Journal of the College of Languages

The Pentateuch of Samaritan is a secret document for Samaritans .It was their Resource in History, Regulations and Ethics because according to their believe it is afflatus from God to the Prophet Moses (Peace upon him). According to the study position it was exposed for such study .The Samaritans got benefit from the Pentateuch a lot of texts in the field of their Researches, which are related to the Language, Literature and Jurisprudence. In this Research, we try to present an investigation for a Manuscript that had written in the Middle ages by one of the Samaritans Sect, which is considered one of the oldest Sects in the World. The manuscript is considered as tests for the Samaritans according to what had been displayed by the work writer. We did a Universe investigation according to the Texts and in heritage investigation in Europe .At the beginning we did translate the Samaritans texts that come in Arabic language by relying on the Arabic translation for the Samaritans Torah .We did a great effort to present a lexicon study for some terms that have been used by the writer according to the Dictionaries and Lexicons which are related to the Semitic Languages .The shortage of Samaritans Lexicons made us rely essentially on the Hebrew Lexicons with making comparison between the both Lexicons. At the end of the work, we present a Lingual study for what characterized with this Manuscript, specially it was written in the middle ages like other Texts that are known in the modern studies of the Semitic Languages with a name "Arabic Samaritan". These writings started in early of the 10th century and on that presented a brilliant literal works discussed the culture of this penetrated Sect in Ancient History.

This study discusses the Critical Discourse Analysis of 2012 American Presidential Election Debate’. The researcher adopts a model proposed by Van Dijk’s (2006 d). Six ideological categories have been selected within the overall strategies of the ideological square are used. The categories are of three levels of discourse structure : (the meaning, the argumentation, and the rhetoric) .They have shown effective criteria for detecting the most disguised systems of racism and manipulation.
Based on the analysis, it can be concluded that the elite discourses of candidates contribute to the reproduction of domination, Orientalism, and Islamophobia. This can be applied to the three levels of discourse structures by focusing on the ideological polarized structures of positive self-presentation of ῾us’ (civilized and peaceful) and negative other-presentation of ῾them’ (barbarian and terrorists) as means of mind controlling and manipulating the audience.

Conditionality in Arabic is supposed, as in other languages, a broad concept that can be expressed by different syntactic constructions. Most experts agree that the conditional structures are probably the most complex kind of expressions in Arabic. They are used to express a condition on which the realization of what transpired in the main clause depends. Conditional structures are one of the main avenues of language available to the individual to express their ability to imagine different situations to real; create possible worlds; dreaming of past situations that could have been different; hide what factual after the appearance of the contingent.
In Arabic the protasis is usually a verb phrase, and the same happens frequently in the apodosis, with the verb in perfective or jussive although without incurring a precise temporal sense.
The conditional sentence in Arabic is called (aj-jumlah ash-shartiya الجملة الشرطية) which consists of two juxtaposed prayers, the first in Spanish, has different names; protasis, background, hypothesis, simply called in Arabic (jumlatu ash-shart جملة الشرط, the second is apodosis, therefore, conditioned or consequential, and Arabic is called (تawābu ash-shart - جواب الشرط) although it may be preceded in some cases by linking elements as ف, سوف, ل, etc ... - introduced by a conditional particle أداة شرط.
If + protasis (antecedent) + apodosis (consequent)
As to the order of the clauses, in Arabic, what is that characteristic protasis precedes the apodosis. This prototypical anteposistion of the subordinate clause is defended and required school basraui (the Basra), and is the usual structure: + connector + protasis apodosis; if you shut up, I'll buy you a gift, ان تسكت فسأشتري لك هدية, whereas if the order is reversed, the apodosis this ommited. On the other hand, another school of Kufa and some Arab grammarians accept the preemption of apodosis.
We try to focus light on the translation of conditional markers that on many occasions, from a grammatical perspective, not regarded as conditional. However, these structures express conditionality in Arabic.

The present study investigates the realization and significance of textual themes in the organizational structure of M.A theses and Ph.D. dissertations, namely: the abstracts, introductions and conclusions, since in such parts the students depend on their own expressions, styles and constructions to express different viewpoints, plans, inferences, etc. The study also investigates the similarities and differences between M.A theses and Ph.D. dissertations concerning the use of textual themes;it sets out to conduct a detailed analysis of textual themes used in such texts. In conducting such an analysis, the study adopts Halliday's (1994) approach of textual themes. The results of such an analysis have clearly shown that, in spite of the differences in the scientific levels of M.A theses and Ph.D. dissertations, they are almost similar in their use of textual themes. Moreover, there is a higher tendency to use conjunctive adjuncts and conjunctions than to use relatives due to the formers’ importance in expressing logical links between the contents of the text; and thereby helping the reader to understand the text. Semantically speaking, there is a significant similarity between the two types of texts in using the category of enhancement more than the other semantic categories of adjuncts and conjunctions.

