فهرست مطالب narges ganji

Analyzing the challenges of remote virtual Arabic education, according to the opinions of teachers and students The study aimed to analyze the distance virtual language education according to students (grammar and literature as a model) and students (grammar and literature as a model) and the difference of statistically significant differences in the analysis and analysis of (289) teachers by (150) teachers, (139) schools and (400) Students with (187) male students and (213) females distributed over schools in the center of Karbala Governorate. The results also showed that the scale of the challenges that can be analyzed and invested when teaching the Arabic language from a distance came to a medium degree. There are no statistically significant differences in the challenges of virtual distance learning Arabic, according to the opinions of teachers and students of grammar, according to gender. There are statistically significant differences in the challenges of virtual distance teaching the Arabic language according to the opinions of the literature subject teachers, according to gender, in favor of females. There are statistically significant differences in the challenges of virtual distance teaching the Arabic language according to the student's opinions of literature subject according to gender, in favor of males. There are statistically significant differences in the challenges of teaching the Arabic language by default, according to years of experience and in favor of greater experience.

Effective language teaching methods have a fundamental role in enhancing the learners’ competence and performance, but with regard to the place of affective variables in language learning environment, any chosen method needs to use techniques to elaborate the learners’ motivation and create a positive attitude toward language classes, school and classroom activities. The present study, therefore, in line with the felt need for effective Arabic teaching methods in Iranian schools and universities, attempts to investigate the efficacy of interaction-based methods in comparison to teacher-centered language teaching methods. A quasi-experimental method was designed with two intact classes of grade two in a senior secondary school. The population group experienced an interaction-based method, while the control group experienced a teacher-centered method. Johnson’s (1983) scale of motivation was used to measure the students’ motivation levels at the beginning and at the end of the study. The analysis of the results of the study using SPSS software revealed significant difference between the means of the groups in favor of using the interaction-based method by the experimental group. In other words, although classroom activities in the interaction-oriented method impose additional effort on learners, but its effectiveness is also greater in terms of supporting learners and interacting with the teacher through corrective Feedback negotiation.

Scientific-research journals have been subjected to remarkable change regarding applied linguistics issues. As an instance, recent research has focused on cognitive challenges that learners and teachers of Arabic face at university and schools. Linguistic analysis of the challenges and presenting appropriate solution were also the topic of earlier research. Because research has always been an important source for researchers and those who care about the quality of learning, this research, using a mixed design method, attempted to review 140 articles on Arabic learning published in 22 journals over a nearly twenty years’ period (2001-2020). Publications were divided into 8 categories based on the subjects to examine the topics that attracted the highest level of attention, which language was selected for research (Persian or Arabic), and how many papers were published in this period. Findings of the research indicated that 61% of the papers were in Arabic and 39% of the papers were in Persian. Textbook analysis research was the topic of  32% of the papers published in these  two decades and most the papers about Arabic teaching and learning  were published in 2020. In addition to analyzing the content of pedagogical content, dealing with challenges and presenting solution has been the focused increased attention over this time. This is because these studies adopted new approach to Arabic learning and teaching requiring applied knowledge and updating old-fashioned paradigms, fluffing learners’ needs. Also this study provides a document on Arabic teaching and learning in Iran.

After the establishment of the great Islamic governments in the 14th century, due to Arabs’ acquaintance with the Sasanian empire and their desire to use the Sasanian’s experience in the field of administrative structure, these Islamic governments began hiring Iranian officials who were proficient in Arabic as state scribes and epistlers. In addition, the need for educating state scholars became evident. Accordingly, Iranian scholars such as Ibn Qutaybah Dinawari (213-276 AH), Abd al-Rahman Hamedani (?-327 AH), and Tha'ālibī Neyshabouri (350-429 AH) embarked on writing books Adab al-katib, Al-alfaz al-kitabi-e, and Feq-h al-loqat wa Asrar alArabi-e to train and educate scribes/clerks. This could be considered as teaching Arabic in a practical way and for specific purposes, and considering the era, it could be regarded an advanced method of teaching. The present study has made an attempt to identify the chosen linguistic subjects using a descriptive-historical and content analysis (quantitative and qualitative) design and has measured their quantitative ratio in three teaching packages based on their statistical data. Each of the three packages contained: terminology, orthography, correcting pronunciation errors, familiarity with the morphology of the verbs and names based on semantics and with some practical subjects of syntax and rhetoric. Based on the statistical analysis, each package included 81% terminology in the essential and practical instructions on Arabic. Respectively, the rest of teaching materials in each package was consisted of 13% grammar and 6% rhetoric. However, the grammar subjects were prevalent in the first package. The second and third packages contained 100% and 85% vocabulary subjects, respectively.

