journal of Language Studies

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.

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

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

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