The present,“Noun Suffixes in Selected Poems from “The Hand of Time” Divan of the poet Asaad Al-Naeeb”, is a comparative study about noun suffixes in the Turkish Language of Turkmen in Iraq and the Modern Turkish Language.
Asaad Al-Naeeb is considered one of the most important Turkmen poets in Iraq. His poetry is characterized by depth of meanings and rhymes. He has started his literary work since 1918 in Kirkuk. He published his first poem in Al-Najma magazine and then he published his poems in different local magazines and newspapers. The poems chosen for this research are extracted from the divan of “The Hand of Time”. They are: The Happy Country: Iraq, Your Hazel Eyes, The Song of Spring, The Hand of Time and Blame, Desertion and Imagination.
These poems were translated from the Turkish language of Iraqi Turkmen into the modern Turkish Language. The suffixes were then pointed out for study. Grammarian classify noun suffixes into:
1. Suffixes of noun cases
2. Pluralization suffix
3. Possession suffixes
4. Statement suffixes
5. Interrogative suffixes
The Turkish Language of the Iraqi Turkmen is similar to the Modern Turkish Language in terms of the characteristics of sounds and their pronunciation. It differs, however, in terms of the pronunciation of the vowels and consonants and both are similar in syntax. The reason of this difference is attributed to the effect of the Arabic language on the Turkish Language of the Iraqi Turkmen as the first has long vowel sounds. The noun suffixes in the Turkish Language of the Iraqi Turkmen which are extracted from the poems of Asaad Al-Naeeb are similar in form and structure in the Turkmen, Ottoman and the Turkish languages. The suffixes were written in the Arabic letters in the Turkish Language of Iraqi Turkmen and the Ottoman Language while the Modern Turkish letters were written in the Latin. After finding the noun suffixes in Asaad al-Naeeb’s poems, they were classified as follows:
1. Suffixes of noun cases
2. Possession suffixes
3. Polarization suffix
4. The uncommon statement suffixes

The present study deals with the story of Epidemic in two literary works issued in the same year (1947). One of them is a novel titled "Plague" written by the French writer Alber Kamo, the second is a poem of the Iraqi poetess Nazik Al-Malaekah. The research reflects a contrastive study of the war vision in the two works as both writers used science to serve literature by using Epidemic as a metaphor to refer to the dangers that the societies faced.
The problem of the present research lies in answering the question about the reason that makes the two writers use metaphor while narrating the issues of the society instead of mentioning them directly and illuminate what implications do the narrative style of Epidemic story have and the story of war does not have?
The research consists of three main chapters. The first chapter studies the narrative aspects of the two works clarifying the characteristic of narration in the story of Epidemic. The second chapter deals with the image of war and its meanings in the two works while chapter number three deals with the two writers' premonition about the danger that threatened humanity which was considered more than being a mere Epidemic.
The results of the research show that using metaphor to refer to the war and the bad conditions in the society comes from the view that the epidemic (whether Plague or Cholera) is a kind of disease that we can not put an end to completely as it goes through sabbatical periods and then reactivates upon the availability of the factors that help to spread it. At that time, the condition of society is threatened by instability. The plague which was spread in Wahran –a city in Algeria and which Kamo narrates its details is a metaphor about the second world war and the Germanic's occupation to France as there are clear hints about this in the text, While, Nazik Al-Malaekah mentions death that came as a result of the widespread of Cholera in Egypt. She mentiones in her memories that she heard that the number of the dead people increased from six hundreds to one thousand, a matter which makes her write this poem. In fact, this news was a stimulus for her to express the Iraqi condition particularly and the Arab Homeland generally as well as to express the persecutions, oppressions and murders that they suffer from "death is what humanity complains from" as the poet explains.
Choosing epidemic as a frame and a narrative material to talk about an era in which the political and social conditions suffered from instability is a means to express. Thus , disease and here epidemic has numbers of historical, scientific and paranormal implications which can really reflect the status of the society. Epidemic is not only a disease that infects an individual or group of people but it is an uncontrolled, fast-spreading danger whose treatment tends to be impossible a matter which makes AL-Malaekah consider death a remedy from this epidemic. Thus, it is an extreme case of disability and horror which the epidemic causes. The two writers call for choosing such images to talk about the miseries that affect the humanity. Historically, epidemic registered numbers of stories that reflects the disasters that affects the humanity. Kamo mentions and numerates the plagues and its victims through different periods. Thus, epidemic is an inclusive case of expression.