Dictation is one of the most important writing skills in communicating; therefore, its training is essential to eliminate errors in linguistic communication. Accordingly, strengthening this skill should be considered in preparing the appropriate content for the educational courses. This study reflects on the past compilations on dictation skills and attempts to examine the content of Adab-al-Katib written by Ibn Qutayba al-Dinawari (213-267AH). Part of the book, entitled "Taqwim-al-Yad" in 46 sections, teaches those scribers and writers who had a poor ability to write words such as “Hamza” and “Alef”. The present study aims to study two cases, based on descriptive method and content analysis (qualitative and quantitative method): The author's method of presenting content in three stages (categorization, dictation at the morphological-syntactic level, defining the rule and dictation error) and his method of checking the dictation errors. The results of the research indicate that the errors are in two parts: dictation of letters in verbs and nouns and dictation of names. According to graphs and statistical data, 59% of the educational content is dedicated to dictation of letters and 41% is dedicated to dictation of names. Among the writing principles, dictation of "Alef" had the most attention with 39%. The organization of the content under investigation has its positive and negative points, including failure in the observance of subject-alignment in content-segmentation. These data indicate the special attention of applied linguists to dictation skills in old times, as if they represent their innovative educational achievements as a significant advancement in the development of language skills for specific purposes, which makes us to follow their pattern, as a precious legacy.

Shadow play is a type of folk show which has a long history in Islamic civilization. Given that historians did not pay any attention to folk arts, it is no wonder that we do not have any comprehensive research on this dramatic art yet. In this research, we try to study the background of the shadow play in the Islamic civilization, to disclose the hitherto unremarked facts about this dramatic art. This research is based on the historical resources and documents, as well as criticizing the results of previous researchers. The Research findings indicate that the eldest historical evidence in the history of the shadow play goes back to 8th century AD which is an extract of a poem by Abū Nūwās. This evidence was absent from researches on the subject until now. We also realized that art had been prevalent in these lands, especially during Fatimid and Mamluk periods in Egypt. Besides, we noticed that "khayāl" was a general term in dramatic literature, which signifies imitation but can also refer to shadow play or marionette show. It seems that the various meanings of this term have confused many researchers.

The purpose of this study is to express the linguistic challenges of oral translation from Persian to Arabic by relying on syntactical structures from the perspective of oral translators. In order to achieve the research purposes, a descriptive method has been used. The statistical population of the study, which has been selected randomly, includes 36 professors from the Arabic language group of Tehran and Isfahan universities with oral translation backgrounds as well as oral translators in the media circles, particularly, the IRIB and the Ministry of Foreign Affairs. In order to collect the views of the translators, the researchers used a questionnaire of 30 questions based on the linguistic challenges in the oral translation of Persian to Arabic, focusing on syntactical structures. Consultation with experts in statistics and experts in the field of oral translation was taken into account. After assuring the validity of the questionnaire, the reliability was calculated using correlation coefficient (α=0.89) with the help of ten Ph.D. students and other professors. All analyses were performed using the SPSS software. The results of the research are:1.Linguistic challenges in oral translation include general, syntactical, inflectional, lexical, and sound challenges 2.Based on the statistical results of the questionnaire, it was determined that all of these five challenges were important to the translators and agreed on all of their sub-dimensions (the ratio of each axis was more than three degrees). In the meantime, the vocabulary challenges with the average score (3.89) has highest degree, and followed by the sound challenges with the average (3.87), the general challenges with average (3.73), the syntactical challenge with average (3.62) and the inflectional challenges are with the average (3.33). This suggests that grammatical structures have the least importance for oral translators.

