journal of Language Studies

This paper is an attempt to explore the rhetorical remarks in the secrets of rhetorical proportionality that recur in Al-Kahf Surah and the miraculous methods between the opening and concluding expressions. It also examines the Qur'anic discourse to recognize the intended meanings and what they aim at in this surah relating the beginning to the conclusion of the surah and to analyze the Qur'anic meaning through the context in which Al-Kahf Sura occurs by exploring its rhetorical language and relating both the opening and the conclusion together with the rhetorical intention by adopting an analytical rhetorical method on the ayas (verses), subject of the study. These ayas (verses) represent the most rhetorical aspects that match with the ultimate intention. This is evident from the Sura's title implying that the sura is like a perfect circle; the opening of the sura and its relation with the end is like a defectless circle in regard to the rhetorical intentions and subjects of the sura

Arabic narration has witnessed significant development among the modern literary genres due to its potentials to explore the essential issues that are reflected on the self and the other as social and psychological entities. The idea of the other has occupied an important place in the field of human knowledge. This paper, therefore, is an attempt to explore this conceptual level from a narrational perspective in the Iraqi novelist's novel Jasim and Julia. The study is divided into an introduction about the concept of the other and its narrational dimensions, and three other sections. The first section is devoted to the textual thresholds in the novel as texts gaining form through their relations with the main text of the novel. The second deals with the other and its narrational types, and the third explores the influence of the other on forming the self-image. The paper ends with a conclusion which sums up the results of the study'

Arabic prose heritage has always been the subject of attention of researchers and scholars, especially prose of the Abbasid eras, although lesser to poetry all over its history. Although pre-Islamic prose is comparatively smaller in survived amounts than poetry, it stores the thought patterns, life attitudes, and moral values of the Arabs at that time. Prose was closely connected to social life as it was the literary records of the aspects of this social life. It was a good pointer of the intellectual life too especially in the case of the literature of wills which was related to other prose forms like orations and proverbs. Although each of these prose forms has its special identity as literary genres, they all maintain the same prose form and share the same ends, which are not totally literary as much as expressions of life and its demands.
This study seeks to identify the thematic and structural characteristics of the literature of w It falls into three sections: the first deals with wills between art and morality, the second is about the subject-matter of wills,, notably, the ethical function, and the third section deals with the aesthetic aspects of this prose form like aesthetic structure and artistic style.

Arabic language is one of the living languages, and God Almighty has honoured and elevated it by making it the language of the glorious Qur'an. This paper, therefore, is devoted to لات) ) lata, one of the vocabulary items of Arabic. The paper is divided into an introduction and three sections. The first section is divided into four sub-sections dealing consequently with the origin of lata, the controversy on lat between simplicity and complexity, the syntactic controversy whether lata is a verb and a noun and the last sub-section is devoted to the outstanding languages in which the word lata is used. The second section is devoted to the function of lata, the conditions under which it functions and its relation to the verbal utterance حين hen (then). The third section deals with the Qur'anic readings of the word lata asولات حين مناص trying to quote the scholars' opinions in this regard. The last section is the conclusion which sums up the results of the study.

There is no doubt that anyone who studies the Qur'anic eloquence and endeavours to explore its miraculous nature would find a lot of marginal examples of Qur'anic use. This paper, therefore, aims at exploring the examples of genitive construction in the Qur'anic eloquence which most of the syntax books limited to two meanings: to descend to; and to tend to, such as ضفت الرجل ضيافة Dhiftu-arrajala dhiyafatan (I became a guest to the man). It also means the predication of a noun to another one.
However, the genitive goes beyond these two uses in Qur'anic expressions to marginal indications through eloquence, verbal contexts, reasons of suras (qur'anic chapters) revelation, generality and particularity, etc. they are the examples of (Indication of honoring a guest, the exaltation of the genitive, over statement, exaggeration and hyperbole, necessity of tenderness, necessity of variation between two things, necessity of absorption, explication and exploring things, expansion of meaning, possession of a thing, reference to gender, ambiguity and scolding.