Blood Wedding is a tragedy in verse written by Federico García Lorca, 1932 and released on March 8th, 1933 in Madrid Beatriz theater with great success in both Spain and Latin America. It was made into a film by Carlos Saura in 1981. It is a poetic and theatrical production that focuses on the analysis of a tragic sense. From life and death, old and modern, on the way to see the tragedy. All of this in a tragic and universal Andalusian landscape.
The main issue discussed in this drama is life and death. But an arcane and ancient way, which include myths, legends and landscapes that introduce the reader to a world of dark passions that lead to jealousy, persecution and the tragic end: Death. Love stands out as the only force that can defeat death.
The work includes the customs of their land, which still exist . And all through symbolic objects , which recognized the tragedy. It is constant in the work of Lorca 's obsession with the knife , the knife and the knife in Blood Wedding attract fascination and , in turn, portend death.
The tragic real events referred to occurd on the July, 22nd, 1928 at Cortijo del Fraile, Nijar, Almería. Lorca met by the press, although the author Carmen de Burgos had written a novella about the same event titled Dagger carnations , which was also inspired by Federico. Blood Wedding is the first play of the "Andalusian trilogy" of Lorca.
This research contains three parts, the first takles the playwright Federico García Lorca and the theme of the play Blood Wedding; the second part will present the structure of the play and its characters; the last part gives us the various symbols that contain the work.

This research studies the secondary auxiliary verbs or semi-auxiliary verbs as they are termed in French, their composition and significance. The semi-auxiliary verbs are related to the infinitive (son auxilié). Some of these verbs have their own prepositions. Therefore these verbs comprise different forms to give different meanings, with differences of the main auxiliaries être et avoir which are associated with the past participle (participe passé) to express past times only.

The semi-auxiliary verbs are used in the sentence to express the near future or the recent past: aller and venir de + infintive. On the other hand, they express the aspect of the verb, we recourse to the verb commencer à designate the beginning of the act or être en train de of the saying that the act is not yet accomplished, or the act is completed with use of the verb finir de.

The last case of these semi-auxiliaries uses the modality of the verb to express either obligation or probability with verb devoir or the possibility with the verb pouvoir. Moreover, there are other verbs that can be used in this field like sembler, faire, vouloir, that add other important meanings. Consequently, the variety of semi-auxiliary verbs promotes diversity of structures and meanings that help to enrich the language and enhance the expression.

This research studies a play entitled “Blood and ashes” by the Spanish author Alfonso Sastre (Madrid, 1926) from a theoretical point of view. It tackles the common features of analysis such as: story, characters, setting (Time and place) and language. This play was written in the early 1960, as the first work of the author called by him as the complex tragedy in an attempt to create a new dramatic genre mixing between what is tragic and what is comic, which cannot be separated. That is to say, one action is raised by both tragedy and comedy, accessing the Aerostatic classical tradition in theatre convention. The author had expressed his own philosophy on such type of drama stating that this tragedy is well revealed (when someone laughs but with pain)
This play shows the last days of the Spanish doctor Miguel Servet who was being chased by the bad-famed investigation courts for he protested against the religious christian theories, especially the theory of trinity. Servet was subjected to exile from Spain and he was also chased in Paris and Vienna. Finally he was arrested in Genera and sentenced to burn, charged by fallacy and bringing harm to holy beliefs. This play with those that followed is considered one of the compound tragedy works and it is an elevation of Bricht epic theatre in that the author has depended on the historical topics in an attempt to hid from the censor because this play implies strict criticism addressed to dictator General Franco in Spain and also to other dictator regimes in the world. The author had technically and linguistically employed this play to simulate the innermost of the contemporary receiver, expressing his emotions and desires for freedom and well-living. Technically, the author brings on new elements in the dramatic structure suchas: screen displaying in leaflets dates easy for the receiver in order to save time.
He also used to address the public in the dramatic dialogue through making the stage and the public hall a place for the dramatic events in an attempt to bring on the receiver to the event as being part of it. The heroic model in this play is one of the most features presented by the author in his attempt to the renovation. Here, the hero is physically ill, weak and faint, incapable of facing hard conditions in order to fight the injust and tyranny and not to give up his rights, not to change his principle to confronting rulers showing them their big mistakes even if this costs his life. Linguistically, the author has relied on simple address understood by the public, including common expressions that arise from the care of the era in which this play was written and enacted, going away from the era in which the events are narratated. This in fact, what distinguishes this play from other works of Alfonso Sastre and his pears of the first half of the 20th century. This also regarded by most critics as the best dramatic work of this Spanish author.

