Journal of the College of Languages

Criticism is inherently impolite and a face-threatening act generally leading to conflicts among interlocutors. It is equally challenging for both native and non-native speakers, and needs pre-planning before performing it. The current research examines the production of non-institutional criticism by Iraqi EFL university learners and American native speakers. More specifically, it explores to what extent Iraqi EFL learners and American native speakers vary in (i) performing criticism, (ii) mitigating criticism, and (iii) their pragmatic choices according to the contextual variables of power and distance. To collect data, a discourse-completion task was used to elicit written data from 20 Iraqi EFL learners and 20 American native speakers. Findings revealed that though both groups regularly used all strategy types, Iraqi EFL learners criticized differently from American speakers. When expressing criticism, Iraqi learners tended to be indirect whereas American speakers tended to be direct. In mitigating their criticism, Iraqi learners were significantly different from American speakers in their use of internal and external modifiers. Furthermore, both groups substantially varied their pragmatic choices according to context. The differences in their pragmatic performance could be attributed to a number of interplaying factors such as EFL learners’ limited linguistic and pragmatic knowledge, the context of learning and L1 pragmatic transfer. Finally, a number of conclusions and pedagogical implications are presented.

This study aims to reveal the similarities and differences between Iraqi and Malay university learners and their genders in producing the supportive moves of criticism. To this end, 30 Iraqi and 30 Malay university learners have participated in this study. A Discourse Completion Test (DCT) and a Focus Group Interview (FGI) are conducted to elicit responses from the participants. Nguyen’s (2005) classification of criticism supportive moves is adapted to code the data. The data are analysed qualitatively and quantitatively. Overall, the findings unveil that both groups use similar categories of supportive moves, but Iraqis produce more of these devices than Malays in their criticisms. Although both females and males of both groups use identical devices, they differ in their preference for producing particular types. Iraqi and Malay females prefer to produce more supportive moves than Iraqi and Malay males in their criticisms. Finally, the study provides some pedagogical implications for teachers of English as a second and foreign language.

This study aims to reveal the similarities and differences between Iraqi and Malay university learners and their genders in producing the supportive moves of criticism. To this end, 30 Iraqi and 30 Malay university learners have participated in this study. A Discourse Completion Test (DCT) and a Focus Group Interview (FGI) are conducted to elicit responses from the participants. Nguyen’s (2005) classification of criticism supportive moves is adapted to code the data. The data are analysed qualitatively and quantitatively. Overall, the findings unveil that both groups use similar categories of supportive moves, but Iraqis produce more of these devices than Malays in their criticisms. Although both females and males of both groups use identical devices, they differ in their preference for producing particular types. Iraqi and Malay females prefer to produce more supportive moves than Iraqi and Malay males in their criticisms. Finally, the study provides some pedagogical implications for teachers of English as a second and foreign language.

Cette recherche a un objectif précis : étudier les diverses modalités selon lesquelles le motif du labyrinthe se pose comme principe privilégié de l'esthétique du récit chez Patrick Modiano. Cela se fera, dans la généralité, à la lumière de la méthodologie de la poétique textuelle sans pour autant omettre le rôle que pourrait jouer le contexte sur les choix thématiques de l'écrivain. Dans les romans ِiration.

Cette recherche a un objectif précis : étudier les diverses modalités selon lesquelles le motif du labyrinthe se pose comme principe privilégié de l'esthétique du récit chez Patrick Modiano. Cela se fera, dans la généralité, à la lumière de la méthodologie de la poétique textuelle sans pour autant omettre le rôle que pourrait jouer le contexte sur les choix thématiques de l'écrivain. Dans les romans ِiration.

Статья посвящена анализу структурно-семантических особенностей несогласованных определений, функционирующих в пьесах знаменитого русского драматурга А.Н. Островского. Несогласованные определения достаточно часто используются с дополнительными субъектно-объектными и обстоятельственными оттенками значений, тем самым формируя особый класс второстепенных членов предложения с синкретичной семантикой.

На наш взгляд, изучение несогласованных определений с позиций анализа синкретизма имеет широкие перспективы для дальнейшего исследования, направленного на детальное изучение контекста употребления определения как в семантическом, так и в грамматическом плане.

