Journal of the College of Languages

Sait Faik'in ( "Havada Bulut" adlı Hikayesinde Fiil Kiplerinin incelenmesi ) adlı bilimsel çalışmamızda fiil kiplerini (zaman türleri , ekleri , çıkarmaları ve incelemesi) uygulamalı olarak ele aldık.

Fiil, Türkçede cümlenin temel öğelerinden biridir. Fiillerin asıl görevi, bir temel cümlenin yüklemi olmaktadır. Yüklem, cümlenin temelidir. Yüklem olmadan cümle kurulamaz. Fiiller, hareketlerine bağlı oluş, kılış ve durumlarıdır.

Türkçede fiil köküne kip gelir. Yani fiillerde kip fiilin yapılışını gösterir. Fiilin yapılışı bildirme ve tasarlama biçimlerinde olabilir. Türkçede kullanılan fiillerin bu kiplerden biriyle çekimlenmiş biçimine basit zamanlı fiil denir.

Abstract

This research paper which is entitled “Analysis of Verbs Forms in Sa’eed Faeeq’s Short Story: Cloud in the Sky” deals with the forms of verbs (i.e., kinds of tenses and suffix analysis). It is one of the applied studies. Verbs are basic elements in Turkish sentences. Their function is to state the predicate which is a sentential essential part. Verbs denote sentence construction, action and formal aspects. Forms are added to the base of verbs in the Turkish language giving the verbs their final structures. Such structures are set in a distinct planned way. The verbs used in the Turkish language which are distinguished by one of these forms are known as simple tense verbs.

העיון הזה מתעניין בנושא חקר עתידם של היהודים בכתבי הסופרים והמבקרים היהודים בתקופת שלהי המאה ה-19 ובתחילת המאה ה-20. הכותבים האלה התמקדו בשאלת גורלם של היהודים, וביחוד אלה שהתבללו בחברות האירופיות.

הסופרים היהודים היו חלק כל כך חשוב מהישות הציונית והם עבדו בכל כוחם לשרת את תוכנותיה של הציונות, וביחוד בתקופת חייו של תיאודור הרצל ואחריו. רוב הסופרים היהודים כתבו רוב יצירותיהם שדנו בשאלת המדינה היהודית, וביחוד המדינה היהודית בפלסטין.

על כן כתבתי את המחקר הזה כדי שיהיה אמצע חשוב לדעת אופי כתיבתם של הסופרים והמבקרים היהודים בשאלת הקמת המדינה היהודית בתקופה שבין שלהי המאה ה-19 ותחילת המאה ה-20. חלקתי המחקר לכמה סעיפים לפי כתיבם של הסופרים האלה, ולפי תקופת הכתיבה שלהם.

Abstract

It is very known how great is the role of the Jewish writers in the system of the Zionist movement. The movement relied on writers and writers to carry out their programs, especially those pertaining to the creation of a "national homeland" for Jews. Most Jewish writers sang of Palestine even though they were not born there.

On such a basis, we have followed closely the writings of writers, critics and others by the end of the nineteenth century and the beginning of the twentieth century. We found that these writings are based on one common question: What is the fate of the Jewish people?

Most of these writings were accompanied by Theodor Herzl's project of establishing a Jewish state in Palestine. Therefore, these writers and critics began to intensify their efforts on the importance of the establishment of that state and painted a negative image of the phenomenon of integration in European societies and suggested solutions against that phenomenon of integration, and recommended to join the Zionist catch and its future project.

Язык–Это ключ к знанием, и средство высказывания мыслей, он является орудием понимания между народами всего мира, и индикатором развития человеческой цивилизации. Через него передаются понятия и совершаются сближение и гармония наций.

Языковые средства различаются по выражению человеческих чувств и мыслей. Эвфемизм считается основным из этих средств. Это межъязыковое явление обозначает воздержание от неподобающих слов – непрямое, смягченное выражение вместо резкого или нарушающего нормы приличия (Словарь иностранных слов и выражений, с.727). Большинство живых языков мира находятся под политическими го, культурными, социальными влияниями, которые в свою очередь отражают разные языковые уровни. Следовательно, перевод подчиняется такими же условиями своего орудия (языка). Что говорится в одной нации, можно являться неприличным у другой. Это работа посвященапереводческому явлению, которое можно назвать «переводческим эвфемизмом или эвфемизмом в переводе», в рамках статьи мы попытались пролить свет на мотивы, приёмы, и позиции этого явления.