This research is concerned with the literary style of the proverbs being a public inherited which reflects the culture of different societies and their traditions .
As human contact between different communities is already established long time ago, this made a lot of proverbs alike in many different cultures and languages .
Proverbs are divided into three types :
1- proverbs that hold the same form and linguistic structure .
2- Proverbs that share the same meaning but are different in linguistic structure .
3- Proverbs that are not similar neither in meaning nor in linguistic structure .
The use of Proverbs was studied according to their meaning and effect in language because they decrease the amount of phrases used to express an idea and they are easily understood by people.

Harold Pinter is a great British playwright. In many of his plays, the characters can find security neither in their surroundings nor in an understanding relationship with others, and finally they are driven into a state of isolation and loss. The basic interest of this paper is to investigate the thematic development in Pinter’s early plays, from The Room to The Lover. The change is from menace to fear and then to desire, which requires different uses of violence.
Violence emerges with the arrival of an unexpected visitor at the door,and by the end of the play, someone has defeated the other. Pinter builds up in The Room an atmosphere of ambiguity and insecurity. He compares between the cruelty and coldness of the outside world to the warmth and comfort of the room which Rose considers as her safe heaven.
In The Dumb Waiter, the audience enjoy the comedy that is embodied in violence. Gus’s character reinforces our desire to look for the truth, confront our fear and injustice, and to assert our individual character.
The matchseller’s motives in A Slight Ache tormentsEdward and arouse his fears and nervousness. The matchseller is a threat to his existence.Finally, Flora presents herself to the matchseller,leaving her husband broken and lonely in vast emptiness.

The French novel in the 19th century transformed from reason-based to emotion based. This was uncovered by Stendhal’s novel and Balzac’ novels in that there was a destructive conflict between reason and emotion. Both novelists gave the impression to their protagonists that everything is permissible as a new technique in novel-writing.
The novel characters should shoulder the conflict consequences and results such as jealousy and abhorrence. The novelist’s protagonists became fully convinced that the conflict did not fulfill its aims owing to the fact that unbalanced emotions often lead to madness or death.

The present paper studies the translation of selected ottoman texts into the modern Turkish language. This manuscript is seen as an important religions one.The researcher studies how the Ottoman diactrics (Fatha‚ Dhamma and Kasrah) are pronounced and their correspondant ones i'n the modern Turkish language (o‚ö‚u‚ü‚i‚ı‚a‚e). The researcher studies the words with initial‚ medial and final phonetic diacritics since the Ottoman language requires such diacritics to make the pronunciation of words distinct. Researchers in the Ottoman phonetics found a great difficulty in the pronunciation of words because sometimes their vowel sounds do not express the diacritic of the sound. The Turkish linguists‚ on the other hand‚ worked at the end of the second conditional age on finding a reliable phonetic system. This led later to a change in the Ottoman letters into the modern Turkish ones. The Turkish language‚ thus‚ has eight vowel sounds instead of the four Ottoman sounds. Accordingly‚ the Turkish language is considered as one of the languages rich with vowel sounds which was the cause behind the needleewess to phonetic diactrics in modern Turkish language.

This piece of work deals with questions, due to their importance in daily life. People either ask, answer or hear question at least every two or three sentences in their conversations. Questions can be defined as terms used to elicit information or a response from the addressee. In English, question is a sentence with inversion of the subject and the first verb in the verb phrase (yes-no question) such as "Does he work hard?", starting with wh-words as "where did you go?" or ending with tag question as "He is a good student ,isn’t he?"
This study aims at investigating the question forms in selected conversations and analyzing their discourse,pragmatic and speech act functions . Ritchards and Richard's (2002:437) model has been adopted to analyze the data . A lot of results have been obtained, such as wh-questions are used by the participants of conversation more than any other type in the corpus they have 39% proportion in this study, then yes no-questions are also commonly used by the questioners,they represent 25 % of the total questions number. It is found also through the statistical results that intonation questions are relatively low, the types like tag, echo and closed-choice questions are relatively rare. In addition, they have a range of semantic and pragmatic propositions when they are used indirectly. The study has ended with some recommendations for the pedagogical study

