and elegant expression, refined sensitivity, keen insight, and an organized, conscious intellect.
The methodology adopted in this study is the generative structural approach, which views intertextuality as an operative mechanism. The modernist poetic text is not a closed entity; rather, it is a web of interwoven relationships with other texts.
As for the artistic techniques of employing intertextuality in modernist poetry, the study identifies two main types:
1. Static intertextuality at the textual level, which involves direct quotation—that is, the verbatim use of religious texts, preserving both wording and meaning without alteration, addition, or omission.
2. Dynamic intertextuality at the textual level, which involves indirect quotation—where the poet engages with religious texts by re-generating their meanings within a modernist vision, shaped through poetic devices, imagery, and rhythm.
The key findings of this research reveal that religious intertextuality operates as a dynamic structure that generates a distinctive poetic discourse. This discourse aligns with religious texts without replicating them, and transcends traditional interpretive patterns without being confined by them.

Objectives: The study aims to examine the extent to which the academic output represented by theses and dissertations presented by researchers and scholars at University of Anbar. They are compatible with the historical method, which are considered one of the most important critical approaches known to the modern era, and which uses the history of the era and its prevailing systems to clarify the literary text and realize what time has hidden. Behind its letters are facts, events, locations and global media.
Methodology: This study adopted the concept of critical review and criticism to show the historical method in its various forms, and to reveal, on the one hand, the lapses into which the researchers fell, and on the other hand, the extent to which their studies are compatible with this method and its pioneers from the European\\'s critics such as (Hibault Taine, Saint-Beuve, Gustave Lanson..etc..), Among the Arab\\'s critics s (Ahmed Deif, Ahmed Amin, Dr. Shawqi Deif… etc.).
Results: This study found a clear discrepancy between researchers in their academic outputs. As scholars confuse the fields of their literary study, they defend unfulfilled goals in their writings, and this reason to their failure to differentiate between literary criticism and the sciences that surround it are to be attributed, especially the history of literature. Some of them neglected to address the life of the author and the circumstances in which he was born, and some of them studied Vague. There are researchers who adhere to the historical method, its goals and steps by paying attention to the creator and the creative structure at the expense of creativity itself.
Abstract: This study revealed that there is a discrepancy between researchers in academic outputs. There are those whose proposals were critical and committed to the historical method. On the other hand, we find those who moved away from the historical method in their proposals, which looks at literature as a mirror reflecting the spirit of the era in which the writer lives, and then He searches for an image of society as a comprehensive system united by common interests and occupied by single crucial issues.

The current study aims to analyze the allophones of the /t/ sound in different contexts among students at Al-Maarif University. It seeks to provide a reference for English as foreign language learners regarding the realization of these allophones and help them avoid misunderstandings when communicating with native speakers via social media. This research also reveals the impact of sociolinguistic factors and gender on these allophones. Regarding the methodology, the data were collected from fourth-year students in the English Department’s evening study program and analyzed based on Yule’s Phonological Variation Theory (2010). The participants consisted of twenty students, and a quantitative analysis was adopted to count the number of accurate pronunciations made by each gender. The major findings reveal that females use flaps more frequently than males to indicate that they are educated, while males use glottals more accurately. The flapped version of the /t/ sound affects the clarity of words more than the unflapped version. Regarding aspiration, both genders accurately pronounce aspirated sounds, as the rules are explicit. Based on these findings, the researcher concludes that the flapping process reflects social status. Moreover, the logical analysis identified that males widely use glottal stops because their phonological rules are explicit, and this is considered a phonological variation used in informal contexts. These phonological variations are taught in the third year of the English Department\'s Linguistics program. However, it should be noted that Received Pronunciation (RP) is the accent taught in the educational system of Iraqi universities.

This study examined the psychological and persuasive effects of Charlie Chaplin\'s use of repetition in his speech in The Great Dictator. Despite the historical significance of speech, the precise categories and reasons for Chaplin\'s repetition have not been widely investigated. This study uses a combination of qualitative and quantitative analyses to understand better how repetition shapes public opinion and promotes societal change.
The study classifies the four types of repetition used in speech, according to Kemertelidze &Manjavidze\'s (2013) model: anaphora, epiphora, epanalepsis, and anadiplosis. Anaphora is the most popular form, accounting for 55.56% of all repeats. Epiphora ranked second at 22.22%, followed by epanalepsis and anadiplosis (11.11 %). Repetition plays various roles. It can be used to establish rhythm, promote coherence, elicit emotional reactions, and aid in memory recall. The findings reveal that repetition in Chaplin\'s speech not only boosts its rhetorical power but also effectively communicates its essential arguments, inspiring action against injustice and uniting the audience. This study contributes to rhetorical and persuasive communication fields by highlighting the effective use of repetition in political and social discourse.

This study delves into the utilization of loanwords by craftsmen within the Hit community, examining the intricate process through which borrowed terms permeate various languages and cultures, influenced by multiple cross-cultural factors such as trade, migration, education, and cultural identity. The researcher undertakes a sociolinguistic exploration of loanword usage among ten craftsmen within the culturally rich and historically significant setting of Hit, offering insights into the interplay between cultural heritage, language, and craftsmanship. Data is gathered through interviews conducted with craftsmen in Hit, followed by qualitative analysis to elucidate the diverse applications of loanwords.
Haugen\'s (1950) taxonomy serves as a foundational framework for this study, categorizing borrowed words into three distinct classifications: loanwords, loan blends, and loan shifts. The study results revealed that some craftsmen in the city of Hit, particularly those crafts directly linked to its historical and cultural heritage, remained unaffected by linguistic changes and did not adopt borrowed foreign words, albeit incorporating a few necessary terms into their language. Conversely, the language of the Na\'our maker was notably distinct for its purity, devoid of any borrowed words. On the other hand, a significant number of borrowed words were observed among most other handicrafts. Borrowed words predominantly originated from the English language, constituting the highest percentage at 66%, followed by Turkish words at over 15%,Persian words at 11%, and French words at 6%.

Исследование фокусируется на важности точности в процессе перевода слова и определения его значения и значений символов в тексте в целом, а также на различии между коннотацией и значением для получения правильного перевода, будь то устный или символический. Слово обозначает, а внешняя вещь подразумевается или на нее указывают, значение связано с символом и придает ему образ, согласованный автором и читателями. Разница между звуком или коннотацией и значением заключается в том, что значение идентично восприятию, которое существует и непротиворечиво в человеческом сознании, поскольку коннотация - это связь означающего звука со значением и внешней вещью. Исследование показывает, что значение - это каждый термин, который существует и зафиксирован в словаре, в то время как обозначение - это фонетические символы, которые несут значение, с которым согласны участники разговора, и обозначение в основном фонетическое.