Abstract

The Phenomenon of Euphemism in the Translon Activity Euphemism is the replacement of a harsh word with a less harsh or more acceptable one. Most languages are affected by ideological, cultural, social, or religious perspectives which in turn would reflect different linguistic levels. On such a basis, translation is affected by its medium,i.e. language, and consequently what is acceptably expressed by a nation may not be acceptable by another. In this paper, we try to tackle a translation phenomenon which has its own purposes, views and strategies. It may call translation euphemism which takes care of replacing the harshness or lessening the effect of the meaning of a word, or a phrase in the original text, caused by an ideological or cultural factor of the recipient with a less harsh or more acceptable expression. The translator intentionally does delete, add or replace an act that might result in semantic deviation.

تیۆری هەڵوەشاندنەوە تیۆرێكە پاش بوونیادگەری سەریهەڵداوە و دەیەوێت لەڕێگەی چەند بنەمایەكی سەرەكیەوە كار بۆ گەیشتنە واتای مەبەستدار و سەرەكی دەق بكات، لە ڕێگەی گۆشە نیگای جیاوازەوە. بەواتایەكی تر هەڵوەشاندنەوە تیۆرێكی ئەدەبی ڕەخنەیی و ڕێبازێكی فەلسەفی هاوچەرخە و پێكەوە كاردەكەن لەپێناو گەیشتنە چەمكی تەواوی دەقەكە، ئەمەش لەڕێگەی خوێندنەوە و ڕاڤەی دەقەكەوە دەبێت، بۆیە هەڵوەشاندنەوە چەند بنەمایەكی دیاریكردووە، تاوەكو لەڕێگەی ئەم بنەما جیاوازانەوە بگاتە واتای تەواوی دەق.

ئەم لێكۆڵینەوەیە پێكهاتووە لە دوو بەش، لە بەشی یەكەمدا باس لە چەمك و پێناسەی هەڵوەشاندنەوە و سەرهەڵدان و گەشەكردن و فەلسەفەی ئامادە و بنەما و ستراتیژەكانی هەڵوەشاندنەوە لە ڕوانگەی دریداوە كراوە.

لە بەشی دووەمدا بەپێی بنەماو ستراتیژەكانی هەڵوەشاندنەوە كار لەسەر دەقی شیعری كراوە و دەقی شیعری (تەلیسم)ی ئەنوەر قادر جاف وەك نموونە وەرگیراوە.

Deconstruction theory is a theory that appeared After construction theory, and it tends, through some key principles, to reach the purposive and the main meaning of the text by the means of different perspectives. In other words, deconstruction is a critical literary theory and a contemporary philosophical approach that work together to reach exact concept of the text, and this is achieved through reading and analyzing the text. Therefore, deconstruction has specified some principles so as to reach the exact meaning of the text through these different principles.

Статья посвящена возможности использования в обучении русскому языку как иностранному Есть много методов обучения иностранному языку для не-носителей языка в настоящее время до открытия новых методов-которые делают студенты понимают язык, словарный запас и сохраняет их как можно скорее-становится одним из самых важных обязанностей учителей и преподавателей . Личный опыт показывает , что преподавание русского языка через поэзию русского языка является одним из самых быстрых способов овладеть языком и знать его правила, а также улучшить способность переводить словарный запас и быть не в состоянии сохранить только русские слова, но и сделать его полным.

Abstract

There are many methods of teaching foreign language to non-native speakers now therefore the discovery of new methods - which make students understand the language , vocabulary & saves them as soon as possible – becomes one of the most important duties of teachers and educators .

The personal experience shows that the teaching of the Russian language through memorizing Russian poetry is one of the fastest ways to master the language and know its rules and also improve the ability of translating vocabulary and being not able to save the Russian words only , but to make it complete too. Poetry is an article or text which loves by people and enjoy reading it, therefore, using it to teach foreign language has a positive reaction on students. As we mentioned it helps greatly to absorb the language.

