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Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

“The poem is a bridge extending across time and encompassing all horizons,”1 writes the renowned Syrian poet Nizar Qabbani. It is through this bridge of poetry that he continues to traverse and speak to his Arab audience. As an homage to Qabbani—a master of metaphor in all his writings—this paper will compare Qabbani’s poetry in its original Arabic to that of his English translators, who have and continue to strive to bring his foreign readers from one world and language into his own poetic garden. By using examples of his approved English translations and the Skopos theory, I will argue in this paper that the bridge of translation cannot function in the same way as Qabbani’s bridge and that what prevents this bridge from succeeding is the deficiency of linguistic and cultural substances embedded in the text.

The research seeks to find out the presence of one of the components of literary work in a literary genre that may not be as effective as it appears in the minds of the interlocutors. The research attempts to find the parties of the dialogue, its implicit, and the role it played in the text, relying on the theory of the implicit in exploring the depths of the text and understanding the message of the dialogue implicit in it. The research concludes that dialogue in the text contributes to gaining character and events effectiveness by measuring their interactions with literature, thought, society, and books. It helps to disable some of the common meanings highlighting the active subjects who set up the events in the text and bringing out the dialogue with an implicit intention to move the interlocutor’s understanding to the stage of integration and assimilation from the narrow family to the wider society, from an internal biological conflict to a historical and social struggle which solutions have been brought into question, whether it has ended or is still there. [ABSTRACT FROM AUTHOR]

This article discussed the two common consecutive concepts: stupidity and madness in Nizar Qabbani’s collections. There are two reasons for focusing on this topic. The first is the lack of the critical works devoted to the topic despite of the great attention paid to this poet's experience. The second is some interesting poetic meanings through which he could manage to say what has been unsaid before although he created his stupid and mad characters from a heavy literary heritage. Therefore, to approach some of these meanings, we started with some highlights of the most eminent problems and themes which we are going to go through. The aim of this study is to raise three issues. The first one is exploring the textual connection between the two terms: stupidity and madness. The second is identifying the transformations of stupidity in Nizar's poetry. The third issue we focused on is what we called the madness of love/madness of literature . By studying Nizar's writings, we came up with several findings. The most important is that the two terms: stupidity and madness and what is derived from them in addition to their synonymes have common semantic field and connection. However, if we seperate them in use, we can see stupidity meanings have witnessed several transformations which made the ugly looks beautiful and the beautiful looks ugly. In this study, we also found out that there is nothing like the mad love and to madness all the literary works refer. [ABSTRACT FROM AUTHOR]

The advent of the modernist movement ushered in numerous transformations in contemporary Arabic poetry, influencing its essence, form, and substance. Among these transformations was the emergence of the Symbolist school within Arabic poetry. The underlying philosophy posits that the essence of things cannot be comprehended in themselves; rather, external phenomena derive their existence solely through mental images. This philosophical standpoint prompted a debate regarding language, with some critics questioning its capability to accurately represent the truths of things, viewing language instead as symbols animated by mental imagery. Thus, language becomes a vehicle for suggestion. In this research, the author employs a descriptive-analytical methodology to elucidate the concept of symbolism both linguistically and terminologically, its defining characteristics, the reasons for its emergence, and its manifestation among Arab poets. The study further delves into the poetry of Nizar Qabbani, highlighting elements of symbolism in his work, including suggestive expressions and imagery, colors, synesthesia, and mythology. The research concludes that the Symbolist movement carved out a significant niche among Arabic poets, particularly between 1935 and 1945. The hallmarks of Symbolism are prominently visible in Nizar Qabbani's poetry, manifesting through suggestive language and imagery, vibrant colors, synesthetic experiences, and mythological references. Nizar offered readers a poetic corpus rich in suggestive symbols, steering clear of the ambiguity and obscurity that often characterize the work of those who embrace Symbolism as their literary creed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of College of Languages is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research paper attempts to study a dominant and striking phenomenon in Nizar Qabbani's poetry, which is stylistic hyperbole. Repetition of linguistic and morphological forms as well as interrogation and appellation forms is intensely used. The poet exaggerates in the use of these stylistic features, many of them in one stanza, and sometimes extending over the body of the entire poem. Exaggeration forms a dominant pattern in the fabric of the poem and has its structural and influential dimensions in shaping the text and its expressive and aesthetic energy. The research deals with the concept of hyperbole in language, defines its meaning and interprets it, and accordingly applies it to the selected poetic models. The researcher used the method of analysis and induction to trace these features, and looked at some selected models from the poems of Nizar Qabbani, so as to highlight the phenomena of repetition, redundancy, parallelism and other features, and to demonstrate their impact on recipients and on the poem's creativity. She concludes that exaggeration inflects positive and negative impacts on the poem, sustained by the variety of styles that are crucial to the textual makeup of the poem. [ABSTRACT FROM AUTHOR]

Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and without specifying their names at times, as a result of the political and social conditions in the wartorn regions. At other times, the poet may do so explicitly. The character within the poem serves as an embodiment of the poet's thoughts and imagination. Through the portrayal of a living individual and the immersion of that persona into the realm of his imagination, the poet endeavors to establish a meaningful connection with the readership while also allowing the character to embody his own sentiments and behaviors. Philippe Hamon, a renowned and contemporary French theorist, is among the few authorities who has a precise and exhaustive theory of the context of character. A comprehensive understanding of the hidden meanings and concepts in characters can be attained by adhering to his perspective, which incorporates the views of earlier theorists. By conceptualizing character as a symbolic context comprised of the signifier and the signified, Hamon broadens the fundamental semiotics of character. In doing so, he argues that character is not merely a psychological construct, but rather a realworld entity. Characters are processed in accordance with four principles, according to Hamon's theory: types, character dimensions, signifier, and signified. As a result of the shift in the political and social climate of the modern era, which compelled Nizar Qabbani to address women's issues and defend their violated rights, he devoted considerable poetic space to this segment of society and depicted the physical and spiritual beauty of women. Nizar's poetry exemplifies the exquisite unity of women and poetry; these two elements are so intertwined that they cannot be separated; this is the reason why she has earned the reputation of a woman poet within the realm of Arabic poetry. Hence, the poet's poems prominently feature the female context. The present study employs a descriptiveanalytical approach and draws upon Philip Hamon's personality theory to analyze the diverse facets of the female persona in Nizar's poetry courts. While emphasizing the significance of this context in Qabani's poems, it also clarifies its function as a means of conveying the poet's intended message. In conclusion, the research findings indicate that Nizar Qabbani's poems comprehensively illustrate every facet of Philip Hamon's theory. By opting for a moderate approach rather than ambiguity and a direct tone when expressing ideas in his poems, he has effectively increased the value of his poetry. One could say that Nizar's poetry and thoughts have elevated and evolved the status of women; the majority of the female characters in his romances are figurative, which is consistent with the general tone of his poems concerning the corrupt Arab society of the time. It is compatible because the poet often had to suffocate and communicate his ideas in an invisible manner. Furthermore, since he does not believe in the central reader, he employs the method of application the pronoun of the audience to represent the female characters. Thus, the character in question disappeared from the reader's mind and submerged her poem in an aura of ambiguity, which is the consequence of the ominous phenomenon o Furthermore, one may observe an intermediary, a pointer, or a reference, in addition to virtual characters. Frequently, the external and psychological aspects of the description of the female character are conveyed, and the poet employs a variety of literary devices, particularly similes, to establish an intimate connection with the reader. The reader is able to readily envision the poet's depicted character. Furthermore, an examination of the meaning reveals that the majority of the information regarding the nature of women originates from the poet himself. This is evident on both quantitative and qualitative levels, with the poet's descriptions being melancholic in the quantitative sense. And to evoke empathy in the audience, he added melancholy; he utilized both direct and indirect methods in the qualitative dimension. However, upon closer examination of the evidence, the reader discerns a discrepancy between the characters' portrayals and their actual performances, leading to the conclusion that the nomenclature and origin of certain characters are not connected to Hamon's theory. [ABSTRACT FROM AUTHOR]

