Search

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences 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 Dirasat: Human & Social Sciences is the property of University of Jordan 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.)

As a critical method, persuasion has been the focus of experts' attention since ancient times, but Persian poetry is less criticized from this point of view. One of the outstanding features of ancient poetry in most form, especially the sonnet, is its potential to prove and persuade. In studying ancient Persian poetry, we find that poets use various rhetorical and non-rhetorical methods to convince the audience to accept or reject an assertion. Among the models of persuasion, the way presented by Aristotle in Rhetoric has received the attention of critics more than other models. Aristotle determined that persuasion comprises a combination of three modes: logos, pathos, and ethos. Logos is the process of logical reasoning, pathos is the result of arousing the audience's feelings, and ethos is the result of the fame of the writer of the work. In this research, we work on logos. The poetic discourse in the Indian style has become somewhat different due to the many relationships of the poets in a new way with the past of Persian poetry. The poets have tried to share new types of poetic, intellectual, cultural, emotional and life experiences with the audience, and this has caused them to create new methods and capacities. The poetry of this era has a positive and persuasive nature. It means that poets have tried to prove many issues and convince the audience in this way. For this reason, they have used many methods and techniques.Using rhetorical techniques with argumentative and allegorical backgrounds is one of these methods. These methods have established a logical-artistic discourse in the poetry of this period. In this research, the authors have attempted to study logos-related persuasive forms of Indian-style sonnet in Sāeb's poetry, using a descriptiveanalytical method. The analysis of logos in this study on Indian-style poetry falls into the two categories of argumentation and referential. In the first category, the poet attempts to persuade the audience by utilizing allegory, etiology, proverbs, and rhetorical discourses that have a basis in reasoning. The second category, which is based on referential and intertextual relations, allusion and quotation are used more than other persuasive devices. [ABSTRACT FROM AUTHOR]

This paper undertakes a comparative study of two poets from different cultures and eras: Jamil Buthainah, a late seventh-century Arab Udhri poet, and Sir Philip Sidney, an English Elizabethan poet. Based on Jamil Buthainah's Diwan and Sidney's sonnets in Astrophil and Stella, the analysis focuses on four shared thematic threads: the blamers and slanderers, the portrayal of the beloved, the beloved’s eyes, and the speakers’ idealization of their love objects. Rather than seeking to identify any influence of one poet on the other, as there was none, this study highlights the poets’ similar experiences in love—both were deeply in love but did not marry their beloveds. Additionally, both works exclusively address the theme of the speakers’ thwarted love for their women. This paper aims to explore the similarities and differences in how Jamil Buthainah and Sidney loved and expressed their love, examining where their experiences converge and diverge. The goal is to gain a deeper understanding of the diversity and richness of poetic expression across different ages and cultures. [ABSTRACT FROM AUTHOR]

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.)

The concept of myth arose with man since ancient times, of needing it to decipher many of the symbols of the universe surrounding him, and his adoption of myths to familiarize himself with his world and attachment to everything that is sacred to him. It was represented by (the tree, the dove, and the woman) as elements that have a mythical dimension, and they have a presence in all world myths, so we tried in this research to study these features in the poetry of the poet Hamid bin Thor, and our plan was based on talking about the relationship of myth with poetry and its impact on it. Then we dealt with the dove and its mythical references in the poet's poetry, as well as the tree and the woman, and presented a summary of the most important findings that we reached. [ABSTRACT FROM AUTHOR]

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.)