Abstract

The study aims at analyzing the inconsistent structural and semantic aspects found in the plays of N.A Ostrovsky. The analysis, that includes all the linguistics schools of thoughts in modern Russian language, is performed chronologically to clarify all the ambiguities that the Russian language learners may face. Such difficulties lie in the use of inconsistent aspects with complete declarative sentences and adverbial clauses. Hence, it constructs a new sentence category that consists of secondary clause and its syncretism semantic.

The study illustrates the wide scope of both studying the sentence inconsistent features and analyzing its structural-semantics aspects, which, in turn, opens the door to further research and analysis of literary examples for many authors.

Статья посвящена анализу структурно-семантических особенностей несогласованных определений, функционирующих в пьесах знаменитого русского драматурга А.Н. Островского. Несогласованные определения достаточно часто используются с дополнительными субъектно-объектными и обстоятельственными оттенками значений, тем самым формируя особый класс второстепенных членов предложения с синкретичной семантикой.

На наш взгляд, изучение несогласованных определений с позиций анализа синкретизма имеет широкие перспективы для дальнейшего исследования, направленного на детальное изучение контекста употребления определения как в семантическом, так и в грамматическом плане.

Abstract

The study aims at analyzing the inconsistent structural and semantic aspects found in the plays of N.A Ostrovsky. The analysis, that includes all the linguistics schools of thoughts in modern Russian language, is performed chronologically to clarify all the ambiguities that the Russian language learners may face. Such difficulties lie in the use of inconsistent aspects with complete declarative sentences and adverbial clauses. Hence, it constructs a new sentence category that consists of secondary clause and its syncretism semantic.

The study illustrates the wide scope of both studying the sentence inconsistent features and analyzing its structural-semantics aspects, which, in turn, opens the door to further research and analysis of literary examples for many authors.

Данная статья посвящена одной из наиболее сложных тем русского языка – это фразиология. Особенностью российской речевой практики последних десятилетий является активное изменение лексического состава русского языка. В статье описывается семантическая, структурно-грамматическая и стилистическая характеристика фразеологизмов, появившихся в русском языке в конце XX – начале XXI вв. В работе дается определение данным терминам – фразеологизм, фразеологическая единица, фразеологический оборот, использующиеся в качестве синонимов. В данной статье мы Будем придерживаться синкретического взгляда на проблему и включать в число фразеологизмов не только идиомы, но и фразеологические сочетания, крылатые слова и терминологические сочетания, которые подверглись образному переосмыслению. Характерзируются и анализируются научные положения разных авторов. а также проводится анализ многих литературных примеров.

This study is dedicated to one of the most difficult topics in Russian - this is the science of idioms. A feature of the Russian speech application in recent decades has been the effective change in the lexical composition of the Russian language. This article illustrates the semantic, grammatical and stylistic structural characteristics of the linguistic units that appeared in Russian at the end of the 20th century - the beginning of the twenty-first century. This work defines these terms : terminology, linguistic unity, and terms that are used as synonyms. In this research , we will adhere to the conciliatory view of the problem and include not only the terminology in the language units, but also the terminological compositions, sayings, and composite terms that have been subject to pictorial rethinking. The scientific principles of the various authors are described and analysed, as well as an analysis of many literary examples.

Many critics suggest that Beckett’s early plays are comic because they focus their analyses on the use comic elements. Waiting for Godot is one of Beckett’s early plays, and it has been heavily analyzed and read as a comic text partly because its subtitle is “a tragicomedy in two acts” and also because of the comic techniques used in the play. The present paper, however, attempts to read the play as a piece in which comedy fails to produce any effects on the characters who remain apparently very desperate and frustrated throughout the play. The characters perform different comic acts, but they do not really feel amused or entertained. The paper suggests that the acts these characters put on stage are only means to pass time and avoid thinking about their predicament. The paper thus does not reject the comic reading of the play, but consider it a partial reading that does not capture the different dimensions of this text.

Установление системного характера лексики, ее взаимосвязи с другими языковыми системами, их взаимозависимость создают возможность всестороннего научного изучения и описания лексической системы каждого языка, а также контрастивно-сопоставительного изучения нескольких языков, в том числе их фразеологического состава.