A lot of professors and experts in teaching methods _ specialists in language teaching for foreign students in different grades _ use poetic texts in teaching a foreign language to avoid the boredom in teaching grammar and make it

המחקר זה מטפל בנושא הטרגידה והצער בשירת ימי הביניים,בהיותו אחד הנושאים שנחדרו אליה בהשפעת השירה הערבית,אחרי אימוצם של משוררי ימי הביניים לצורות ותוכני או נושאי השיר הערבי,לכן הנושא זה היה תכונה בולטת ביותר בשירה זו ואולי נמשכה ממנה עד יומנו זה , המשוררים העבריים ריכזו על נושא זה בשלושה כוונים ראשיים ,הם שירי הקינה ,הן מה שנקרא בקינה הלאומית, כשהביעו את תחושותם ,רגשותם וכאובותיהם העמוקות ביותר בגלל התרחקותם וגעגועם לארצם המקורית ,שהיא פלסטין או בית המקדש כמו הם טוענים ,ואילו הסוג השני שהופיעו בו מובני הטרגידיה והצער היה בקינת הנפטרים מהקרובים והידידים,יתר על שירי הגולה והגאולה ,שהיו מלאים ברגשות הצער והבכאבה,על מנת זו המחקר חולק לשושה חלקים לפי שלושת הכוונים אלה,עם הקדמה טיפלנו בה מובני הטרגידיה והצער מבחינה לשונית עם רקע הסטורי למונחים אלה בספרות ,אחר כך המחקר נחתם במסקנות החשובות ביותר שהגיע לה המחקר.

Abstract

This paper tackles tragedy and grief in the Hebrew poetry of the Middle Ages, as being topics which was transferred to it from Arabic poetry at that time. This came as a result of Hebrew poets quoting images from, and adopting the form and content of the Arabic poem. So, this topic was a prominent feature in the Hebrew poetry of the middle ages. The Hebrew poets focused upon this topic along three trends: poems of lamentation, whether being what are called national lamentation where poets expressed their feelings and grieves because of their remoteness and longing to their homeland, which is Palestine or the sacred land, as they claim; here, Zionist trends were apparent in many poems lamenting Zion and other cities. The other type of poetry which witnessed the topic of tragedy and grief was the lamentation of the “dead people”, such friends and relations, as well as in the poetry of evacuation and salvation which contained a lot of sadness and grief. So, the paper is divided into three sections. Each section tackled one trend of these; as well, there is an introduction which tackled the two terms of tragedy and griefs, in addition to their historical backgrounds in literature .Finally, in the conclusion the most important conclusions and stated.

В статье рассматривается слово «Ремейк», термин который, широко используемый в современной русской литературе. Ремейк является синонимом «Обработка» и «Переделка». Несмотря на то, что «Ремейк» не имеет устойчивого определения, но тут была указана роль этого термина, и его функционирование в постмодернистской русской литературе. Это во-первых. Во-вторых, для того, чтобы показать усилия автора переосмыслить роман « Накануне » классического русского писателя Ивана Тургенева, мы взяли для этого образец знаменитого произведения в русской литературе современного русского писателя Евгений Попов «Накануне, Накануне ».

Как известно, что тема любви к России и неизменных персонажей героев- как общий фактор, доминируют в обоих романах. При это, сатирическая пародия не воспринимается в качестве доминирующей темы в тексте; а она будет главным фактором для образования текста относительно структуры его. Она замечена как существенный элемент в художественном мире романа, который построен в рамках постмодернизма. Более того, семантические значение текста не зависит в значительной степени от пародии, поскольку оно меняет повествование на повторяющийся художественный стиль.

Abstract

The paper tackles two topics. The first is about the term "Ремейк" which is very common in contemporary Russian literature; it has counterparts such as " Обработка" and " Переделка", where these two may indicate any of the following meanings (remake, reformulate, rewrite, treatment, modification, change). It has been shown that this term does not have a stable definition. Also, the role of this term in literary studies has been mentioned along with how it has come to its peak of use in post-modern literature.

The second is that I have taken a sample of well-known works in Russian literature " On the Eve, On the Eve " by the contemporary Russian writer YevgueniBobov, and shown the effort of the writer in re-thinking about the novel "On the Eve" by the classical Russian writer Ivan Turgenev. The main theme in both is love towards Russia, and I have shown that the common factor in both is the unchanged names of the characters. At the same time, the satirical parody is not seen as the dominating theme in the text; it is a principal basis in the organizing the text as to the structure of the them and of the character. It is seen as an essential element in the artistic world of the novel, which is built within post-modernity. Moreover, the meaning therein, is not dependent extensively upon parody, for it changes narration to a repeated artistic style.