This article studies the poetry book Sanchiu (2021), by Dina Ananco (Bagua, 1985), a young Peruvian intellectual and poet, representative of the Amazonian Wampís culture, based on the concepts of academic knowledge and interculturality. The objective is to demonstrate that the poetic voice is configured as an Amazonian indigenous intellectual who expresses the cultural and intercultural tensions of her community. The methodology of the work is based on the hermeneutic analysis of the poems "Atumsha urukarmetsu/I do not know you" and "Mikut", in relation to the interviews given by the author about her poetic practice that allows her to position herself specifically as a Wampís intellectual. In this sense, the role played by Dina Ananco is fundamental to revalue the Wampís culture and language, which is one of the central purposes of the writers who are part of the so-called "literature written in native languages". Our reading is that the writing practice of the Wampís poet and intellectual seeks to install her culture in the intercultural dialogue, for which she projects in her work a poetic voice that reflects on the internal and external tensions of the local culture from her position as an Amazonian indigenous intellectual. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences 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 Larq Journal for Philosophy, Linguistics & Social Sciences 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 Al-Adab / Al-ādāb 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 article aims to provide an overview of 13th-century Syriac poetry through the study of two poems by Bar Hebraeus, a pioneering poet of his time, providing an overview of this art form during that period. These two poems delve into and explore the dimensions of love and friendship. The second poem is, in fact, a collection of two intimately related compositions. After a general introduction to Syriac poetry and the particularities of Bar Hebraeus' poetry, the analysis focuses on the translation and interpretation of these two poems, which were initially translated into Arabic. The translation into French enhances their dissemination, underscoring the significance of this study in accessing these texts. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 Arab Journal for Humanities & Social Sciences is the property of AL-Sunbula Center for Research and Studies 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 formation of the idea of a school called Imagism in the early 20th century in Hulme, after studying Bergson, and Pound, after getting to know Fenollosa and studying Japanese poetry, created a leap in European poetry and paved the way for a new kind of poetry that after Arthur Rimbaud and Charles Baudelaire drew careful attention to the specifity of images and language. Imagism focuses on a specific object or image as the main subject of the poem with clear and concise language. This school is a subset of modernism that focuses on the skillful presentation of objective images, does not waste time talking about the subjects behind the images, and lets the image speak for itself. Examining the imagistic solutions of Hulme, as the father of Imagism provides a suitable opportunity for researchers of modern poetry. Bijan Elahi, a contemporary Iranian poet, due to his translations of modern European and American poems, was able to reflect the features of this school in his poems. The simultaneous analysis of the artistry of these two poets in their poetic style leads to the clarification of their intellectual, philosophical, and cultural backgrounds. Elahi and Hulme were successful poets in Imagism, and the difference between these two poets, in addition to their cultural context and mental background, was that Hulme, as the pioneer of this school, adhered more to the framework of its ideas, but Elahi, having passed through She'r-e-no and Moj-e-no, was faithful to the tenets of the school only partially and in certain periods of his development. Hulme's mental background was philosophy, old laws, and a new point of view towards the world, whereas Elahi was more influenced by eastern mysticism. [ABSTRACT FROM AUTHOR]

Authorship profiling is a subtask of authorship identification. This task can be regarded as an analysis of personal writing styles, which has been widely investigated. However, no previous studies have attempted to analyze the authorship of classical Chinese poetry. First, we provide an approach to evaluate the popularity of poets, and we also establish a public corpus containing the top 20 most popular poets in the Tang Dynasty for authorship profiling. Then, a novel poetry authorship profiling framework named multidimensional domain knowledge poet profiling (M-DKPP) is proposed, combining the knowledge of authorship attribution and the text's stylistic features with domain knowledge described by experts in traditional poetry studies. A case study for Li Bai is used to prove the validity and applicability of our framework. Finally, the performance of M-DKPP framework is evaluated with four poem datasets. On all datasets, the proposed framework outperforms several baseline approaches for authorship attribution. [ABSTRACT FROM AUTHOR]

Undoubtedly, there are many studies that have focused on the lives and poetry of famous poets. The majority of these studies have focused on the poetry of well-known poets. This does not indicate a weakness in these studies or their repetition, but rather the artistic characteristics, depth, and mystery of their poetry, and the variations in their collections would not have been revealed without those studies. However, this has resulted in neglecting other poets, or so-called obscure poets, not because of their lack of imagination or artistic talent, but because their poetry was less due to their political and personal circumstances. The poet we are studying is Sharaf al-Din bin al-Wazir Yahya bin Hubayra, who worked as a military commander and deputy in the ministry for his father. His circumstances prevented him from writing much poetry, but he would recite poetry when he read a poem that he admired, and he would compose a poem inspired by it, adding new meanings that the previous poet did not mention. His poetry was admired by the famous poet and literary writer Imad al-Din al-Isfahani, who mentioned him in his book "Kharidat al-Qasr" and "Jaridat al-Asr," which recorded the news of famous personalities of his time, such as caliphs, ministers, poets, writers, and celebrities. The news of the poet Sharaf al-Din is scattered in historical books, biographical sources, and media, and we do not know of a recent study that has collected his news and studied his poetry. However, there are two studies that have dealt with his father, the minister Yahya bin Hubayra: a doctoral thesis titled "The Minister Ibn Hubayra and his Jurisprudential Choices (A Comparative Study)," by Dr. Abd Sami Abd Muhammad al-Khalidi, and another study titled "The Delights of the Minister Ibn Hubayra al-Hanbali," by the author Sulaiman bin Saleh al-Kharashi. Both studies dealt with jurisprudential aspects. Therefore, we have conducted this research to study his life and poetry in an introduction and two chapters. The introduction briefly discusses the political life in the sixth century AH, as the poet was influenced by the political situation of his time. The first chapter discusses the poet's life, including his captivity, imprisonment, and death, and mentions news about his father and brother, as they worked together in serving the country during the reign of al-Muqtafi and his son al-Mustanjid. The second chapter discusses his poetry and includes poetic oppositions, and we analyzed a poem as a model for the study. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones 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 The Iraqi University 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.)