One of the important research fields in literary research, which helps us better and more deeply understand the literary works is to investigate the links between art and literature and the exchanges that have existed between these two big branches of human sciences since ancient times, particularly the effect that art and its subcategories have had on literary evolution throughout history. One of such fields on which little research has been done is investigating the inspiring and enriching effect of performing arts in literature. One type of performing art that has a long history in the culture of Iran and Arab countries is the puppet show which has a dominant presence in Persian and Arabic literature, especially mystical literature, and mystics have benefited from it as a vehicle to explain their mystic thoughts. The current research has made an effort to fulfill the purpose of classic research on the relationship between art and literature and investigate one of the unique aspects in the mystical literature, that is the creative and artistic approach of Sufi masters to the art of puppet show and benefiting from that as a way to express the unspeakable and enigmatic perceptions of mysticism. Also, the present research has tried to clarify the historical roots of the use of the symbolic image of the puppet show in explaining ontological issues and disclose the evolution of this cryptic image in mystical literature. However, the period of this research is restricted from the 4th/10th to the 9th /15th century. The reason behind selecting this historical period is that this epoch is the period of the doom of the mystic thoughts and appearance of eminent mystics and the creation of mystical masterpieces in Arabic and Persian literature. But in later centuries, there is a little sign of previous mystics' Revelations and creation of past thinkers has descended to repeated and formulaic images. This raised this question in the authors' minds that why some mystics have taken hold of this performing art. Trying to find the answer to that question raised other questions in the authors' mind: why has the puppet show, especially the shadow play, become an opportunity for mystics to display their creative imagination? To explain which of their mystic thoughts did mystics use this performing art? What is the historical background of the symbolic image of the puppet show in ontological issues? Making an effort to reach a suitable response to such questions persuaded us to investigate the position of the symbolic image of the puppet show, especially the shadow play, in mystic thoughts in independent research and to figure out the reason for this intelligent selection by mystics.

The puppet show, which was more folkloric by almost fourth century AH, gradually entered the literary and mystic language and was suddenly welcomed by mystics due to their “aesthetic and artistic view of religion”. They found everything associated with spiritual experiences, and because of their spiritual needs and similarity between materialistic things and their supreme mystic experiences, they would make an effort to depict a part of the spiritual world in the form of the materialistic world. Therefore, they did not consider this performing art a means of entertainment. They had an artistic and mystic view of that and had made it an opportunity to display their imaginations by their artistic view and intelligent selection. In Conclusion, the main reason behind the selection of the puppet show by mystics was that such a show could be considered an appropriate tool that has depicted the thought system of Ibn Arabi and other mystics, whose thoughts were in line with him, in the form of an interwoven set of signs using a symbolic language. Because they sought a mystic purpose behind the puppet's movements and their relationship with the puppeteer who was hidden behind the screen and moved them with invisible strings or cast their shadows on the screen with light. They also considered that simple show with a symbolic image to be the best tool to explain their complicated mystic perceptions and thoughts from the world of mystic journey and tried to make hard-to-grasp mystic concepts as simple as possible for their audience and followers of mysticism by taking advantage of symbols and imagery. So, it is not surprising that despite its simplicity and informality, the puppet show entered mysticism, became known as one of the areas in which mystics could depict their creative thoughts, and was welcomed by mystics who sought supreme truths of the spiritual world through the simplest materialistic things and used everything to interpret their revelations. In General, based on mystics' quotes, we concluded that pantheism, the unity of divine acts, and explaining the position of heavenly spheres in controlling the world's affairs formed three functions of the symbolic image of the puppet show, especially the shadow play. Apparently, the statement of Ibn Hazm is the earliest in using the performing arts to express the impermanence of the world. Although the creation of past thinkers such as Ibn Hazm and Ghazali have benefited from this symbolic image, the boom in the usage of this symbolic image in Islamic mysticism dates back to Ibn Arabi who has most probably promoted the usage of this performing art among mystics. After him, many mystics have taken advantage of this image among which the symbolic image of Rumi in Persian literature and Ibn Fariz in Arabic literature seem to be the most imaginative and effective.

The current study aims to focus on the Persian to Arabic oral translation of speech of high-ranking military officers, maneuvers, and military parades. The purpose of the study is to find the challenges of oral interpreters and to find the influential factors to this kind of translation. In doing so, a descriptive-analytic approach was used to answer the research questions. Random sampling was used to investigate 200 minutes of audio-visual speech of high-ranking military offices, military maneuvers and military ceremonies, broadcasted in Alalam Arabic News Network. The analysis of the challenges showed that lack of military terminology knowledge, misunderstanding of the speaker’s intention, omission, losing key information, and incorrect addition were among the most important challenges of oral translation. Non-linguistic challenges included cultural different between two cultures, the rate of the speech in the origin language and bilingualism of the translator. These challenges were mostly apparent in parade ceremonies, military maneuvers, and commanders’ speech respectively.