Известно, что не все слова-компоненты фразеологизмов равнозначны по своей роли в формировании семантического содержания фразеологизмов. В связи с этим необходимо ввести понятие лексической доминанты. К ним мы относим слова, являющиеся своеобразными центрами, вокруг которых формируется весь семантический комплекс фразеологизмов, весь набор его слов-компонентов.

Abstract

Establishing the systemic character of vocabulary, its relationship with other language systems, their interdependence creates the possibility of a comprehensive scientific study and description of the lexical system of each language, as well as contrastive comparative studies of several languages, including their phraseological composition.

It is known that not all words-components of phraseological units are equivalent in their role in the formation of the semantic content of phraseological units. In this regard, it is necessary to introduce the concept of a lexical dominant. To this we include words, which are kind of centers around which the entire semantic complex of phraseological units, the entire set of its words-components are formed

The aim of this study is to examine the noun phrases used in Nacati Bey's divan. In this study, we have discussed all kinds of phrases including Arabic and Persian compositions. Because at that time the use of Arabic and Persian compounds was very common.

In the introduction, I briefly discussed some of Necati's life. I have benefited from valuable resources. Among these, Zeynep Korkmaz, Muharrem Ergin, Fuat Bozkurt and others.

In this study, I have dealt with the subject and type of noun phrases in detail and one by one. In this divan, Persian and Arabic noun phrases are also included. We have been mentioned and explained in this study.

El presente trabajo de investigación se centra en echar luz sobre los criterios más importantes por los cuales el traductor puede conseguir el total éxito en la traducción de los textos científicos cuyo lenguaje escrito en español se halla influenciado a gran nivel con expresiones y palabras adoptadas de la lengua inglesa y de otras lenguas mundiales, y exponer las dificultades más destacadas que enfrentan a los traductores a la hora de traducir del idioma español al idioma árabe, dando las soluciones más adecuadas a la cabeza de las cueles llegar a un nivel aceptable de la comprensión.

Abstract

This research focuses on shedding light on the most important criteria by which the translator can achieve total success with regard to the translation of scientific texts whose written language in Spanish is greatly influenced by expressions and words adopted from the English language and other world languages, in addition to exposing the most outstanding difficulties that translators face when translating from Spanish to Arabic, giving the most appropriate solutions in this regard.

El presente trabajo de investigación se centra en echar luz sobre los criterios más importantes por los cuales el traductor puede conseguir el total éxito en la traducción de los textos científicos cuyo lenguaje escrito en español se halla influenciado a gran nivel con expresiones y palabras adoptadas de la lengua inglesa y de otras lenguas mundiales, y exponer las dificultades más destacadas que enfrentan a los traductores a la hora de traducir del idioma español al idioma árabe, dando las soluciones más adecuadas a la cabeza de las cueles llegar a un nivel aceptable de la comprensión.

Abstract

This research focuses on shedding light on the most important criteria by which the translator can achieve total success with regard to the translation of scientific texts whose written language in Spanish is greatly influenced by expressions and words adopted from the English language and other world languages, in addition to exposing the most outstanding difficulties that translators face when translating from Spanish to Arabic, giving the most appropriate solutions in this regard.

El presente trabajo de investigación se centra en echar luz sobre los criterios más importantes por los cuales el traductor puede conseguir el total éxito en la traducción de los textos científicos cuyo lenguaje escrito en español se halla influenciado a gran nivel con expresiones y palabras adoptadas de la lengua inglesa y de otras lenguas mundiales, y exponer las dificultades más destacadas que enfrentan a los traductores a la hora de traducir del idioma español al idioma árabe, dando las soluciones más adecuadas a la cabeza de las cueles llegar a un nivel aceptable de la comprensión.

Abstract

This research focuses on shedding light on the most important criteria by which the translator can achieve total success with regard to the translation of scientific texts whose written language in Spanish is greatly influenced by expressions and words adopted from the English language and other world languages, in addition to exposing the most outstanding difficulties that translators face when translating from Spanish to Arabic, giving the most appropriate solutions in this regard.

En vue de résumé, et en suivant les propos de Robbe-Grillet, nous dirons que le concept du Nouveau Roman ne constitue pas une Théorie, ni une école, ni même un groupe d'écrivains optant pour la même démarche.

