journal of Language Studies

Emotion is considered the major basis of the poetic sensibility and it comes at the apex of the activities of pictorial formulation in the new poem. This sensibility is based on words and expressions which are the basic material of poem. These words and expressions are regarded as the essence of poetic act. Their significance, therefore, lies in the style of forming the poem using the suitable vocabulary and the ability to stimulate, form and activate properly and there is no role for the word without this artistic, aesthetic part it plays.This paper is a study of the poet sa'ad al Hamadain's experiment. Al Hamadain is one of the most prominent modernist poets in the Arabian peninsula and the Arab Gulf. His experience is unique and distinctive because it is a live image of an unrecorded human reality. It is a popular, cultural folkloric document of a human and cultural reality which was marginalized for a long time . In al Hamadain's poetry, the sensational image is reflected in its different forms since he is regarded a sensational poet of a sublime type

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The study aims to uncover critical issues that represented a cognitive field for the discourse of modernity in literature, about which the visions and perceptions differed and the positions and orientations varied, and thus it was the focus of a critical dialogue between "Jamal Shehid" and "Walid Kassab". It also seeks to uncover the impact of the intellectual and cognitive trends that have led each critic to address the issue of modernity from a different perspective. The study concluded that the issues that were the subject of critical dialogue enriched the critical arena and opened the horizons of contemporary critical discourse to the creative achievement, as well as the critical one, from different perspectives, according to two different references. Between the Western reference, the Arabic and Islamic reference, and the ideological stances embodied by them; it demonstrated the foundational motives to address the issue of modernity in literature

This paper is a study of the parallel between some structures in Volume 29 (Tabarak) and other Suras of the Holy Qur'an. Parallel is a type of correspondence and symmetry based the proportion of the Qur'anic ayas and suras and the sign which reveals the secret behind this choice of parallel expressions and words in these ayas through the context and the structure of individual sentences to show the intentional meaning. The precision of this parallel and the choice of these expressions is an aspect of the Qu'anic miraculousness. Miraculousness is part of the Holy Qur'an's structure, context, expressions and meanings.

This paper deals with intertextuality as a critical literary phenomenon Known throughout history. Religious intertextuality in poetry is not out of this scope for this poet for he recollects texts from the past, applied the technique of intertextuality and presents them after endowing them with the spirit of modernism and making them open to the future according to a vision governed by poetic language, rich imagination, effective style and this is a revitalization of the religious heritage and a dialogue with it.
This paper is only concerned with the texts with religious connotations in Jasim Mohammad Jasim's poetry in which he makes use of the Holy Qur'an, Hadith, Sufi doctrine and other religions. Some of the expressions with religious dimensions became material for his present texts as a source for enriching his poetic experience because they were rich with stories, teachings and moral lessons as well as their literary language of elevated style and accurate expressions. For these reasons they attracted the poet and tempted him to quote what enables him to come out with poetic texts of religious nature to satisfy readers, who long for the religious past, with literary, poetic art rich with feelings and emotions.

The main concern of this paper is a stylist approach to Ad-Dukhi's poem "To the Distant Blue" focusing on the frequently repeated use of certain sounds, the reason behind using them, their effect on the theme of the poem, the extent of their effect on conveying the poem to the receiver as well as the strong rhythm which they add to the poem by their repeated use and their emotional effect on the happy or sad tone they induce. As for the structural aspect, the paper sheds light on the syntactic structure of the poem focusing on the relations between one word and the other adjuncting words in the sentence and the role the word plays in versification. As for the rhetorical aspect, the paper examines the use of metaphor and simile and how the poet draws his images with absolute accuracy and how they participate in expressing the vision and the psychological dimension of the poet and the result was an artistic value which matches the content of the poem. As for the semantic aspect, it was indirectly tackled through studying the other aspects showing that the use of each expression has a certain semantic connotation whether it is structural, rhythmical or rhetorical. The poet has not used such things by chance; the study reaches at the conclusion that the poet applied his poetic critical vision in composing this poem as is evident in the accurate organization and the absence of negative gaps in the poem. The resulting effect is the dominant distinguished poetic style which is a result of the emotional and psychological condition that hives a clear impression of the sense of belonging the poet feels towards his own homeland (Iraq) and the accompanying pain which resulted from the circumstance Iraq is undergoing.

