Search

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.)

Chinua Achebe, as an icon of African Literature, has distinguished himself as a teacher par excellence and enjoys world acclaim as "the bestselling author.... (and) among the most powerful and original writers in English fiction" (Publisher's blurb). A simple answer to the 'secret of fiction' of his success as a master artist lies in his unique style of storytelling. This paper, therefore, explores two features of his style which pervade his entire fiction, namely, jurisprudence and pedagogy. The classroom teacher of English Literature or Literature in English will demonstrate his teacher competence by drawing attention of his learners to the stylistic devices used in a literary text and explains how they enhance literary corpus. The stylistic devices are consciously or unconsciously woven into a literary work to make thematic statements. The burden of this essay is poor communicative competence of Nigerian leaners of English, the nation's official language. Another problem is the learners' poor reading culture, which results in poor storytelling. The paper is not unaware of other features of Achebe's style, which he has harnessed to teach his infinite audience. It must be pointed out though that this essay does not say the final word on the features of Achebe's style for examination in this essay. The novels of Achebe that are used for this analysis are Things Fall Apart and No Longer at Ease while the paper adopts literary research. [ABSTRACT FROM AUTHOR]

Background: Dialogue or Uslub al-Hiwar is the most visible and prominent style of language used by the Qur'an in presenting arguments for evidence and hujjah for the truth of the teachings brought by Islam. Both the evidence of the oneness of God, the righteousness of the apostles and the evidence of the inevitability of the day of resurrection. Purpose: This study aims to analyze the stylistics of Arabic on the variety of stylistic languages in sentences in the Qur'an about the day of resurrection. Method: The method used in this study is a qualitative descriptive method with the aim of revealing how the two parties to the dialogue use a variety of language styles in conveying their arguments and postulates. In this study, various styles of language were found that the two dialoguers used in conveying their attitudes. Starting from the variety of styles of language of looping, opposition, oath, tajsid and others. Results: Having seen the abundance of Uslub Hiwar in the Qur'an and the dialogues of the prophet in the hadith books, it is a strong proof of the efficacy and efficiency of this style of language in convincing the interlocutor or reader of the Qur'an of the truth of something. This style of language becomes a backdrop for the speaker in expressing his arguments, explaining the truth, convincing logic and moving the heart. Conclusion: The Qur'an is rich in language style in conveying the values of its teachings to nature, especially in uslub hiwar or dialogue. Dialogue in the Qur'an is often used on urgent themes, such as godliness, the truth of the Qur'an and the Apostle, as well as the theme of the day of resurrection. This proves that uslub hiwar has an important role in conveying attitudes or opinions and building arguments. In conveying attitudes to the dialogue of the Qur'an, especially the theme of the day of resurrection, it is inseparable from different styles of language. This stylistic variation aims to give a certain effect to the interlocutor so that the goals and objectives are successfully achieved properly. [ABSTRACT FROM AUTHOR]

1. Introduction Text stylistics is one of the most important ways to reach the historical boundaries of works; by studying the stylistics of a text and examining its linguistic, intellectual, and literary domains, one can determine its type of prose and its period. Therefore, what is important in these studies is form and content. Bahar defines style as: "Style in literary terms refers to a specific method of perceiving and expressing ideas through the combination of words, choice of vocabulary, and mode of expression-style gives a literary work its own unique aspect in terms of form and meaning. Therefore, style in its general sense is the realization of a literary type of perception in the world that determines the main characteristics of its product (a composed or written work)", (Bahar, 2014: 1/16). Bahar considers form and content as important in determining style (Bahar, 2014: 1/17). Farshidvard also refers to the importance of form and content in determining style: "Style emerges from the combination of spiritual and formal features of a literary work" (Farshidvard, 