The poem's phrases possess significant semantic depth, with each one conveying numerous concealed and enigmatic connotations. Therefore, comprehending its meaning necessitates a meticulous analysis of the poetry. An effective approach to comprehending word meanings is to analyze them through the lens of the theory of conceptual relations. In this theory, we aim to comprehend the precise significance of each word by analyzing the correlation between words. Synonymy is a relationship between words in which they have the same or similar meanings. When analyzing meaning through synonymy, the goal is to gather and compare terms that have the same meaning. This process helps to refine and clarify the semantic boundaries of each word by considering additional synonymous words. Synonymy can be applied in the translation of poetry and its criticism. This article critiques the equivalence of terms in the book "To turn green from love" by utilizing the notion of synonymy. This book features a compilation of Nizar Qabbani's love poems that have been translated from Arabic to Persian by Musa Aswar. During the analysis of equivalences, the initial step involved extracting the denotations of the words under discussion from the dictionary. Subsequently, the extra-lexical meanings of these words, such as their emotional and stylistic connotations, were decoded by taking into account the context of the poem. In the following, the process of selecting the most similar equivalent to the source text by gathering counterparts with the same meaning is described. Additionally, the translator's equivalence is evaluated and criticized. The research findings indicate that in certain instances, translation equivalents do not align with other terms within the context of the poem. Furthermore, many counterparts in the translation exhibit reduced emotional intensity compared to the words in the original text, while others possess a broader and more encompassing significance than the words found in Nizar's poems. Additionally, certain equivalents have caused the translated text to be unclear or open to interpretation.Keywords: Synonymy, Conceptual Relationships, Poetry Translation, Nizar Qabbani, Musa Aswar.IntroductionAn effective approach to comprehending the significance of language words is to analyze them through the lens of structural linguistics. According to this perspective, linguistic units are not discrete signs with fixed meanings, but rather they are interconnected and have a systematic relationship with one another. Hence, words should not be regarded as self-contained vessels that possess a fixed and unchanging content. Instead, they resemble fragments of a visual jigsaw, where the significance of each piece is illuminated when placed adjacent to others. Hence, to comprehend the significance and precise connotation of any word, one must verify its correlation with other components.One of the connections between words is through synonyms, or words that have the same or similar meanings. Across all languages, there exist words that have highly similar meanings. These terms are referred to as synonyms. Words that are considered synonymous are not entirely interchangeable in any language, as each term carries its own distinct and specific meaning. The distinction between these synonyms may lie in their respective usage categories. For instance, certain synonyms may be considered official, while others may be deemed unofficial. Additionally, certain synonyms may be classified as literary, while others fall into the non-literary category. For instance, the term "woman" is more formal than "wife." Occasionally, synonyms possess distinct contextual associations. For instance, the adjectives "big" and "large" are synonymous when describing a "big house" or a "large house," but they differ when applied to a "big sister" or a "large sister." (Rambaud, 2012: 125). Two words with synonymous meanings may exhibit a relationship of inclusion, where one word encompasses the other. As an illustration, we can provide a car as an example. The term "car" is used twice in this context, and while in some instances these two occurrences can be interchangeable, there are occasions when substituting one "car" with another is not feasible. For example, in the sentence "I cut my beard with a car," it is not conceivable to substitute "car" with another "car" (Safavi, 1379: 106). Additionally, it is plausible that synonyms may vary in their emotional connotations. An illustrative instance of this distinction can be observed in "please have a seat," "Sit down," and "sit." The reference is taken from the same source and page number as the previous citation (Ibid., 108).By conducting a comparison of synonyms, one can gain a comprehensive understanding of the relationship between them and discern the precise meaning of each term. Comparing synonyms is widely employed in the fields of translation equivalence and translation critique. To broaden the options for selecting appropriate equivalents in the target language, translators or translation critics can gather various equivalents with similar meanings for a word and then compare them to determine the most closely matching equivalent.Literature ReviewIn "Research on the Structure of Synonymy of Verbs in the Arabic Language and the Role of Conjugation in Determining the Meaning," Youssef Nazari (1400) has analyzed the five types of Arabic synonyms. This article specifies the meaning of each verb by examining its similarities to other linguistic elements.Farzdouhi and Safari (2019) conducted a study titled "Evaluation of Synonymy (Taba, Khatm, Ghalf, and Safar) in the Translations of Behbodhi, Sadeghi Tehrani, Mojtbavi, and Makarem Shirazi." The study focused on analyzing the four verbs mentioned in the title and their compatibility with the word "heart" in various translations. The researchers criticized the translations of these verbs based on their ability to coexist with the word "heart."In their publication, "Synonyms in the Words of the Qur'an and the Problems of Their Translation," Raisian and Kordloui (2013) researched and analyzed several perspectives on synonyms in the Qur'an. Specifically, they focused on the concepts of dread, sadness, grief, avarice, and greed, as explored by multiple translators of the Qur'an.The indicated papers differ from the previous article in terms of their substance and methodology. The original article is connected to the current article solely in terms of its theoretical foundation. While both articles share the same underlying meaning, they diverge in terms of research methodology, content, and textual presentation of the issue. Furthermore, the current article serves as a critique of the translation, whereas the aforementioned piece does not share this characteristic. In contrast to the previous article, the other two papers employ synonyms in their critique of the translation. However, they differ in terms of their study methodology and the content of their research topic. This article focuses on examining the synonymy between equivalent words in the target language. In contrast, the previous research explored the synonymy among source words in the Arabic language.Research MethodologyThis article aims to analyze the Persian translations of the poetry collection "To turn green from love," which consists of selected passages from Nizar Qabbani's poems. The analysis focuses on identifying and exploring the synonyms used in the translations. The equivalents will be assessed using three different methods. Initially, the user consults dictionaries to obtain the primary or inherent definition of the term, along with some synonyms that convey the same idea. Subsequently, through contextual analysis and the examination of word co-occurrences, the meanings of the term are deciphered and elucidated. Simultaneously, the chosen translation equivalent is scrutinized, and a more appropriate alternative is proposed.ConclusionThe research findings indicate that certain equivalents were selected in the translation process without taking into account the principle of cohabitation or closeness of terms. Occasionally, other terms have been used that differ from the primary word of the poem in terms of both usage and style. In certain locations, alternative terms have been selected that possess a greater depth of significance compared to the primary word. These equivalents express the meanings of the destination words in a broad manner; therefore, the translations do not possess the gracefulness of the phrases in the original poem. Among the similar terms in Farsi, certain examples have been chosen where the emotional intensity is lower compared to the Arabic word in the source text. However, it should be noted that there are instances in Persian where the emotional intensity is higher. The translator frequently employed literary counterparts that failed to capture the full meaning and emotional depth of the Arabic words, resulting in a challenging reading experience for the poem.