As a contribution to the study of video poetry produced by women, one of the first video poems ever produced in the Americas will be analyzed and discussed. In this work, the artist is committed to a decided and rhizomatic deterritorialization of the written poem, proposing an audiovisual creation that irreverently tears apart the figure of the authority of the male poet. Becerra Cano uses various types of translations to video-graphically trace a hybrid spacetime of potential nomadic and poetic creation, responding to the contemporary cultural and technological context with historical gender and colonial implications. [ABSTRACT FROM AUTHOR]

Poetry is a highly attractive literary genre for Early Elementary Students due to its musicality and rhythm, improving language development and the literacy process. In this intervention project, the work with poetry is implemented in these first years, recovering essential figures of Spanish Children’s Poetry, such as Gloria Fuertes. Throughout her poems and other poets, the child will discover the keys of poetry and he will familiarise himself with the task of literacy, developing reading habits. [ABSTRACT FROM AUTHOR]

Copyright of Temas de Historia Argentina y Americana is the property of Pontificia Universidad Catolica Argentina 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 The Iraqi University 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 College of The Great Imam University 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 Basic Education College Magazine For Educational & Humanities Sciences 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 Islamic Science College 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 Álabe is the property of Alabe 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.)

The importance of the sensory IMAGE is being the tool that sits above all other poetic tools, so its presence or absence judges this speech that we call poetry, because it is the most influential tool in the soul, and the most capable of fixing the idea and feeling in it. Since it is the visible or tangible face of the imagination, it evokes emotions and moves them from their places, and is based on the emission of emotion, which is the first purpose of poetry, as the sensory image is a way to establish the emotional effects of poetry in our souls, and most of it is that the Islamic poet realized the beauty of the assets and employed his pictures in his poetry and he invested various scenes and colors to convey his experiences and draw their frameworks, and for the importance of its study in Islamic poetry and to stand on some technical aspects in it. The research included three topics preceded by an introduction, and the first topic was the metaphorical image, the second topic was metaphorical images, and the third topic was the phrase image, using the analytical description method, and I ended my research with the conclusion of the research and its most important sources. [ABSTRACT FROM AUTHOR]

This study investigates the literary-historical context of the attempts by late Southern Song critics to periodize Tang poetry. It demonstrates that the primary agenda of these critics was to establish High Tang poetry as the sole correct model. The insistence on the supremacy of the High Tang went in tandem with, and formed part of, the rebuke of contemporary poets for choosing Late Tang poetry as the object of emulation. The focal point of contention was whether Late Tang poetry could or should serve as a useful model, at least for some in the initial stage of their poetic training. In this context, periodizations of Tang poetry functioned as an auxiliary to the discourse on choices of models in the late Southern Song. [ABSTRACT FROM AUTHOR]

In the article, the author discusses Russian poems, poets and the literary prizes in 2020. Other topics include Mariia Stepanova's book of poetry "In Memory of Memory" (Pamiati pamiati), which won the Novaia Slovesnost (NOS) prize, Alla Gorbunova's "It's the End of the World, My Love," Polina Barskova's "Living Pictures," and Dmitrii Kuz'min's book series "Poetry Without Borders."