Language teaching and learning have certain opportunities and challenges. 'Errors' are almost seen in all language areas; hence, researchers need to master a good command of error analysis to be able to make a distinction among different types of errors. The present study, therefore, attempted to use a descriptive-analytical approach to distinguish the possible causes of errors in translation tasks of Iranian third grade high school students. The target population of the study was defined as Iranian third grade high school students. The sample composed of 40 students randomly selected from among the high school students of North of Fars Province. Translation errors were extracted from the students' performance on three translation tests given to them during and at the end of the semester. The findings indicated that errors included addition and omission of language elements, wrong choice of items, and incorrect arrangement of structures. These errors seemed to be originated from language interference, intra-lingual errors and learning contexts.

A symbol is an emblem used with the aim of expressing the existential feelings of a poet about a particular subject. The poet has borrowed such a style from prior experiences in order to use it with regard to current events. The reasons for this choice of style are the following: the inability of everyday language to express the present events and the absence of freedom in the society where the poet lives. Similarly, the Palestinian poets have made use of symbols for expressing the bitter realities of life through the compilation of modern poetry by borrowing traditional symbols. Such a connection is realized between the present and previous texts in the light of inter-textual knowledge. Mahmud Darwish is one of the poets who attempted to use various symbols in order to express the social issues of his own community. Therefore, following a descriptive and analytic method, the present study has studied the intertextuality of "La'ab al-Nourd" ode as an example in order to analyze the symbols used in this poem by focusing on the intertextual concept.

The text's sociology attempts to make the reading in a profound and fundamental way and the text is not complete until it is read, and it cannot fulfill its existence. Sociological criticism is one of the new and effective methods in the analysis of literary texts especially novels. Accordingly, this article seeks to use the descriptive-analytical method to read the text of "Zaat" novel from Sonallah Ebraham, and shows the social and ideological issues that the Egyptian community lived in it and portrayed its novel. The purpose of the selection of this novel was its importance in drawing Egyptian society and expressing their suffering during the presence of foreigners in the country. The results indicate that Sonallah Ebraham knows the Egyptian average classes well because he spent his life in Egypt. And this novel expresses a certain ideology that can express it through the unification of the structures of the novel. Therefore, there is a strong relationship between the elements of place and time and social groups and personality with the issues and problems posed in the novel.

Persian playwriting, which was the result of Iranian acquaintance with Western literature, and most importantly, French and English, grew rapidly and people such as Sadeq Hedayat, Bahram Bayzaee and Hassan Moghaddam are the leading figures in this kind of literature whose works, although somewhat late, have been so widely accepted in the Arab world by translators. The present study seeks to assess the process of translation of Persian literature plays in the Arab world from Damascus and Egypt to Iraq and Kuwait with a descriptive historical method and offers a clear picture of the efforts of Arab translators in these plays as well as this article intends to review and critique them by looking at the translation of the titles. The findings of the present study indicate that the translation of Persian plays into Arabic does not have much history and it began in 1988 with the translation of "Time’s Cloud and Zulf’s Cloud" by Dr. Mohammad Islami Nodoshan, by Ibrahim al-Dussouqi Shta and continued with the translation of "Sheikh Sherzyn's Petition" by Bahram Beyzaee in 1994. Of course, at the same time, many famous Persian plays or drama have been translated into Arabic. The translators have also chosen the word translation method in the translation of the titles and have tried to maintain the structure of Persian titles in translation.

This paper intends to examine the role of translation in Persian literary heritage and rhetoric of science. This translation in the Persian rhetoric is a rhetorical term. As poetry is superior to other types of literary translation in both terms of language and style, and has an important position. The Position that Persian rhetorical scholars have recognized it and was put it among the Persian imagery. Based on this principle this paper intends to examine the views of Persian scholars of rhetoric. In order to clarify various aspects of the term. The most important findings of this research is show that the term of translation is at first a rhetorical term and then it was an exquisite term.

One of the important subjects of comparative literature_ in French school_ is studying common contents between literature of different languages and separating literati’s initiatives and borrowing from other authors in the same or another language by them.
With this aspect. Using analytic – comparative metod, this study compares poems of Abu Tayyib Al-Muttanabbi_ as one of the most impressive Arab poets in the Persian poems_ with Anwari Al-Abiwardi so it can determine contents resulted by similar associations and help researchers regarding literature progress up Arabic- Persian’s relations.
On of the results of this paper is that Persian poet takes benefits of poem contents and images of Al-Muttanabbi visibly and sometimes invisibly because of his full knowledge of Al-Muttanabbi’s poems.
In addition, sometimes two poets have reached joint points as a reason of common cultural environment and similar personality characteristics.