Copyright of International Journal of Arabic Language Studies is the property of Al-Kindi Center for Research & Development and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jerash Journal for Research & Studies is the property of Jerash University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research examined the poetry written by Nizar Qabbani in Arabic, which has been translated into Bahasa Indonesia. The investigation was related to how the expression of resistance from the source language into the target language can be used as one of the main media against a regime. This study used a qualitative approach. The data in this study are language units in the form of phrases, clauses, and sentences, in the source language (Arabic) and the target language (Bahasa Indonesia). Data analysis used the Spradley model, namely domain analysis, taxonomic analysis, componential analysis, and cultural analysis to find the relationship and meaning between the expression of resistance in poetry and aspects of micro and macro translation. The findings attempted to map what translation techniques appear in the expression of resistance in political poetry and how the tendencies of these techniques are at a macro level, whether the translation technique is more oriented towards the source language or the target language. The contribution of the research theoretically tries to show that literary works are an effective and elegant medium in conveying criticism of the government. The study of translation techniques should consider a particular literary genre, as literary genres influence the use and selection of translation techniques.

Nizār Qabbānī is one of the leading figures of modern Arabic poetry and is of great importance in contemporary Arabic literature. He was born in Damascus, the capital of Syria, and served as ambassador to many countries during his diplomatic career. Qabbānī grew up in a family environment where he was involved in all aspects of art, and was interested in painting and music during his childhood. However, since he did not find himself successful in these fields, he turned to poetry at the age of sixteen, where he could express his feelings more freely. In his first poems, he succeeded in attracting attention with his unique style, displaying a different style from the poetry understanding that the Arab society was used to. While the poet generally deals with issues such as love, freedom and women's rights, he often refers to the traditions, superstitions and culture of the Arab world. Qabbānī, who uses free verse in his poems, uses a simple and contemporary language inspired by daily life. Qabbānī did not consider himself an ordinary poet. On the contrary, he often expressed the problems faced by the Arab society through his poems and writings by living and observing them himself. Qabbānī is recognised as a writer who combines the traditional culture of the Arab world with modernism. Through his poetry, Qabbānī aims to raise the social status of women by addressing the issues of women's rights and freedoms in Arab society. His poems carry messages emphasising that women should have equal rights in society. Kabbānī is a very talented poet in the use of symbolic language. The symbols, intense images and metaphors he uses in his poems evoke different feelings and thoughts to the reader. Qabbānī's use of symbolic language has attracted attention with the depth and richness of meaning in his poems. In some of his poems, the poet criticises the political regimes in Arab countries and emphasises that the people should fight for their freedom. His poems deal with universal issues that concern not only the Arab society but also the whole humanity. Qabbānī uses clear and precise language in his poetry and conveys his feelings to the readers in a powerful way. Therefore, Kabbānī's poems are important not only for their literary value but also for their social and political aspects. Qabbānī's use of symbolic language has produced literary works that shed light on the realities of Arab society. The subjects he deals with in his poems are universal issues and problems that concern both the Arab society and the whole humanity. For this reason, Qabbānī is regarded as a poet who has a large fan base in the Arab world and around the world. In particular, his poem "Hubz, Hashīsh and Qamar" is considered as a work that sheds light on the problems of the Arab society with the symbols it contains. The poem is based on the three symbols mentioned above, and behind each symbol lies different meanings; "khubz" (bread), "hashish" (opium) and "qamer" (moon). Qabbānī's poem "Khubz, Hashīsh, and the Qamar" was written in the context of Arab society. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nizār b. Tawfīq Qabbānī was among the most famous poets of modern Arabic literature. The reason why he gained such a great reputation in Arabic literature is that he was very active in expressing the problems of Palestine. Especially for the last century, the fate of Palestine and the holy city of these holy lands, Jerusalem, has occupied the minds of many intellectuals from many nations. One of these intellectuals was Else Lasker-Schüler, who wrote her poems in German. Jerusalem, a holy city for all monotheistic religions, is a motif that appears in the poems of both Nizār Qabbānī and Else Lasker-Schüler. Two different poems by these poets have the same name, Jerusalem. Nizār Qabbānī's al-Quds and Else Lasker-Schüler's Jerusalem are similar to each other in certain respects and differ from each other in some points. In this study, it is aimed to make a comparative analysis of two poems, one in Arabic and the other in German. Qabbānī's poem was translated word for word in this study in order to make a more accurate comparison, rather than a literary and artistic translation. Similarly, Else Lasker-Schüler's poem has been translated literally from German to Turkish with the same method. The difference that distinguishes this study from previous respected academic publications and makes this research unique is that a comparative analysis will be made between the poems in question. The importance of this study is that a comparative analysis will be made between these poems. Therefore, the scope of this study is limited only to the comparison of the two poems in question. For this purpose, it is planned to make a scientific comparison. [ABSTRACT FROM AUTHOR]

Nizar Qabbani is Syrian poet born in Damascus March 21, 1923. In his poetry, Qabbani dedicate a lot of his poem to defense the Arabs in oppose the tyranny of Jewish people . The defence appeared strongly after the 1967 war, as at these six days war, the Arabs were defeated by the Jewish. Qabbani who started his career as the diplomat known that his poetry is sensual and romantic. However after 1967 war, Qabbani wrote many poetry about his defence to Arabs, specifically the defence to Palestine to gain their independence. This study is using the qualitative-analysis method with the approach of Critical Discourse Analysis. The objective of this study is to explain the social and cultural phenomenon discourse related to the context of defensive form poet to Arabs and especially Palestine people when confronting the oppression Jewish nation. Results obtained from this study is that the sense of pain in self-esteem as the Arabs by the arbitrariness treatment from "Jews" nation. Encouragement from Qabbani to Palestine strengthen after the bitter of defeat from Six Days War in 1967. Not only to defend Palestine as an Arab country that is fight to gain their independence, moreover, Qabbani obviously considered that Palestine as his homeland. As for his high sense of nationalism to defence the Palestine, allegedly because the poet who originated from Syria and his wife from Iraq, the two countries indeed have a sense of high nationalism. [ABSTRACT FROM AUTHOR]

Waiting for Godot has inspired many works in different countries. Among them is the qasida of "Waiting for Godot" by Nizar Qhabbani, a contemporary Syrian poet, as if it were a verse translation of Beckett's play. Drawing upon the French School of comparative literature, the comparative study of the play by Beckett and the Nizar Qabbani's qasida reveals that both works foreground the futility of human expectation and reflect on the central theme of absurdity. Within a descriptive-analytic framework, the present study aims to discover the similarities and differences between these two works through a close reading and comparison between the authors' method of presenting the themes of futility of human expectations and absurdity. The findings of the study show that Beckett created the work after World War II and the colonization of his country, Ireland, and Qabbani after the Arab-Israeli war. The main theme of both works, waiting, is interpreted as negative. Beckett and Qabbani have been urging their nations to give up on waiting in vain absurdity and instead to strive for unity and change in their lives. [ABSTRACT FROM AUTHOR]

This research aims to reveal how the style of language in the poem Ikhtārī written by Nizar Qabbani. This study used a descriptive qualitative method. The research uses the five levels of stylistic analysis theory by Syihabuddin Qalyubi. The results of this study there is a style of language based on the level in stylistic anaysis, among which is (1) Muhtawiyāt al-ṣauti: repetition of the sound is kasrah at the end of the sentence, ṣawāmit mukarrarah (ra), (2) Muhtawiyāt al-naḥwi: Taqdīmul khabar ‘alā mubtada’ (Prioritizing khabar above mubtada’), 'Aṭaf ma'ṭūf, (3) Mustawā al-dālali: synonyms of the word ukminu, ṣadrun, imra'atun, (4) Mustawā al-ṣuwari: tasybīh, nidā'.