1999: 2/219). Mahjoub considers style as the expression of the writer's or poet's thought in his own special way (Mahjoub, n.d: 49). Shamisa considers three conditions of a special perspective, selection, and deviation from norms necessary for achieving style (Shamisa, 2001: 15). However, today there are different approaches to style that can be referred to for further understanding of stylistics (Fotouhi, 2012: 125-196). In any case, it must be acknowledged that what is important in the analysis of the style of a work is the formal and content analysis that encompasses the three linguistic, intellectual, and literary domains. These three domains can help us in determining the type of prose and its historical boundaries. 2. Methodology The method of collecting information in this study is library research and data extraction. This research was conducted using an analytical-descriptive method, and its statistical population includes the book "Noz'hat-ul-Oqul fi Latayef el-Fosool" and books on stylistics. 3. Discussion The present study aims to examine the stylistic features of the text in the three linguistic, intellectual, and literary domains using textual data, while enumerating the features of the handwritten version of "Noz'hat-ul-Oqul fi Latayef el-Fosool" by Abu Tahir Muhammad ibn Muhammad Yahya Aufi. Since the name of the writer and the date are not mentioned in the single manuscript of "Noz'hat-ul-Oqul" (Ayatollah Marashi Library No. 9084), this research aims to determine its historical period and type of prose based on stylistic features. The present research was conducted using a descriptive-analytical method, and based on the conducted analysis, the linguistic features of this text date back to the sixth to eighth centuries. Moreover, from a literary point of view, it is a technical prose that focuses mainly on description and literature. It has benefited from new literary industries based on technical prose, such as simile, metaphor, innovative themes, interpretive use of letters, and author's analogies. From an intellectual perspective, this work is included in texts that represent Islamic ethical concepts. The author's respect for Shia Imams is also evident in the text. However, based on the present research, there is doubt and skepticism about attributing the text "Noz'hat-ul-Oqul" to the author of "Jawame ul-Hikayat". The reasons for this suspicion are as follows:  Inconsistency in attributing the authors of these two works to Abdur Rahman Aufi In the twenty-fourth chapter of "Noz'hat-ul-Oqul fi Latayef el-Fosool", which is written about gratitude, the author speaks of Abdurrahman Afui, who is the great uncle of the author: "It has been narrated from Abdurrahman Auf-may God be pleased with him that he is the great uncle of the author of these chapters..." (Aufi, n.d: 110 a). The same phrase appears at the beginning of a story in "Jawame ul-Hikayat" in the fourteenth chapter of the second part, which is about gratitude, with the difference that instead of uncle, ancestor is mentioned: "It is reported that Abdul Rahman Auf - may God be pleased with him - who is the ancestor of the author of the book.." (Musafa, 2014: 367.  No reference to "Noz'hat-ul-Oqul" in other works of Aufi If we are based on Aq Qala's claim that "Noz'hat-ul-Oqul" is from the author of "Jawame ul-Hikayat", there are two possibilities for when this text was written. One is the same one given by Safari Aq Qala, which is based on the fact that this text was written before "Jawame ul-Hikayat": "The author of these lines thinks that Aufi wrote "Noz'hat-ul-Oqul" before "Jawame ul-Hikayat", and later, when he wanted to compose a huge text such as "Jawame ul-Hikayat", he wrote parts of "Noz'hat-ul-Oqul" is included in the text. The fact that confirms this point is that at the beginning of "Noz'hat-ul-Oqul", the author mentioned his two books named Ghoniyat el-Awsaf and Maniyat el-Wasaf, as well as Zubadat ol-Maali, and if he had written this work after his two voluminous and valuable works - "Lobab ol-Albab" and "Jawame ul-Hikayat", as a result, he should have mentioned those two writings in the preface of "Noz'hat-ul-Oqul". (Safari Aq Qala, 1391: 14). The opposite of this possibility can also be true. What can be the reason that the name of "Noz'hat-ul-Oqul" is not mentioned in the "Jawame ul-Hikayat" and "Lobab ol-Albab"?! If there was no reference to other works of Aufi in any of the mentioned texts, this concern would not have arisen in the minds of the writers. In the historical books, there is a mention of Lobab, Jawme and the translation of Faraj bad al-Shadat, but there is no mention of "Noz'hat-ul-Oqul". Can't this be a place of doubt?! The second possibility, which is not considered by Safari Agh Qala, is that he wrote "Noz'hat-ul-Oqul" after the "Jawame ul-Hikayat" and "Lobab ol-Albab". If so, one should ask oneself what is the reason for not mentioning this great work of his in the preface of "Noz'hat-ul-Oqul"? While in the preface of this book, the author of "Noz'hat-ul-Oqul" has even mentioned his booklet, but he has never mentioned the two great works of "Jawame ul-Hikayat" and "Lobab ol-Albab" (Aufi, n.d: 1a). It seems that this issue also creates doubt in identifying these two aufis as one.  