Il n'y a là qu'une appellation commode englobant tous ceux qui cherchent de nouvelles formes romanesques, capables d'exprimer ou de créer de nouvelles relations entre l'homme et le monde, tous ceux qui ont décidés à inventer le romen. C'est à-dire à inventer- l'homme comme le croit Alain. Robbe- Grillet.

Modern French novel has gained a distinctive status in the history of French literature during the first half of the twentieth century. This is due to many factors including the new literary descriptive objective style adopted by novelists like Alain Robbe – Grillet that has long been regarded as the outstanding writer of the nouveau roman, as well as its major spokesman, a representative writer and a leading theoretician of the new novel that has broken the classical rules of the one hero and evolved, through questioning the relationship of man and the world and reevaluating the limits of contemporary fiction , into creating a new form of narrative.

Uzun yıllar aynı coğrafyada yaşayan Türkler ve Araplar arasında birçok alanda olduğu gibi dilde de etkileşim yaşandığı bilinmektedir. Birçok çalışmada da tespit edildiği gibi Türkçeye birçok yabancı dilden kelime girmiştir; ancak bunların başında Arapça olduğu söylenebilir. Arapçadan Türkçeye giren kelimler mastar olarak girdiği için Türkçeden yardımcı fiil alarak fiille dönüşmüştür. Arapça bükümlü bir dil olmasından dolayı içinde durum ekleri bulunmamaktadır. Türkçede durumun bunun tam tersidir. Çünkü fiiller belirli bir durumu ekini isterler. Bu çalışmada Osman Çeviksoy'un "Karanlıkta Ses Gibi" Başlıklı Öykü Kitabında yer alan metinlerde geçen Arapça kökenli kelimelerle inşa edilen birleşik fiiller tek tek tespit edilmiş, satır ve sayfa numaraları belirtilmiş; nasıl oluştuğu ve hangi yardımcı fiili aldığı belirlenmiştir. Çalışmanın sonunda elde edilen sonuç rakamlarla tasnif edilerek belirilmeye çalışılmıştır.

Abstract

Due to the Geographical links, language is one of the multiple affects among Arabs and Turks. As the different studies demonstrate, Turkish contains many words derived from other languages, yet Arabic remains the language that has great affects on Turkish. Unlike Turkish language, Arabic is a derivative language that requires no suffixes. Thus, Arabic verbs are tuned into Turkish verbs by adding auxiliary verbs. The present study traces some of the Turkish compound words of Arabic roots with an explanation that shows the Auxiliary added to form the Turkish verb as found in the stories of Otman Chevek Sawy’s Like A voice in the Dark. The conclusion sums up the findings of the study illustrated by numbers.

В статье рассмотрена главная причина обращения А. И. Герцена к устаревшим словам, которая состоит в их способности приобретать в контексте речи стилистическую окраску, а также возможности сочетания в некоторых случаях с нейтральными лексемами различных функциональных стилей. Репрезентирован определенный стилистический эффект таких характеристик этого типа лексики, вследствие чего их стилистическая окрашенность в синтагматическом плане не совпадает со стилистической окраской в плане парадигматики, то есть в речи они совсем имеют совершенно стилистическое значение. Акцентируется внимание на роли устаревшей лексики, состоящая в том, что они служат для реализации таких черт художественного стиля как образность, эмоциональность, а их главная задача – эмоционально воздействовать на читателя, чем мастерски пользуется Герцен. Утверждается, что для устаревшей лексики романа «Кто виноват?» А. И. Герцена характерным представляется успешное сосуществование современного для писателя языка и речи изображаемой эпохи. Характер сочетания этих двух языковых стихий, их объем, способы, приемы введения элементов языка изображаемой эпохи в ткань художественного произведения являются специфическими.