This study aims to describe the significance of the meaning of nationalism in the poem Mudhakkirät Andalusiyya by Nizar Qabbani and the factors that influence nationalism in the poem. In this study, the model used was library research. The material object in this research is a poem by Nizar Qabbani entitled Mudhakkirät Andalusiyya, written in Cordoba in 1955. This qualitative research is described descriptively using Roland Barthes' semiotic theory with a theory of significance order consisting of connotation and denotation. Sources of data in this study are in the form of words, phrases, and clauses derived from the poem Mudhakkirät Andalusiyya. Data collection techniques are reading techniques, translation techniques, and note-taking techniques. The data analysis technique uses data reduction techniques with close reading methods, data presentation, and conclusions. This research indicates that the poem Mudhakkirät Andalusiyya provides a perspective on the historical awareness of the Arabs as a ruling Spain and an overview of the contribution of the Arab nation and the Arabic language to Spain. The factors that influence Nizar Qabbani in the poem Mudhakkirät Andalusiyya are political factors, the unity of the Arabs, and the identity and history of the Arabs. [ABSTRACT FROM AUTHOR]

1. Introduction What is examined in this article is the method of selection and composition on the "paradigmatic axis" and "syntagmatic axis" in the poetry of two contemporary Persian poets "Shamloo" and the Arabic poet "Nizar Qabbani" from a linguistic point of view, The method of aesthetics of these two poets should be examined and compared. In this goal, we have explained the study of literature from a linguistic point of view and we have examined the book "Aida Dar Ayene" from Shamloo's poem and "Belqis" from Nizar Qabbani's poem. The results show that Shamloo wrote his poem in such a way that the understanding of each verse depends on the reader's thinking and his achievement of the poet's choices from paradigmatic axis, while the audience in Qabbani poems is often The poet's compositions are on the axis of companionship, and this factor has made it easy to understand the poems and their concepts. Finally, Shamloo's inclination towards the selection process on the paradigmatic axis causes a special atmosphere such as creating implicit meanings in the verses, complexity, ambiguity, meaning and distance from each other, and Qabbani's inclination towards the combination process causes the explanation of the poems, the proximity of the meaning and the instance and Easy to understand poems. 2. Methodology In this article, first, Jacobsen's theory about function of linguistic and his definition of the "paradigmatic axis" and "syntagmatic axis of language are described. Then, by explaining the function of these two poles in the poetry of Shamloo and Nizar Qabbani, the difference between the performance of these two processes in the poetry of these poets will be examined and compared. In the following, the industries that operate on the "paradigmatic axis" and "syntagmatic axis will be examined. Speech figures such as "simile", "metaphor" and "irony", which create implicit meanings, are on the.The paradigmatic axis. Speech figures of "ambiguity", "paradox", "antonymy", " Synonyms " and types of "paralelism" are on the syntagmatic axis and further explain the meaning of the phrase. An example of the performance of each of these. Speech figures has been analyzed in a book of poems by two contemporary poets, Shamloo and Nizar Qabbani, which are given below for examples of these poems. In fact, the purpose of this article, after achieving the type of metaphoric poles and metonymic poles in the poems of these two contemporary poets in Persian and Arabic, is to analyze the stylistic features of contemporary poetry based on these two metaphorical and virtual poles. 3. Discussion Based on the analyzes, we find that the use of the "paradigmatic axis" and "syntagmatic axis" in Shamloo's poetry tends to the paradigmatic axis with a difference of 6%. Although the percentage achieved is not high, but it can be significant in examining the poet's style. The statistics obtained from Qabbani's poems also show his tendency towards the combination process. Shamloo, by using metaphor, and irony according to choice, shows the ultimate function on the paradigmatic axis in verses, and with these works, it creates implicit meanings in verses, and on the other hand, by using ambiguity and paradox, and antonymy, they have presented the ultimate performance on the syntagmatic axis in parallel with the paradigmatic axis in each clause and explained their meaning. The lack of significant parallelism in Shamloo poems has caused the relative tendency of these poems to the paradigmatic axis. While the widespread use of the phonological parallelis, along with simile in Qabbani's poems, has made it easier to understand his verses and tend towards the combinaition process. Uses and functions of the paradigmatic axis and syntagmatic axis have included the complexity of his poetry. Whereas in Qabbani's poems, the performance of the Sensory sides of similes has caused the proximity of the referent and signified and finally the easy access of the audience to his choices. The ironies used in the verses of these two poets, although they have caused an implicit meaning in the verses, have been selected in such a way that the reader, in dealing with their combination on the paradigmatic axis, reaches the same choice as the poet Has chosen based on the axis. Carefully in the verses under consideration, we find that Shamlou mentions in a poem an almost single subject: "This unity has increased the subject of the vertical connection of the verses with each other. In other words, the poet has selected a single theme from among the themes in Persian poetry on the paradigmatic axis and has combined it on the syntagmatic axis of poetry. 