Incompatibility of the style of the Jawame ul-Hikayat with Noz'hat-ul-Oqul In stylistics, Bahar has pointed out a key point in connection with the "Jawame ul-Hikayat". He believes that: "It is better to obtain the true style of Aufi from the "Lobab ol-Albab"; because it is not clear whether a story is written by him or it is directly quoted from a Persian book (Bahar, 2013: 3/38). According to Bahar's opinion, these anecdotes can be directly quoted from another Persian book. This case can seem reasonable to the owner of "Noz'hat-ul-Oqul". Based on this, can these similarities be a convincing and sufficient reason to recognize them as one? 4. Conclusion "Noz'hat-ul-Oqul" is a technical prose written by Abu Tahir Muhammad Aufi, in which its technicality is reduced in some parts of the text to match the narrative style. However, it cannot be denied that the majority of this text is technical. The stylistic features of the text and the use of poetry by poets before the seventh century place this text in a period before the seventh century. Linguistically, there are stylistic features in it that belong to texts from the sixth to eighth centuries. Some of these linguistic features include: the letter "ya" indicating continuity, omission of pronouns referring to verbs, writing "Ke" connects letters as "kei", special pronunciations and writings, neglected Persian and Arabic words. From an intellectual point of view, "Noz'hat-ul-Oqul" includes narratives with Islamic ethical content. Throughout these narratives, in addition to their content, important mystical figures such as Bayazid Bastami, Junaid Baghdadi, Mansur Hallaj, Rabia bint Qazdari are mentioned. Respect for Shia Imams is also seen in these narratives. From a literary point of view, it has extensively used various literary industries based on its stylistic features. These industries include: simile (in various forms), metaphor (in various forms), various types of allegory, various types of ambiguity, innovative thematic compositions, interpretive use of letters, and author's analogies. In the final part of this research, the authors conclude that the attribution of this work to Aufi (the owner of "Jawme ul-Hikayat") is doubtful. [ABSTRACT FROM AUTHOR]

1. Introduction The structure of sentences and the order of words are two representative factors of the syntactic style of an author which are highly useful in explaining his personal style. Understanding the personal style of each author can be very helpful for readers in understanding the themes of his/her texts, knowing the character of the author and identifying his/her personal characteristics. Ghaem Magham Farahani is one of the greatest writers of the Qajar period whose personal style distinguishes him from his contemporary writers. 2. Methodology Using the approach and theory of layer stylistics and the method of discourse analysis, the researchers have undertaken the study of syntactic level of the 45th letter in Ghaem Magham Farahani's Monasha'at. They have attempted to identify the connection between meaning and the syntactic level in this text, and to explain to the readers what the syntactic factors are in this letter and how the syntactic structure of the text helps its theme. 3. Discussion One of the most famous literary figures in Qajar period is Ghaem Magham Farahani, the Grand Vizier to Mohammad Shah Qajar. Thanks to his talent, artistry, and dedication, Ghaem Magham managed to write about the issues of his time in his Monsha'at with the use of a colloquial language and a literary texture which is more often than not compared with Sa'di's Gulistan, since like Sa'di's masterpiece, it is full of Arabic words, anecdotes, and proverbs. When these factors are combined with folklore literature, the result is a pleasant, attractive and dynamic prose. In a word, "Ghaem Magham is the Sa'di of his time" (Shamisa, 2014: 282). In Ghaem Magham's prose, one can distinguish three styles: simple, intermediate and complicated, which have been very common in the previous periods. The prose contains Quranic verses, religious fables and hadiths which are signs of prolixity in texts (Khatibi, 2007: 58). One can also find elements of conciseness in sentences and the avoidance of complexity which are manifestations of simple and straightforward style (Rastegar Fasaei, 2018: 243). However, the most frequent style used in his writings is the simple style which is a recreation of the ancient simple and straightforward prose (Rahimian, 2008: 12), since his texts are intended to be simple and devoid of complexities in style and meaning. It is the aim of stylistics to study the characteristics of texts with the attention to different linguistic periods, and then analyze these characteristics in relation to the authors who have used them in their texts. Accordingly, by analyzing the works of a writer or a period, researchers of stylistics can reveal many aspects about the texts, such as the perspective of the author, the social condition of the period, the discourse of the age, the orientation of the writer, creativities or imitations in the style of the writer, the author's ideology and the dominant ideology of the period. However, due to the high number of these stylistic characteristics in the texts, the researchers have divided them into 5 categories and study each category independently. These five levels are phonetic, lexical, syntactic, semantic and pragmatic levels. Each of these levels are again divided into several sublevels which eventually make up the meta-levels when combined with each other. Syntax is the study of the relationship between linguistic forms in sentences, structure, order, syntagmatic and paradigmatic levels. The analysis of the syntactic level makes the reader capable of discovering the relationship between the syntactic structure and the thematic structure of a text. Some of the issues discussed on this level are the structure of the sentences, the length of the sentences, the order of sentences, moods in adverbs, adjectives and verbs, the verb tenses, adjuncts, the use of Arabic words and expressions. The researchers have undertaken the analysis of these elements in letter number 45 of Monsha'at by Mirza Abol-Ghasem Farahani. 4. Conclusion The structure of sentences and clauses and the order of words in any text are representatives of the grammatical and syntactic style of that text which eventually lead the reader or the researcher of the linguistic behaviors to identifying the personal style of the writer. The analysis of the items under study showed that there is a relationship between the syntactic principles and the themes of the text. In this research, we studied the length of the sentences and analyzed the relationship between sentences from different perspectives. The findings showed that short sentences are used more than long sentences in this letter, which means that Ghaem Magham has used them for accelerating the expression of his thoughts. Short sentences are proper vehicles for transferring the purpose of the writer to the audience; however, whenever necessary, the writer has used longer sentences to explain and describe more. Therefore, the high frequency of short and concise sentences with independent thoughts in each sentence is indicative of the preference of meaning over verbosity in the mind of the writer and, as mentioned before, accelerates the expression of meaning. From among the four types of links in the sentences of this letter, the two types of equivalent and intertwined are more frequent than the other two, dependent and independent links. The use of these links brings more coherence and stronger relationship between the parts of the text and their meaning. The study of moods in this letter led to identifying Ghaem Magham's ideology and individual character. In this regard, the findings show that in verbs, the indicative mood are more frequently used than imperative and subjunctive moods. This delineates that the writer of the letter has intended to narrate the incidents and phenomena; therefore, it reveals Ghaem Magham's certainty in his text. The study of the mood in adverbs show his close relationship with the incidents; while the study of the mood in adjectives show the writer's tendency toward different factors and people which usually express his power and certainty. [ABSTRACT FROM AUTHOR]