The novel Jabal Uz-Zomorod by the Egyptian writer Mansoura Izz Al-Din represents a tremendous shift in the process of feminist writing, where she emerged with her complex narrative character of the philosophical style and Sufi vision which are manifested in a language full of symbols and signs and immersed in her sensual feminine Islamic sensation. The novel Jabal Uz-Zomarrad (Emerald Mountain) does not make us only of the heritage in an attempt to revive the lost tales of The Arabian Nights, but it tries to take out its main characters such as (Hadir and Bustan Deria and others) from their narrow environment, small memories, and limited labyrinth to a large area of the world of Islamic thought and Semitic riddles in philosophical, existential, and Sufi contexts. She introspects
philosophical motifs such as soaring with imagination, useless questions, infinite wanders, exodus, spells, abandonment, and metaphysical worlds beyond the physics of utopian and dystopian places and time to make her profound experience an unparalleled presence in contemporary Arab feminist writings. The paper will attempt to explore this experience in the light of the feminist approach of literary criticism.

Experimentation is synonymous with modernism, innovation, breaking new ground and change but it acquires its importance from having great effectiveness as it is the most daring to go into new spaces. Experimentation is not limited to a particular epoch because each poetic period; experimentation is what gives the literary discourse its modernity and otherwise the literary discourse would be repeated and exhausted.

This paper is a study of experimentation in the poetic works of the Iraqi poet Khadim AL-Hajaj (1942- ), published by Dar Sutoor 2017. It attempts to explore his style and techniques such as experimenting with the formal structure of the text which is the most outstanding aspect of experimentation in his poetry. One of his poetic forms is the narrative structure where the poem is like a story though it is written in verse. Al-Hajjaj does not employ music and metre in a conventional way; he combines more than one metre in his poetic texts and uses both the traditional metrical foot (taf'ila) and the prose poem, he even uses the classical line of verse ('Amudi) within the modern free verse poem exploiting all the musical potentialities to produce his poetic discourse. His other innovative features include the dedications and the titles. As for the content, his experimentation includes defamiliarization which is not his invention but he employed it in a particular way to make it part of his poetic discourse.
The paper ends with a conclusion which sums up the results of the study.

his is a taxonomic study of the major theoretical approaches to the textual representation of the city in novels. Taxonomy, here, is not restricted to establishing classifications as much as to use the established classifications as an integrated paradigm of critical inquiry. It is the premises of this study that no single approach can fully account for the representation of the city and its urban space in the novel because each approach, however comprehensive, seeks to explore or address a specific aspect of the representation or work within a single critical perspective which eventually yields a partial view of this representation and its underlying critical premises. It is hoped here that such an approach would prove useful in addressing the complexity and totality of the city as a textually constructed phenomenon in the fictional narratives of the novel.

Abstract
This critical study deals with the Sublime Love in Munir Mezyed's Collectoin: Eros Sings in My Memory (ESMM) (2014) through 'metaphors of Love' employed. It starts with 'the Sublime' in terms of Longinus; and then traces it throughout the poet's 'created' mythopoeia which, from the outset, blends the Classic 'Eros', and the 'Oriental gods of Creation' together; out of such a 'blending', a 'New Eros' presides over the Ex Nihilo Pre-Creation 'Chaos'. To achieve its aim, the study excavates how 'metaphors' of Love are accommodated to the poet's final message in denying contemporary violence and incongruities from meeting with his 'Habibti'. So, it embarks on I.A. Richard's view of 'Metaphor' as a starting-point before 'following-up', in ESMM, 'metaphors of Love' to pin down where the poet's mythopoeia, Sublimity of Love and the relevant metaphors run side by side. Thus, the Study lists the Semantic domains the metaphors of Love 'derive' from in order to have a panoramic view of the wide perspective of the metaphors used. The Study, also, detects radical changes the poet makes in adapting the sources to his mythopoeia; also it tries to unearth deep layers of meanings and techniques- innate in the ESMM mythopoeia- that are deliberately concealed by the poet as he abides by the requirements of (the Sublime), both in theory and practice! The conclusion is that the 'New Eros' whose role is revealed through the 'metaphors of Love', is in a position to embody that both the 'Sublimity' (in thought, in the use of figures and in diction), on the one hand, and the 'Love' felt by Eros/the Lover, on the other hand, brilliantly enough, go in an unnoticed way, and with an unprecedented passion for the 'Beloved' in person. Also, the study concludes that the New Eros extends similar passion for all 'Humanity' through fostering a radical human thinking aspiring for the 'Oneness' of all peoples under the slogan of 'Eros/Love' that repudiates any 'Clash of Civilization'. Hence, 'the Sublime Love' has got a social function unraveling a 'down-to-earth' purpose behind the poet's use of the related metaphors in a mythopoeia framework.