Abstract

The article considers the main reason for A. I. Herzen's address to obsolete words, which is their ability to acquire a stylistic coloring in the context of speech, as well as the possibility of combining, in some cases, with neutral lexemes of various functional styles. A certain stylistic effect of such characteristics of this type of vocabulary is represented, as a result of which their stylistic coloring in syntagmatic terms does not coincide with stylistic coloring in terms of paradigmatics, that is, in speech they have a completely stylistic meaning. Attention is focused on the role of outdated vocabulary, which consists in the fact that they serve to implement such features of the artistic style as imagery, emotionality, and their main task is to emotionally affect the reader, which Herzen skillfully uses. It is argued that for the outdated vocabulary of the novel “Who is to blame?” By A.I. Herzen, the successful coexistence of the modern era for the writer of language and speech appears characteristic. The nature of the combination of these two linguistic elements, their scope, methods, and techniques for introducing elements of the language of the epoch depicted into the fabric of a work of art are specific.

Bu çalışmanın amacı, kullanım çeşitliliğine göre ele aldığımız cümlelerin ve diyalogların gerçek basit metni, her bir gerçek formülün ekleriyle kullanmak ve oyun içindeki örneklerin ardından atıfta bulunmaktır.

Araştırmanın girişinde, yazarın yaşamına kısa bir genel bakış ve fiillerin ve fiili formüllerin ne olduğu ve Türkçenin cümlesindeki önemi, türleri ve bölümleri hakkında kısa bir giriş yaptık.

Oyun (bu gençler), Türk tiyatro edebiyatının en önemli eserlerinden biri, özellikle de çocuk ve gençlik tiyatrosu, yazarın gençlere ve topluma yönelik en önemli mesajlarını komik bir dilde alaycı bir tarzda, yazarın dilsel tarzı açısından, atama yapmadan gençlerin zihnine hitap etmek basit ve açıktı. Dolayısıyla, gerçek formüllerle ilgili çalışmamızın önemi ve bu oyunun birçok akademisyen ve öğrenci tarafından çalışılmış ve temsil edilmiş olması.

Bu oyundan (Ah Şu Gençler) araştırmamızdaki kelime hazinelerinin ve cümlelerin çeşitliliğinden ve bunun yanı sıra Zeynep Korkmaz, Mehmet Akalın, Muharrem Ergin gibi birçok değerli Türk akademisyenin kaynağına dayanarak, sonuçta bahsettiğim birkaç sonuçtan yararlandım.

Abstract

The study sheds lights on the simple verbal formulas with its particular time suffixes as found in the Turgut Özakman’s play These Crazy Turks.

The introduction of the study sheds light on the life of the author and playwright, as well as traces the different types of the verbal formulas in Turkish language.

Oh Those Young is one of the most significant products of the Turkish literature of the young and Children where the literary messages of the playwright are addressed in a simple comic sarcastic style. Hence, the play, that has been studied and acted by many students and academics, drives its importance from this particular course of action.

The importance of the play lies in various aspects of diction rich with lines of poetry. The study refers to some of the valuable references of well known academics and authors like Muharrem Argin, Zeynep Korkmaz, Mehamet Akalin.

The conclusion sums up the findings of the research paper.

The research explores the confessional aspect in Audre Lorde's poem" Who Said It Was Simple ". Lorde depicts her personality under the stress of race, sex and sexuality. She discloses her own bitter experience concerning racism, sexism and sexuality in her poem to revive the retrospective truth of the Afro-Americans' life in the USA. This publicly manifestation of her personality and tribulation throughthe language ofpoetry has been regarded as the hallmark of confessional poetry.

X yüzyılda Türklerin İslamiyet’e tam bir şekilde girdikleri zamandan itibaren, onların girdikleri yeni dinin kuralını öğrenmeye başlamışlardır. Türklerin kendi inandıkları dinin kitabı, esası ve kuralları öğrenmek için Arap dilinin öğrenme çabaları o zamanlardan başlamıştır. O sırada Türkçenin kurallarına uymayan bir takım Arapça kökenli sözcükler Türkçeye geçip kullanılmaya başlanmıştır. Söz konusu kelimelerin en çok kullanıldığı dönem, Osmanlı devletinin bulunduğu dönem olup Türklerin Arap coğrafyasında bulunması böyle bir durum oluşturmaya büyük bir katkısı olmuştur. Yalnız Arapçadan Türkçeye geçmiş olan o kelimelerin bir kısmını anlamını kaybedip farklı bir anlamla veya farklı bir şekilde kullanılmaya başlanmıştır. Tekil anlamı veren Arapçadaki çoğul şeklini de kullanılan sözcükler de bulunmaktadır. Kökende çoğul olup Türkçede tekil olarak kullanılan bir takım sözcükler de bulunmaktadır. (Kökende Çoğul Olarak Kullanılan Arapça Kelimelerin Türkçe’ye Geçmesi ve Türkiye Türkçesinde Kullanım Şekilleri) adlı çalışmamızda Arapça kökenli çoğul sözcüklerin Türkçeye geçmesi açısından ve o sözcüklerin Türkiye Türkçesinde ne şekilde kullanıldığına dair tek tek Türkiye Türkçesinin sözlükleri tarayarak incelenecektir.