La villa est magnifique, la Méditerranée toute proche. Cécile et son père n’ont pas besoin de personne, ils sont heureux. La visite d’une femme intelligente et calme, trouble ce délicieux désordre. Comment écarter cette menace ?

Cette menace est représentée dans ce roman sous plusieurs formes : ce roman présente au lecteur une étude riche de la nature humaine par l’allusion, soutenue par des phrases courtes, et animée par des personnages terriblement existants alors que peu décrit physiquement. Alors l’imagination de Françoise Sagan s’enflamme et la peinture morale s’anime en produisant Bonjour Tristesse.

Abstract

The villa was incredible, summer was hot, and the Mediterranean Sea was so near.

Scil lived happily with her father as they needed no one else. But the visit of a calm and intelligent women caused huge shift in this delightful mess. So, how can this threat be stopped?

This novel displays to the reader a rich study of human soul to implicitly while being supported by short sentences and characterised by persons living in a horrible way and described in very short sentences.Thus, Françoise Sagan’s imagination was enflamed, and so he shaped ethical imagery in the moste wonderful way in the novel Hi, Sadness.

در هر متن ادبی، تعامل پایدار و دو سویه­ای میان صورت و معنی اثر برقرار است، به گونه­ای که جداسازی این دو مؤلفه از یکدیگر و نادیده انگاشتن یکی از آنها، از ارزش و اهمیت متن می­کاهد. به طبع ترجمه این آثار هم ظرافت­ها و دقایق خاصی دارد و به توجه و اهتمام ویژه­ای نیاز است. به عبارت دیگر متن ادبي، صرف نظر از اولويت دادن به شكل، دارایی ويژگي­های ديگری نيز هست كه به آن هويتی خاص می­بخشد. در این پژوهش کتاب رباعیات الخیام که ترجمه صالح الجعفری از رباعیات شاعر بزرگ ایران خیام نیشابوری است، از منظر مطالعات توصیفی فرایند- مدار ترجمه و با تکیه بر نظریه نقد ترجمه خانم ماریا کارمن والرو گارسس بررسی شده است. این شیوه به فرایند ترجمه یا خود عمل ترجمه می­پردازد. نقد وبررسی این ترجمه نشان داد برای تطبیق کامل این نظریه بر آثار ادبی منظوم و منثور- همان­گونه که از نام این نظریه پیداست- دو راه وجود دارد؛ یا برخی از شاخص­های این نظریه چون ترجمه تحت­اللفظی و حفظ ساختارهای نوعی زبان مقصد باید برای تطبیق بر متون منظوم، تغییر داده شوند و یا عنوان نظریه باید از ارزیابی آثار ادبی به ارزیابی متون منثور ادبی تغییر داده شود تا بتوان گفت تمام معیارهای ارائه شده در این نظریه قابلیت اجرا دارند و تکنیک­های مثبت و منفی و خنثی اعلام شده از سوی نویسنده، درست و بجا هستند.

There is a mutual relationship between the form of a text and its meaning so as separating these two or devaluating the role of one of them leads to the absence of the value therein. Thus, a translation is important as to how it relates the details of a text. That is, the text has special features which go beyond form, and these set out its distinctiveness. Here, we tackle Saleh al-Jafari's Arabic translation of "Rubbayat al-Khayyam" of Naysapour descriptively and analytically by depending on extracts from the original text. This translation is evaluated on the basis of Spanish critic Maria Carmen Valero Garces. Herein, we discuss the effectiveness of this theory in the criticism of literary texts. It has been concluded that al-Jafari's translation involved linguistic, semantic, grammatical, discoursal, and stylistic errors. And, as a further conclusion, Garces' theory should be restricted to the evaluation of translation of prose, not poetry.

