TASLEEM JOURNAL

The study adopts a new term called “ stylistic power” which means the power possessed by the verb in directing the latent significance to a moving power, because the verb contains the power of time, the power of the effectiveness and the power of the effect. It stores this quantity of powers that may be prominent and clear, and it may be little in appearance or be hidden for stylistic reasons related to the structural function, the phonemic function, or the semantic function. Thus, the verb dominates in its stylistic interaction during its entry into the composition and according to its classifications and its ability to identify the elements that are able to unite with it stylistically and synthetically, as it represents the basic element in the construction of the verbal sentence, which determines the elements associated with it . The number of these elements varies according to the efficiency of the verb and its potential capabilities. The nominal components to advocate for those who see that the verb is the basic element in the sentence structure that determines the elements associated with alters according to the efficiency of the verb and its potential capabilities and the nominal components.
One of these powers is called the phonetic power, which is one of the concomitants of the past verb in the case of construction if no other emergency occurs that changes it to another construction state, such as the state of interruption of movement, trapping the sound, and the so-called construction on stillness, when some pronouns that indicate the active part are joined to it, so their connection with it is direct, such as nouns, pronouns, and adverb, whereas others are connected to it indirectly, such as linking words , and others.
The verb possesses a synthetic power in terms of transitive and obligatory. Accordingly, we can divide the power possessed by the verb within the structure to divisions in the light of some values that represent a specific and distinct style, which cannot be deviated from, such as the power of finding , mentioning , power of deletion, or concealment, and power of shortening, or what is called (obligatory), or transitive, or what is called (transitive) and the power of semantics.

Not only is the poet in the period after the so called “ Arab Spring” satisfied with conveying the images of pains to the society suffering , or frustration of his nation or the images of the betrayals of the rulers with poetic lines or poetic sparkles , but he adopts certain reciprocating moves to revive the public masses poetry and bridge the gap between the interlocutor and modern poetry when writing long poems with an epic spirit .That is called the text , Alnass , or the diwan , Aldiwan, that allowed him to unveil everything , the details of the events and the unleashed events .It is the poem that is close in its structure and artistic characteristics to the epic poetry even it is different in content and form .This form of writing reaches its high glory and maturity by the Syrian poet , Omar Haza' , whose poem , “Lightening Lamb” is the main focus of the study to fathom its artistic characteristics , epic tendency , features in theory and practice .

This study aims to discover the intellectual and artistic rhetorical dimensions of the sayings of Imam Ali , PBUH, in the “Nahj al-Balaghah”, through an analytical reading that aspires to go beyond the surface of the texts, to dive into depth in an attempt to discover the essential components of his rhetoric in the sayings that should not be studied in a desultory and classic way or in a ready-made and narrow-minded one .
There is a great attention to the eloquence of asceticism and justice to show its human , moral and intellectual sources that lead to its expressive , artistic and aesthetic manifestations in the literature of the imam and his unique style . Furthermore it exposes emotional , spiritual and profound impact it causes on the souls of the interlocutors in this literature throughout the ages and generations.

The sermon, from the time of the prophethood , had its most important constituents and elements of its success and motives . The present paper tries to examine the various relationships that solidify the parts of speech and describe the methods that control most parts of the sentences , well coined , to mold them in a manner that reaches the interlocutor smoothly . In fact the sermon was well-constructed and well-crafted. Lady Fatima AL-Zahra possessed the devices of a highly skilled orator in convincing the addressees of the truth of her cause and the strength of her position as there are logical arguments and proofs of her right .

The science of grammar was and still is the basis of the sciences of Arabic, as it is necessary for all sciences , for every author and teacher. Those who are specialized in Arabic care about grammar in theory as well as they mean it in practice, their applied concern exceeds their theoretical concern and exceeds it.
Syntax is associated with the meaning in order to obtain the benefit from it, and this is only done within the framework of the syntax.
Syntax is the arrangement and organization of speech, so it is concerned with studying the relationships within the sentence system with its complete harmony to fit and generate new meanings.
Style is the mold into which structures are poured and derives their strength and distinction from the speaker's commitment to linguistic standards and his reliance on his own ability to be considered the queen of the Arabic tongue. Since the style is the template, each person should have his own template prepared according to the laws of the language that make it artistic literary discourse to have a dual function and purpose. It performs the communicative function that speech usually performs.
Many of the eloquence acts in the language are embodied in the sermons and decisions of Imam Al-Hassan, peace be upon him, in which accuracy, meanings, and the idea of selecting expressions indicating multiple meanings were manifested.
In the paper , it is to show the rhetoric and eloquence through our linguistic and grammatical analysis of some of the rulings and sermons of Imam Hassan, peace be upon him.

The reform is quite evident in the thought of Imam Hussein, especially as it is a human and faith feature, so the scholars dealt with it from many angles . But the current study aims to value it from semiotic and linguistic perspectives based on his selected speeches and on the study of the innermost Husseinist mental orbit that pertains to the most sacred ancestry . Moreover, it targets to trace its impact on the interlocutor by having eight speeches , the imam utters, laden with stylistic and linguistic aspects to call for reform.
The study endeavours to show the depth of the influential linguistic challenges that immortalize the speeches of the imam and continue their influentiality on the Ahalalbayt adherents . Throughout the paper there is a survey of the definition of “ reform” linguistically and idiomatically , an investigation of such a word in the Glorious Qur'an , the sayings of the thinkers , the society and a discussion on its types, elements and importance .

Traditionally, architectural drawing takes an important space between the idea and its embodiment, or rather it is, in fact, the issue in halves because the architectural drawing is a map to realize an idea, then, it is also a material because it includes architecture through its drawings that are full of words. So the architecture, like language, produces its places and entities simply in uttering them.
Accordingly , the current study will deal with the narrative architecture of Najeeb Mahfouz; its structure and connotation in his literature . "The Beginning and the End" is a practical example as his narrative architecture shows us the social classes ; the poor and the rich , there is an accurate description to the houses of each class profoundly and he refers to the suffering that crushes them, or to the bliss that saturates them. It is a technique that goes beyond the aesthetic role of description to the stage of psychological construction of the personality and even the social construction of the homeland. In his “The Beginning and the End” , Najeeb Mahfouz establishes such a duality between two models of architecture, between two modes of existence and two levels of life. Therefore, the paper counts on tracing the architecture of the novel that Mahfouz engineered by identifying the structures of the event, characters, time, and narrative space, and then clarifying the semantic dimension that the writer aims to and the interlocutor feels .

The rhythm in modern poetry is a fundamental feature and a tributary that nourishes the poeticism and makes it capable of arousing the emotion of the interlocutor to interact with the missions of the poem . The content is mingled the physiological structure of the interlocutor that has a propensity for the rhythm that we feel every time and place, in all senses and even in morale.
The rhythm takes different forms including: poetic rhythm, prosaic rhythm, linguistic rhythm, musical rhythm, phonetic rhythm, the rhythm of the tone or the intonation and the visual rhythm , as so called , emanating from the visual images of the poetic verses.