Abstract

In the tenth century, Turks began to convert into Islam and adopted for official and literary use the Arabic language to study the teachings of the new religion they believed in. The use of many of the loanwords have become absolute in the Ottoman period, but even in Modern Turkish a large number of loanwords from Arabic can be often recognized because they are not subject to the strict rules of Turkish. Yet, some of these words lost its original meaning and acquired new different Turkish meaning. Moreover, some of the Arabic nouns of singular form in Turkish, modified the plural Turkish form. The present study entitled “the adaptation and the different modifications of borrowed Arabic Plurals in Modern Turkish” sheds light on the most important dictionaries of Turkish language that shows the different use as well as the adaptation of the borrowed Arabic plurals in Turkish.

است یکی از عرصه های شعر فارسی معاصر که در حدود نیم قرن پیشینه اش اندک اندک جای خویش را باز می نماید شعر پست مدرنیسم است. علی باباچاهی از سرآمدان شعر پارسی در عرصه پسا نیمایی و پست مدرن محسوب می گردد. این پژوهش بر آن است تا با مطالعه در مجموعه شعر در غارهای پر از نرگس، به ویژگی های سبکی عمومی وهمچنین نوآوری ها و خلاقیت های سبکی که باباچاهی در این اثر، پایه نهاده است دست یابد. در نتیجه این پژوهش بسیاری از اختصاصات سبکی شعر پست مدرنیستی باباچاهی با پختگی و کمال بیشتر، نمایان می گردد وافزون بر آن شناخت بیشتری در زمینه نقد و بررسی تحلیل سبک شناسانه کتاب در غارهای پر از نرگس فراهم می گردد.

Abstract

Post Modern Persian poetry that is rich with visions and creations has slowly but firmly regained its statues in modern Persian literature and poetry. Ali Baba Chahi is considered one of Iran’s most prominent postmodern and post-Nimaie writer and poet.

The present paper discusses the general style characteristics as well as the distinctive stylistic creations of Ali Baba Chahi as presented in his collected poems In Caves full of Daffodils.

In conclusion, the study crystallizes some of the stylistic characteristics of Ali Baba Chahi as a leading figure in postmodern poetry. The study, also, provides a comprehensive critical analysis of the collection of In Caves full of Daffodils.

مله در زبان فارسی اين همهءچيز كه در معنى ومفهوم مستقل مى باشد . جمله فارسى از اركان مى باشد. كه ساختمان جمله فارسى ازاين اركان مى باشد.که اركان جمله اين اجزاى جمله فارسى است همه اجزاى جمله در جاى هاى مختلف مى باشد.

كه اقسام جمله فارسى سه اقسام است . اقسام جمله ازجهت معنى،ازجهت فعل،اقسام جمله ازجهت معنى مستقل است.

روش تجزيه ی روساختى جمله فارسى يعني تجزيه ى اجزاى جمله فارسى به نمونه هاى مختلف ازحيث واژهاى جمله است . مى توان كَفت كه تجزيه جمله به دوجهت نهاد وكَزاره ياقيد وكَزاره ياجمله هاى مركب پايه است.

Abstract

The sentence is one building unit in a music that has a full meaning which in the end takes a long silence .The sentence bases made the sentences with intransitive verb ( non connection ) and the sentences are made with general verb (connection ) .The sentence parts :Verbal sentence –supportive sentence , sentence without a verb .

The method of divide the sentence into these syntax units ( face division ) or (analysis and to each of the syntax units resulted from dividing the sentence to sections made to the end the characterizes the smaller syntax units ,the words .The method of analyze the surface structure of Persian language sentence is exchange method.