This study is intends to describe and Presents a new theory of translation based on the "Intertextuality" unlike the Translation theories that presented to date, what all are based on the principle of "Equivalence". Our theory is based on the examples of Arabic poetry translated into Persian poetry. The major findings of this study show that the Intertextuality can serve as a link between the original text and the target. it can also interact with other texts is the translation result in the target language, Whtich is the book of poetic eloquence is addressed and was mentioned Literary robbery.

In order to make use of modern methods of teaching in the field of teaching Arabic to non- native Arab speakers، this study employed communicative approach for the teaching of contemporary Arabic literature. Thus، this study aimed at investigating the impact of using communicative approach in teaching contemporary Arabic literature on the speaking ability of Iranian university students of Arabic as a foreign language. In this experimental study، the researchers used test of speaking as an instrument. The participants in this study were 20 intermediate students studying at University of Isfahan. These 20 students were divided equally into two groups، one experimental & one control. The selection of the students was done randomly. In the experimental group، the students were taught according to communicative approach & in the control group، the traditional method was used. A pre–test was given to make sure about the homogeneity of the two groups in their speaking ability. The researchers also re-tested in two phases to monitor the development of communicative ability of the research sample in speaking. Data was analyzed by using T- test. It was found that the two groups had statistically significant differences. These differences can be related to the impact of communicative approach in improving students’ speaking skills.

The "Beshr ibn Avana"s poetry called "Beshriia ode" has been translated to Persian poetry by the contemporary Iranian poet "Mohammad Hossein Shahriar". And he has tried to communicate all aspects of the text into the target language. One of the most important aspects of the poetry is the Music lyrics that we see "Shahriar" transmitted it beautifully. This study tries to make a comparison between translation and the original text.The most important finding of this research is to show that the Music lyrics in two Persian and Arabic poetry helped poets to express thoughts in the best way, as sometimes we see that music and lyrical space suit in the best form sometimes accompanied with saga and pride.

The supremacy of adaptation and imitation of antecedents over innovation is one of the features of Arab poetry after fall of Abbasid dynasty. However, literary borrowing which is deliberate and combined with tastefulness and elegance yields an appropriate effect and association on readers. Technically, in rhetoric, if a poet borrows a hemistich, a verse or some verses from other's poems as allegory; then put it in his own poem with the same rhythm and rhyme or change it a bit according to his goal, he has applied an acceptable device which is called allusion (Tadmin). One of the well-known and competent poets of this period Safi al-din al-Hilli; (died 1350) who had special attention to the celebrated Arab poets in previous periods and evocation and regeneration of their poems. Hence, he employed allusion from their poems a lot. By reflection on al-Hilli 's Diwan on one hand, and reference to Divans of precedent poets on the other hand; this study attempts to recognize many examples of allusion and its application in the Divan of this poet and introduces major sources (citing verses and expressions of antecedent poets) in successive historical periods to illuminate various types of allusion and its functions in poems of al-Hilli; and to indicate artistic use of device by this poet.

Resistance against western hegemony, neo-colonialism and exploitation is one of the issues contemporary Arab poets have dealt with. This especially since Arab nations encountered with this evil phenomenon affecting them politically, socially and culturally. Consequently, some poets were exiled or imprisoned for resisting colonization and underwent much hardship. Mahmud Sami al-Barudi is one such poet who was exiled to Sarandib for 17 years which are conspicuously reflected in his poetry, diction and style. Barudi´s poetry is idiosyncratically heroic and epical. Multiplicity and diversity of his poetry are so remarkable that one can consider his melancholically nostalgic patriotic poems dividing them into two independent exile and political genres. In the nostalgic poems of al-Barudi, he is committed to pure and sincere emotions, which like a common line, links his poems together. Lengthy, organic unity, thematic variety, sincerity, repetition and fluency are some of characteristics of Barudi's poetry. The current study tries to examine these poems through content analysis.

Palestinian contemporary writer, Dr. Samira Azzam is one of the pioneers in short story- writing at Arabic and Palestinian literature. The present article deals with a survey on attitude of this writer toward human-by content analysis- and to achieve this objective, rather than documentation and criticism of Arab expert critiques’ comments about works of Samira Azzam, writer’s approach toward human and in stories will be investigated by pondering on characters’ actions in order to represent some of basic aspects of such attitude including belief in dignity and serenity of human’s essence, confrontation of moral good and evil and role of effort and work in realization of human personality. Writer’s sharp-edged precision in life details and portraying human’s correlation are some of noticeable characteristics in her story works.