The present study investigates the use of intensifiers as linguisticdevices employed by Charles Dickens in Hard Times. For ease of analysis, the data are obtained by a rigorous observation of spontaneously occurring intensifiers in the text. The study aims at exploring the pragmatic functions and aesthetic impact of using intensifiers in Hard Times.The current study is mainly descriptive analytical and is based on analyzing and interpreting the use of intensifiers in terms ofHolmes (1984) andCacchiani’smodel (2009). From the findings, the novelist overuses intensifiers to the extent that 280 intensifiers are used in the text. These intensifiers(218) are undistinguished emotions constituting 78%,(38)are personalforming 13.5% and (24) intensifiers are specific emotions comprising 8.5%.Also, the analysis shows that 56 different intensifiers are employed in the text with great variety in frequency in the most frequent intensifier is ‘very’, used 90 times, followed by ‘so’, 82 times, and then ‘too’, 15 times as well as other intensifiers such as only, highly, eminently, quite, pretty, most, much and perfectly. The rest of the intensifiers are scarcely used. The study significantly concludes that the use of intensifiers helps contribute to typifying the downside and suffering of people in the Victorian era as such use moves the plot forward so as to discern the way social, economic and political circumstances affect the way the novelist uses intensifiers.This stems from the observation that the very low ratio of personal intensifiers13.5% reflects little subjectivity, if any, and goes in line with the main theme of the novel which is “the people in the Victorian era are like machines without human feelings.” The use ofintensifiers assists in unraveling of the interpretation of Dickens’ feelings, impressions, emotions and attitudes towards the Victorian society and makes the later apt to be criticized.

הנאום הדתי הוא תחום רעיוני ביצירות הספרותיות הישנות והחדשות; הייחוד של הטקסט הספרותי מהטקסטים האחרים הוא במה שנושא בתוכו מנאום אנושי או דתי או פוליטי, ולנאום הדתי יש צורך לאינטרטקסטואליות מטקסטים קדושים, הם מעודדים את מחשבתו של הסופר, וגם הם מהפיכים היצירה משוכנעת ומושפעת יותר, ולכן הסופר אברהם רגלסון לקח מהתנ''ך לחלק מסיפוריו בקובץ "בית הניצוץ" כדי שמחזק דעתו במחשבות שנמצאים ביצירות האלה.

נבחר הסיפורים שחקרתי אותם נחשפו את ההשפעות והציטוטים התנ''כיים ביצירה, וגם התגלה את כשרונו של המספר בהשתמשות הטקסטים הקדושים וגם את משמעותם השלילית, הוא לקח את המשמעויות והצורות והאירועים שמאמצים האלימות נגד הערבים. האינטרטקסטואליות של רגלסון הייתה החזרה נפשית להיסטוריה היהדות למען פירוש המציאות הקשה שנמצאים היהודים בה, והוא נאלץ לשכנע עצמו והקורא לקבל אותה. גם הייתה אינטרטקסטואליות לשונית ומשמעותית מהתנ''ך בדמויות והאירועים, יתר על כן הוא עיצב אותם ליצור מראהו החדש שמתאים עם מחשבותיו.

This research display a selected sample of Regelson's texts, there were interrelations and interactions unfolded so as to show his creativity in the employment of religious texts. In the story "In the Youth of Moses", he inter-texted the episode of the Prophet Moses from the Torah, the Source of legislation, to signify a legislative issue needed by the community. As for the story of "Samson, One of the Falling", he originated the character of The Judge Samson by alluding to the Book of the Judges, which is the Book which reminded of the defeat and slavery of the Palestinians by a Jewish leader, as is related in Jewish religious texts. Further, and the story of "And Haman Said", he chose the story of the Queen Esther from the Book of Esther so as to pick up the dialogue of the King with his minister, and to personify the assaults made by nations on the Jews in accordance with the writer's racist thinking.

Наше исследование фокусируется на временном и пространственном эффекте переведенного текста. Процесс создания текста перевода может выполняться одновременно с процессом создания оригинального текста. Это делается во время синхронного перевода. Время создания и местоположения перевода может сильно отличаться от времени оригинала и его местоположения. Переводчик может иметь дело с текстом древней исторической эпохи и языком, который изменился в течение этого периода в той мере, в какой его статус, кажется, представляет собой другой язык. Автор оригинального текста может быть имеет язык людей, которые жили или живут в других географических и климатических условиях, сильно отличающихся от географических условий получателей перевода, которые имеют совершенно иную структуру жизни, истории, традиции и культуры. Не могут ли такие различия повлиять на процесс перевода ?