4. Conclusion Based on the analysis of the research, it can be concluded that in each of the studied sections of Shamloo and Qabbani poetry, the two "paradigmatic axis" and "syntagmatic axis" have acted together. The tendency towards the performance of the selection process on the "paradigmatic axis"in Shamloo poems has caused the distance between the signified and the referent, as well as the increase of the implicit meanings in the text and the difficulty of the meaning of the text. While the tendency to the performance of the combination process on the "syntagmatic axis"in Qabbani poems has caused the approach to the signified and the referent and easy understanding of the meanings of the verses. Performance of Speech figures such as Synonyms, paralelism, simile, sensory direction of similes and metonymy on the "syntagmatic axis"in Qabbani poems in proportion to contemporary Arabic poetic features such as simplicity of poems and easy understanding of meanings, use of everyday topics, etc. In Shamloo poems, in accordance with the characteristics of contemporary Persian poetry such as its generality, dealing with worldly issues, the use of words and combinations of modern Persian language, the freedom to use all words, the existence of natural literary speech figures, music and natural tone And the language is familiar to people, which indicates the performance of the process of composition in the poems of these two poets. Therefore, the function of the metaphoric poles and metonymic poles in the poems of these two poets has made the verses easier and their direct understanding by the audience. In Shamloo poems including the performance of speech figures such as irony, metaphor and simile with a tendency towards rational parties on the paradigmatic axis in proportion to the characteristics of referring to private issues of life, intense attention to social and political issues, ambiguity, similes and new metaphors, emphasis The use and importance of the symbol, and the creation of new relationships between the sensible and the rational, and in Qabbani's poems the performance of these speech figures in proportion to the characteristics of contemporary Arabic poetry such as the variety of rhetorical methods, exaggeration in the use of imagination and style, To take refuge in the symbol in the structure of the ode is to hide the meaning, complexity and ambiguity. These proportions in the poems of these two poets express the performance of the selection process. The function of the metaphorical pole and the selection process in the poems of these two poets has caused secondary meanings in the text and difficult understanding of the verses by the audience. Finally, based on the statistics and frequency of speech figures based on selection and combination processes, we found that the frequency of application of the combination process in Qabbani poems is higher than the selection process, in Shamloo poems, the frequency of the selection process is higher. Therefore, the tendency to use the combination process in the syntagmatic axis in Qabbani poems has made his poetry easier and the tendency to use the selection process in the paradigmatic axis in Shamloo poems has caused the complexity of his poetry.

This paper deals with the study of one type of the speech acts of expressives which is that of compliments. Generally, expressiveness is one major type of Searle's(1969) classifications of Speech Act Theory which is a major aspect of linguistics. The speaker, as the name implies, expresses what he feels to the hearer. Compliments can be used to refer to the speaker's romantic aspect as he makes the act of love to the hearer. This study is carried out through choosing parts from some poems of Nizar Qabbani which are all directed to the woman in a way of expressing the compliments in general and the love in particular. The poet performs the speech acts of compliments to the woman explicitly and such compliment in most of the poems has an implicit meaning which involves the love of the homeland by using the personification in a pragmatic way. So he is named the poet of "woman and homeland" (because the woman is a homeland). The research is analyzed by taking nineteen poetic texts. They are written in the transliteration model of Arabic and then they are written in the target language (English) by following a literary accepted translation. Each text is discussed in a very simplified way. Then the most important part of this work is that of the applications of Searle's sincerity condition of the speech acts of compliments for each selected text. [ABSTRACT FROM AUTHOR]