This paper is a study of the music of poetry of Abu Zaydb al-Taei's (Al-Mundhir Bin Harmla) Eulogy.The reasons behind this choice are its poetic structure which strongly reflects the significance of musically and thus highlighting the seminal dimension clearly. The other reason is that eight poems of the poet's can called "Al-Asadiyat" for making their them the description of Asad (lion). These poems are distinguished by their metaphorical description of the courage of the lion: Imam Ali; they evoke lion's courage and valour. The research builds its musical reading of the poem on two levels that frame the rhythmic and acoustic structure. They are the synthetic musical image, and they deal with the music that includes the metre and rhythm and rhyme scheme, and the second: expressive music, which included phonemic symbolism, phoneme syllables , their connotations, the tone and its connotations .The search end with the conclusion and a list of the references .

The tools of war in Surat Al-Feel functioned according to a struggle between man's strength and might, on the one hand, and the deadly, great and effective weapons that could be used by him and their destructive consequences that were evident in the use of the elephant to demolish the Kaaba and what the Qur’an provided for describing the requirements of defending the house of Almighty God, which is Represented in the bird of Ababeel. If we want to measure this with human capabilities and the laws of nature, it appears as a small bird that has no significant effect, but the miracle of Almighty God and His strategy in harnessing a small animal to defend and resolve the battle in His favour transforming the enemies into "an empty field of stalks and straw' (of which the cotn) has been eaten up. The bird, in contrast to the elephant’s enormity, strengthened the belief that God Almighty is capable of everything, for it is by his power that a miracle can occur that puts strength and will in the weakest of his creation.

Al-Jahidh's literarary and linguistic writings were outstanding and this is evident in his book: At-Taju fi Akhlaqi il-Muluk (The Crown: On Kings' Morality) where he discloses his methodology by dividing it into parts according to an intellectual methodological vision. In this book he talks, according to a clear method, about the ruling class in the Abbasid period and his description was an absolute evidence that he knew what was going on and everything about their nomenclature, their conditions, works and other traaits. This description could never have been in this accuracy without AL-Jahidh's cultural and philosophical potentiality to scrutinize those events which took place among rulers and ministers.

This paper is divided into two parts: The first part is devoted to the miraculous aspect which is represented by:(1)-Concession and richness of meaning since the miraculous aspect is equal to the variety of Qur'anic vocabulary and Qur'anic verses and this is related to rhetorics which begins with the beauty of concession and ends with perfection of the miraculous aspect.(2)-Being void of contradiction despite the existence of variety and substitution among the readings because two readings my differ in pronouncing a word but this difference is a difference of variety rather than contradiction and this, of course, enriches the miraculous aspect of readings.The second part is devoted to the benefits that are represented by:(1) Applying the linguistic rules which were not known before the Qur'anic readings, such as assimilation and separation.(2) Knowing the accents which includes light sounds, easy pronunciation by substituting certain letters or thedifference between one accent and another.

This paper deals with similarities in pronunciation and meaning
among appositives which were behind devoting an independent
section in all grammatical books to appositives, although
each type of them has its own rules and signs. However, This
distinction did not prevent them from being classified under one
section with one basis that is agreement between main and
subordinate appositives as well as the existence of agreement in
semantics related to definite and indefinite noun, plural, dual, singular
and gender adjacent with little exception as in adjectives of cause .
This paper, is therefore divided according to types of appositives into
four sections: Adjective, Affirmation, Apposition and Coupling.
Each section explains aspects of agreement between the main
and subordinate appositives especially the semantic features
specifically related to each subordinate appositive. Due to the
domination of the structural aspect and the clarity of accord in pronunciation, this becomes the basis of classification of appositives in general or the sub-division of the types of each subordinate appositive in particular. This distinction of each partdid not prevent appositives
from being classified under one label namely the agreement between
main and subordinate appositives.
Due to the dominance of the structural aspect and clarity of
accord in pronunciation, it was the most clear basis and in
the classification of appositives.

This study is a linguistic attempt to specify the clitics of Kurdish language and to make a distinction between the clitics and suffixes, especially with the inflectional suffixes. It also revises the previous works tackling the clitics in one way or another. The issue of the study is that many linguists have handled clitics, their work is not satisfactory because they regard many other things as clitics. The method used here is analytical and descriptive because the works have been described and their shortcomings have been critically analyzed. The scope of the study shows that it is limited to the level of morphology and syntax and the examples have been taken from central Kurdish. The study is divided into two parts; the first part is an entry for the clitics incorporating the definition, types, explication of clitics, their difference with the suffixes and the parts of speech regarded as clitics. The second part is devoted to the evaluation and revision of the previous works.