Abstract

The present paper(Spacio-Temporal Relations in the Translated Text in Both Russian and Arabic) focuses on the spacio-temporal effect in the translated text; it is possible to compose the translation text simultaneously with the process of the composing the original text. This is carried out during the simultaneous consecutive translation. And, the time and place of composing the translation might greatly differ from the time and place of composing the original textt. The translator may tackle a text of an ancient time and written in a language which might have changed, and may thus appear as another language where the author might have talked on behalf of a people who had lived or are living in apparently different geographical and climatic conditions from those of the receptor of the translation who belongs to a people having completely different style of life, history, traditions and culture. These should never affect the process of translation.

Автор статьи обращается к вопросу лингвокультурологической составляющей в процессе преподавания русского языка арабским студентам, останавливается на особенностях национального характера обучающихся. Автор основывается на давних связях русской и арабской культур, тем самым подчеркивая актуальность данного аспекта для современного состояния и положения русского языка в арабских странах.

Abstract

The author addresses the issue of the linguoculturological component in the process of teaching Russian to Arabic students, focuses on the peculiarities of the national character of students. The author also refers to the long-standing ties of Russian and Arab cultures, thus emphasizing the relevance of this aspect for the current state and situation of the Russian language in Arab countries.

گسترش واژه های اروپایی در زبانهاي فارسی ، از جمله موضــوعات در خورد توجه در حوزه مطالعات ریشه شناختی است که میتوان از ابعادي چون دگرگونیهاي معنایی، تغییرات آوایی، نحوه انتقال و نقش و میزان تاثیرگذاري زبانهاي واسط بدان پرداخت. از آنجا که قریب به اتفاق این واژهها به طور مستقیم یا غیرمستقیم به زبان فارسی راه یافته اند، مطالعه نقش و میزان تاثیرگذاري زبانهاي بیگانه دخیل بر زبان فارسی بسیار اهمیت دارد، وبررسی در این موضوع ، بیانگر نقش بسیار پررنگ واژه های اروپایی و دامنه تاثیرگذاری این کلمات بر زمینه متون مختلف فارسی ، وبیانگر نقش این واژه های اروپایی و دامنه تاثیرگذاري این زبانها بر زبان فارسی به نحوي که حتی در موارد متعدد، برجسته ترین فرهنگ هاي اروپایی در ریشه یابی این واژه های که به فارسی منتقل گردیده است ، و اشارهاي به فارسی بودن آن ها نکردهاند. در این مقاله، ضمن پرداختن به تعدادي از واژههاي اروپایی ِ دخیل در زبان هاي فارسی که با واسطه جستجو در فرهنگ های ولغتنامه های نوین در کتابخانه های زبان فارسی وزبان های اروپایی ، برای تلاش بر آن بوده است تا به نحوي توصیفی- تحلیلی تصویري از این تاثیرگذاري ارایه شود.

همان گفتیم که وام گیري واژگانی از جمله موضوعات پر اهمیت در حوزه مطالعات ریشه شناختی که از ابعادي گوناگون می توان بدان پرداخت، بررسی ریشه شناختی واژه هاي دخیل در هر زبان با مطالعه دگرگونی هاي معنایی، تغییرات آوایی، سیر انتقال، و نیز بررسی دامنه نفوذ و گسترش واژه ها همراه است و مطالعه ریشه شناختی واژه هاي خارجي در دیگر زبان ها نیز از این قاعده مستثنا نیست ، اساسا دامنه نفوذ و گسترش واژه هاي اروپایی در زبان فارسی از حیث تعدد و تنوع و نیز حوزه جغرافیایی از جمله موضوع هاي مهمی است که می تواند از سویی به پژوهش هایی نوین و ارزشمند در این حوزه دامن بزند و از سویی دیگر روشنگر ابعادي شگفت در خصوص میزان و گستردگی این پدیده زبانی باشد ، از این رو بررسی ریشه شناختی واژه هاي اروپایی در زبان فارسی از چند منظر قابل تأمل است، از آن جمله می توان به تغییرات آوایی، دگرگونی هاي معنایی، سیر دامنه نفوذ، انتشار و گسترش واژه های دخیل از زبان های اروپایی از چنان وسعتی برخوردار است که واقعا شگفت آور می نماید.