Copyright of REMAH Journal is the property of Research & Development of Human Recourses Center (REMAH) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este estudio representa una comparación entre los dos poemarios: “Veinte poemas de amor y una canción desesperada” del poeta chileno Pablo Neruda, y “Cien cartas de amor” del poeta árabe Nizar Qabbani. El estudio destaca los aspectos de similitud y diferencia en la formación de la experiencia del amor en los dos poemarios en todo lo que las dos experiencias llevan de sentimientos y enfoques sobre el otro y sobre la sociedad. El estudio parte de la estructura de la similitud entre los dos poetas en el diseño del amor en los dos poemarios. Así mismo compara entre dos poetas contemporáneos, dos idiomas y dos culturas diferentes, en diferentes circunstancias. El trabajo se compone de una introducción y diez ejes: la carta, el poema y el contenido de la idea, el amor y el cuerpo de la mujer, la amada como equivalente objetivo de la patria, amor, naturaleza e intimidad, el amor y la desesperación, el amor y la privación, el triunfo del amor, el amor y el silencio, los destinos del amor, y el amor y el tiempo.

Arabic poetry has long taken precedence over other literary forms. It is the oldest form of literature known in the Arabic language, dating back to year 400 A.D. In the context of translation, poetry poses a few daunting hurdles in attempting to reach equally metaphorical meanings in the target language. This article seeks to illustrate the cultural problems witnessed in translating culture-bound metaphor. For this purpose, poetry by prominent Arab poet Nizar Qabbani is the main reference and the selected case study in the article for the poet’s place and contribution in Arabic poetry. The theoretical framework adopts two translation models— Newmark’s Semantic Translation and Den Broeck’s literal, paraphrase and substitution. In addition to illustrating difficulties emanating from translating culture-bound metaphor, the article will present a comparative analysis of two translations of one poetic text, thereby hopefully serving as a valuable contribution to the area of cultural metaphor translation by providing a range of translation possibilities starting from Dynamic Equivalence or idiomatic translation and continuing through literal and semantic translations. In doing so, the article has tackled strategies in the field of cultural metaphor translation, which will hopefully lead to further research.

The renowned poet Nizar Qabbani is a prominent name in the world of poetry; his name is well known to those interested in Arabic literature. Although people may differ on his poetry and the moral judgment on it, they do not differ over his poetic authority or his poetic presence in the literary world. Many have written on aesthetics in his poetry, but no one has indulged in studying "the ugly" in Nizar Qabbani's poetry. This paper will investigate the manifestations of ugliness in his poetry, and the aesthetics of this ugliness. In Kabbani's poems, we can think of estetik ugliness Kab in three different general aesthetic frameworks. The Peoples whose will taken away from them Conflicting bully male model, Ugly female model, In this study, we will examine The Peoples whose will taken away from them. [ABSTRACT FROM AUTHOR]

This study aims to describe the political views in some poems of Nizār Qabbānī, poet of revolt, revolution and politics. He was able to express the misfortune of his people, his political crisis through poems that are not less than those about love and woman. In this sense and in order to discover his political positions in his poetry, we have used semiotics in order to enter the signs and its sizes and to put them in an interpretative context which represents an emerging trend in the field of contemporary semiotics. [ABSTRACT FROM AUTHOR]

Translating poetry has always been a significant subject in translation studies. Mixture of the language of poetry with the poet’s feelings and its benefit from ambiguity and complexity as well as presence of elements such as rhythm, sentiments, and fantasy puts poetry at a higher position than prose, and accordingly adds more importance to its translation. The translator of a poem should be privileged with more freedom. An efficient translation of poetry is the outcome of recreation rather than mere rendition, as it is the case with rhythmic translations. Not only should poetry translators have all proficiencies of literary translators, they should also be familiar with contemporary poetry and its specifications, including dominant themes and tones in poetry, functions of allegory, repetition elements, internal rhythm of the poem, and application of proper nouns. The purpose of this research was to investigate the difficulties and complexities of translating poetry and in particular translating contemporary Arabic poetry regarding the theoretical and functional aspects. For this purpose, a descriptive-analytical method has been employed in this library research. Translatable and untranslatable elements were studied from a theoretical perspective, findings of which then indicated the importance of diction, meaning, rhythm, sentiments and fantasy. The difficulties of translating poetry were furthermore pointed out. From a functional approach, the most significant challenges with which the translators of contemporary Arabic poetry have to deal were then discussed by citing excerpts from poetry by Arab poets including Nizar Qabbani, Badr Shakir al-Sayyab and Nazik al-Malaika.