This research is an attempt to explore a social and pragmatic phenomenon of lamentation in elegies of Gray and AL-Khansaa' who represent two different cultures. It illustrates the intended meaning of lamentation in English and Arabic and finds how the two languages express this purpose of poetry by analysing it socio-pragmatically adopting Searle's models (1969),and its modifications. Lamentation is considered as a mournful poem lamenting the death of whole humanity as Gray's elegy and of an individual as AL-Khansaa's elegy. So, Gray portrays a universal picture concerning his lamentation, while AL-Khansaa' portrays an individual and subjective picture regarding her lamentation. As branches of linguistics, sociolinguistics deals with the relationship between language and society, and pragmatics deals with the language in use and shows the intended meaning of the words. On these bases, the main aim of sociolinguistics and pragmatics is to observe the intended expressive lamenting meaning in English and Arabic societies(cultures).

Ottman belonges to the approach of melancholy in the modern Turkish poetry. He complained his miserable luck ,which accompanied him along his life. And he descended from great ancestries.
He was born in 1922 in Kirkuk. His parents are Turkish, his father belonges to the Turkmen tribe Al-Biat. He entered Al-Kuttab (before school), and then he entered the primary school till finishing his high school. Then he joined college of law and he got his Bachelor in arts in 1956 .He worked in offices of ministry of Justice and then he retired.
Madhalom faced misteries and agonies in his academic, workable life, and other thing. He didn’t get the benefit of his bachelor in Law. The poet didn’t achieve his goals and expectations in spite of his certification, knowledge, and honesty. He worked in agriculture and other jobs, but he was disappointed at every times. Accordingly, his writing was influenced by his pessimistic point of view. Sometimes his disappointment became firstly and deprived him of fulfilling his wishes, and in other times it pulled him back.
In Turkish literature, Madhalom considered as the last poet who used prosody in the language of court. He longed for Arabic prosody. He announced that in spite of prosody difficulty,t it was the best model for poetry. In addition to his poetry , he was distinguished by writing Al-Kwareet which included Proverbs, wise sayings, and Ghazal. And he was the only one who joined Al-Kwareet to national meanings.
He regarded as the poet of hopelessness and despair as much as the poet of home and society and this we can see in his poetry as well as in his chaste poems. In Al-Ghazal poems, he revealed the feelings of a lover and be contrastive of choosing rhetorical words and added an aesthetic touch. Then the poem be in touch with the heart and affecting.
The research deals with pessimistic feelings in addition to the poets' life, literary personality, and his poetry of Ghazal. The researcher transformed his poems and hıs Khouairat from the Ottoman language to the modern Turkish in Latin .

This study deals with the thems of "in-betweeness" in the modern Afro-American Drama, drawing upon the accumulated literature of the colonial and postcolonial studies. In-betweeness appears in these studies under the canopy of the terms mimicry, hybridity and liminality which refer to a transformative, in-between state of being. It also refers to themutual relations holdingbetween man and his cultural space.
This concept is fitting the Afro-American playwright Amiri Baraka's plays and his violent, revolutionary theatre. In his play Dutchman (1964), Clay, the protagonist, is a good example of the two-ness or in-betweeness. He finds difficulty choosing between the ethnocentric white culture and the black culture.He allows himself to be shaped into the image of the white middle–class society. Baraka's protagonist is thus situated in between two worlds and is made to suffer the ramifications of a culturally estranged identity.

The present research is about the confusion facing the students in choosing either the past perfect or imperfect; this problem is due to the differences between the Arabic grammar and that of the Spanish in expressing the past.
In Arabic there is only one type of past, while in Spanish there are 5 types, The researcher chose only two to compare between them and to find the right method to teach the students the past perfect and imperfect; although the past perfect is just like the Arabic past and is expressed by adverbs followed by the verb in Spanish but it is difficult to determine when to choose past imperfect because it is continuous in the past and has no start and end points.
This research analyses the phrase grammatically and we explained their meanings in Arabic and found out how to deal with the problem and how to teach the student to correct the mistake and how to understand the meaning of the whole phrase in Spanish and how to find the best answer without trying to use Arabic grammar instead of Spanish because of the differences among verbs in these two languages.
So the best way is to give up the traditional method of teaching and start a new brand one through which the student can learn the right Spanish grammar by communication and conversation and help the student to identify his mistakes and correct them by observing the time of the phrase through which the student understand the general meaning of the phrase.