Woman characters abound in the poetry of the Iraqi poet, Adnan Al-Sayegh who is influenced, in his presentation of her, by three main factors, namely, war, political system, and patriarchal norms. Al-Sayegh’s women are essentially of four types: the mother, the lover/sweetheart, the war victim, and the working class woman. Drawing on Bamberg’s concept of ‘small stories,’ this paper is an attempt at exploring those women’s small and underrepresented stories which tell a lot about social, political, and economic conditions in Iraq. The paper argues that although small and unexciting, these stories do shed light on the social status and ordeals of women in Iraq. Women’s ‘small stories’ are then analyzed in a number of poems that best reflect the characteristics of each type of woman. It concludes that these women’s stories which take place at home fronts are no less significant than the stories narrated by men. Women’s stories ultimately reveal part of the unofficial and often unspoken of history of war in Iraq.

The dramatic series on television have a great impact on people’s attitudes towards dialects of language varieties, by relating the conceptual pictures or prototypes presented by series’ characters to those dialects. This study aims to show the influence of TV series on Iraqi university learners’ gender and age in relating positive or negative semantic qualities to their dialects. To this end, 150 Iraqi EFL learners have participated in this study to examine their attitudes towards Baghdadi, Mousli and Nasiriya dialects. The data are collected by Lambert, Hodgson, Gardner, Fillenbaum's (1960) matched guise technique and then labeled by Willmorth’s (1988) subjective reaction test. A structured interview is conducted to support the data analysis. The findings reveal that TV series have an implicit effect on relating a certain image to a certain dialect. Overall, both participants’ genders and ages show that positive semantic qualities are mainly related to Baghdadi dialect and Mousli dialect respectively whereas negative semantic qualities are associated with rural dialect (i.e., Nasiriya dialect).

Stylistics is a linguistic description and analysis of the language of literary texts and discourses, and this paper aims to explore Rupert Brooke’s (1887- 1915) poem “Blue Evening” from the perspective of stylistic analysis which is performed by inspecting graph logical, phonological, morphological, and literary analysis.
This study provides a new insight to the readers to visualize Rupert Brooke’s Poetry in a new stylistic scrutinizing. This analysis is helpful in interpreting the underlying meanings of the poem. It is also helpful to analyze the structure and style of Rupert Brooke's poetry and his themes. It obviously brings to surface what the poet really wants to convey. The paper utilizes an MLA style of documentation, and it ends up with the conclusions and works cited

This paper aims at examining problems and difficulties encountered by translators when attempting to translate Mosul's folk songs into English. Folk songs originate among people of a certain country or region. These songs are passed orally from one generation to the other. Such lyrics are marked by having very specific linguistic and phonological structures. The rationale behind this study is that the translation of folk songs in general and Mosul's ones in particular has not yet been given the proper attention and that there is a clear paucity in the translation literature of such field. The problem that this study will focus on, is that both novice translators and translation students alike might find it difficult to translate the cultural meaning of folk songs. The key aims of this study are to define the difficulties and problems associated with the translation of folk songs, in addition to analyzing the translation errors made by the students while conducting the translation task. The study hypothesizes that there is no one- to-one translation equivalence between the SL and TL texts. It also hypothesizes that translating folk songs requires special knowledge and expertise that only competent translators might have. Conversely, novice and incompetent translators will find it difficult to handle such task properly. The model of Wilson (2009) will be adopted for this study, since it provides an appropriate framework for the translation of folk songs from Arabic into English.
As for the procedures followed, there will be a selection of certain problematic folk songs excerpts for analysis. These excerpts will be translated by four 4th class translation students. Their translation versions will be analyzed to determine errors and misinterpretations.
Since Mosul's folk songs are sung in anniversaries and social events without any collateral music or sometimes with simple musical instruments, and since translating folk songs requires relaying both the written poetic and the musical aspects of the SL lyric. Hence, the study will not include the translation of the musical aspect which will remain beyond the scope of this study.

Abstract
This paper aims at exploring the leitmotif of, disillusionment in the military life of, the protagonist, Guy Crouchback, in Men at Arms Waugh’s first volume of a war trilogy, Sword of Honour, which is based on his own experience of the Second World War. It is a grotesque black comedy on the scheme of a chivalric illusion, associated with severe loss of old battles and a series of anticlimactic military defeats where the British-Indian troops fought against the Turks in 1915-1916 at Kut-al-Imara, a small town in the south of Iraq.