The attribution of the same poem to several poets is an important problem encountered in classical Turkish poetry studies. Sometimes the same poem can be found in the diwans of different poets. In this study, two rubaies found in both Vecdi’s Diwan and Fuzuli’s Turkish Diwan were discussed. This study consists of an introduction part, three main parts and a conclusion part. In the introduction part, it is stated that sometimes the same poems are shown as belonging to different poets in the diwans and examples are given. The reasons for this problem were briefly stated. In the first part, in the scientific studies that dealt with Vecdi’s Diwan and Fuzuli’s Turkish Diwan, the approaches to first rubaie attributed to Abdulbaki Vecdi (died 1661) was discussed. The forms of these rubaies in the works that dealt with Vecdi’s Diwan and Fuzuli’s Turkish Diwan were reevaluated. In the second part, the second rubaie attributed to Vecdi was analyzed in the same way. In the third part, sources of rubaies have been compared to find out whose rubaies these are. It has been tried to find out whom rubaies belongs to by various resources. In the conclusion section, the benefits obtained from the research are discussed. [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.)

Copyright of bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World 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 Al-Ameed Journal 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 Basic Education College Magazine For Educational & Humanities Sciences 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.)

"Man is a social animal and Poets are also an integral part of society. Although our Mystic poets preaches brotherhoods, peace and kindness through their poetry but a deep study of their poetry depicts that they have presented the social, cultural and political conditions of their times in a realistic manner. Shah Abdul Latif Bhittai is a great mystic poet of Sindhi Languages has also painted the society of his times neutrally. He portrayed land lords, farmers, saints and Rulers of his age in his poetry. His characterization and imagery is commendable. This research article will explore the presentation of his age in his poetry by appropriate examples.". [ABSTRACT FROM AUTHOR]

Copyright of Jurisprudence Faculty Journal / Magallaẗ Kulliyyaẗ Al-fiqh 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 review discusses Bożena Mazurkowa's book Z potrzeby chwili i ku pamięci... Studia o poezji i prozie oświecenia (For the Needs of the Moment and in Memory of... Studies on Poetry and Prose of the Enlightenment. Warsaw 2019) that includes eight studies in the poetry and prose of the Enlightenment. The studies refer to occasional, occasional-social and applied pieces by, inter alia, Ignacy Krasicki, Stanisław Trembecki, Franciszek Dionizy Kniaźnin, also by less known authors, poets supported by patrons, and anonymous writers, as well as papers in epistolography, adventure literature, and the Kabbalah. The reviewer points at the source, fact-collecting, and analytical changes referring to the first editions of the studies; accentuates the revealing aspects of the studies, new recognitions for the state of research in the Polish Enlightenment, and inclusion into the examination of prophetic texts of amusement character. Attention is also paid to the diversity of the author's workshop, the methods of analysis she uses, and abundance of texts she uses in her investigations. [ABSTRACT FROM AUTHOR]

Copyright of Al-Alama / Al-ՙalāmaẗ is the property of University of Kasdi Merbah Ouargla 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 Alustath 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 Revista Canadiense de Estudios Hispánicos is the property of Asociacion Canadiense de Hispanistas 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 The Iraqi University 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 senses constitute a wide and important space in the poetic composition of the poet Ibn al-Zuqaq al-Balansi, and an important element in the drawing of his poetic images. Therefore, this research sought to trace the poetry of the senses in the poet's poetry of all kinds and aesthetics that framed the poetic image of the poet Ibn al- And aesthetics of the poetic image study in the poetry of Ibn al-Zuqaq al-Balansi (528 AH). In particular, it is one of the poets of Andalusia in describing nature and poetic photography. It is clear that the Andalusian environment has an effective effect in shaping the poetic image. Fashions senses and research department as follows: Introduction and pave the five sections and a conclusion:The research in the preface dealt with the poet's identification card, what the senses and their relation to the poetic image and contains the poetic image types and types in order to stand on the critics' words in order to understand what it is and determine the course of the research. [ABSTRACT FROM AUTHOR]

Wallace Stevens, since the publication of his first volume of poetry Harmonium in 1923, has always baffled the critics. As aloof a poet as he wanted himself to be and yet a successful insurance man of the mainstream of business culture-the combination itself is baffling. The criticism of his time was most often corrupted by the wonder or the annoyance at this not-so-agreeable dual role. Critics tried to fit this eccentric poet in various schools of poetry. Most of the later criticism was focused on what he himself called his 'reality-imagination' complex. The present paper is a humble attempt to locate the elements of naturalism in a few selected poems of Harmonium. The volume seems to be a queer composite of different styles and sensibilities-grand on one hand and humorous, dazzling, exotic, ironic and playful on the other. [ABSTRACT FROM AUTHOR]