The movement and broadening of foreign and European words into Persian is a topic within historical linguistics. Such changes are semantic, phonological

Since many of these European loanwords into Persian took a remarkable space within Persian dictionaries, and became an indispensible part of the language, a study of the original languages of these loanwords may identify the enormous effect of those languages upon Persian, being a receptor language, and may refer to the liveliness.

Among the important factors which helped the movement of various loanwords into Persian are:

Geographical: this is seen via contact between Persian people and those neighboring people, specifically those speaking Arabic, Turkish, and Kurdish.
Economical: this is manifested by the movement of words through trade transactions between the Persian and other people, such as German, English, Italian, Greek, etc.
Political: this is seen by movement of words via military intrusions by those who occupied Iran for long times. Such was the case of Russian words which came through the Russian people who occupied Iran during the 1940s; a similar case was that of the English words during the time of the campaign against Iran.
Cultural: this is seen in the effect upon Iranians by western cultures, when different terms and words paved their way into Persian and still in use.
I depended in doing this on a number of dictionaries available at the Library of the Dept. of Persian in the College of Languages.

Depuis longtemps, le thème de l’amour était et sera lié étroitement avec la vie de l’homme. Au niveau de la littérature, ce thème permet aux hommes de lettres d’exprimer les idées et les pensées les plus originales. Il ne faut pas nier que cette passion suscite d’innombrables définitions et interprétations tantôt ambiguës, et tantôt controversées.

Dans « La porte étroite », Gide s’efforce de mettre en lumière les points de vue de ses personnages envers l’amour et son rapport avec la sainteté et le bonheur divin. Puisque ces protagonistes sont accablés par une éducation religieuse répressive qui leur impose une obligation et un devoir spirituel dont il faut s’engager.

Dans ce récit, Gide révèle une déviation protestante de la perfection chrétienne. Il présente ce parfait et cet idéalisme comme une hypothèse gratuite pour remplacer quelques insuccès dans la vie de ses personnages qui ont mal compris et mal interprété les paroles bibliques. Ces personnages ont le même but et le même désir, c’est de réaliser l’amour et le bonheur. Mais chacun d’eux adopte une vision subjective, raison pour laquelle ils vivent dans une cécité complète. Après avoir mesuré l’utilité de sa recherche de la sainteté et de l’amour divin, Alissa est parfaitement convaincue que sa conduite était idéale. Elle détruit sa jeunesse et son existence par un acte gratuit, tandis que Jérôme reste fidèle à son amour.

Les deux amants sont victimes d’un drame familial où ce récit finit par un suicide volontaire au nom de la sainteté et de l’amour céleste.

Cette recherche est divisée en trois titres principaux :

1-Deux chemins contradictoires .

2-Vers la sainteté et la communion en Dieu .

3-Solitude et désespoir .

Dans ce travail, nous avons recours à la méthode thématique et analytique .

Abstract.

The theme of love has been and still is the interest of authors and writers for it is closely related to people’s lives. That great passion has helped them express genuine thoughts pertinent to that theme that has given rise to many debates, some are vague and others controversial. In his (strait is the gate), (La Porte étroite), André Gide has sought to shed light on his characters perspective of love and its relationship with sacredness and divine happiness. Indeed these characters have found often themselves restrained, chained and exhausted, by tough religious commands that have imposed on them spiritual commitments and duties too hard to break.

André Gide has revealed a protestant deviation from the perfection theme that has caused a misunderstanding and misinterpretation of the Bible concepts.

The writer has presented this perfection and this ideality through a free hypothesis to make up for the failure that some of the characters have undergone due to this personal misinterpretation.

All these characters have been united by one goal and one desire to realize love and happiness. However, because of adopting a personal vision in analysis, they were caused to live under a clear illusion. Elissa has always thought that her behavior is ideal. In this way she has destroyed her youth, terminated her existence and disappointed Jerome’s hope who has kept faithful to her love.

This novel has ended with a family tragedy in the name of sacredness and divine love.

This research is divided into different sub themes; among which are :

1-Two paradoxical ways .

2-Towards holiness and reunification with God .

3-Isolation and Frustration .

This research adopts the objective analysis methodology, through analysis unit ( unity of subject).