1. Introduction Nasrullah Monshi's Kalila and Demneh is considered to be one of the trend-setting and influential works on Persian literature, especially Persian prose. The style of Nasrullah Monshi in the translation of this work has influenced later writers to follow and use his style in their writings (Daneshpazhooh, 2008;12). Ziya-al-Din Nakhshabi, a poet, mystic, and writer of the 8th century, is also among those who were influenced by Nasrullah Monshi. Just as the influence of Kalila and Demneh is evident on his Tootinameh, this influence can also be seen in Afsaneh Golriz. Afsaneh Golriz is a work in verse and prose, created under the influence of Kalila and Demneh, Maghamat Hariri, and Indian literature; it is written in artificial prose style; the content is Romantic and moral; it consists of fables and parables with the structure of a story within a story, accompanied by motifs of folk literature and the description of strange creatures such as demon, fairy, and monster. The bases for Indian stories are books such as Ramayana, Mahabharata and Suka Septati, which not only have they given their content to these stories, they have also transferred their own style of storytelling to these works (Madankan & Eliyasipour, 2009;139). The main purpose of these stories was entertainment and fun; for this reason, their appeal has been very important to readers. The events in these stories are very diverse and sometimes unreasonable and extraordinary to attract the attention of the reader and listener more (Taqavi, 1997; 57). 2. Methodology This article is a report of a theoretical research with a descriptiveanalytical method that with a stylistic approach and using the principles of structural stylistics and relying on written and library documents and sources, has investigated and analyzed the stylistic features of Ziya-al-Din Nakhshabi's Afsaneh Golriz at the linguistic level, in terms of phonetic, lexical and syntactic features. In this article, the linguistic features (phonetic, lexical, and syntactic) of the book have been examined with a stylistic approach. The authors seek answers to the following questions: What features does Afsaneh Golriz have at the linguistic level (phonetic, lexical and syntactic)? What results can be obtained by examining and analyzing the linguistic features of Afsaneh Golriz from the point of view of stylistics? 3. Discussion Stylistics uses the most comprehensive methods in examining texts; it means that it starts from the smallest language structures, namely sounds, and analyzes the vocabulary, types and quality of their use, interpretations and allusions, as well as the syntax and structure of sentences, rhetoric and the application of thought and in the layered branch of the artist's ideology. Finally, the artistic goals of the speaker from the totality of the structure of the work is realized (Mohammadi afshar & Shayanmehr, 2017; 262). In this article, due to the wide scope of stylistics, an attempt has been made to examine and analyze only the stylistic features of the work at the linguistic level in terms of phonetic, lexical and syntactic features. In Afsaneh Golriz substitution, deletion and addition have been used. Substitution has mostly been used in consonants. In this work, phonetic processes are not as abundant as the texts of previous centuries. deletion or reduction of phonemes also have been used in Afsaneh Golriz more. Nakhshabi has used different kinds of rhyme, mostly parallel rhyme. He has used internal rhyme, parallelism and leonine verse more. The multiplicity of parallelism and leonine verse has resulted in sentences having consecutive rhyme. Many kinds of puns have also been used in this work. Phonemes, repetition, antimetabole and additions have been employed to make speech musical. In the lexical layer, sensory or abstract words, common and proper nouns, archaism and word formation, coining, and markedness of words are evident. (Fotouhi, 2012; 251-264). Often, writers and poets use sensory words for description and mental words for narration (Foroozandeh & Banitalebi, 2015; 304). In the text of Afsaneh Golriz, the use of both objective and subjective words be can be seen. The number of archaic Arabic words is more in Afsaneh Golriz. These types of words have been used less or not at all in Persian prose and poetry, and there is no evidence for them in Dehkhoda's Dictionary as well. Arabic compounds have been used in the book, which are rare. There are words that are not recorded in dictionaries. Turkish and Indian words are also included. Sometimes the writer has used unusual spelling of a word. Synonym are also employed, the frequency of synonymous words is high. Sometimes the author has used word in a new meaning. Also, he has used the word in a new construction and has made new and meaningful compounds. These compounds are one of the blocking factors of the meaning of some sentences. Nakhshabi has used proper names in this book; he refers to the names of elders and prophets and has also creates new proper names. The abundance of short and interrupted sentences in speech causes light acceleration of the speed of thought and excitement, and, on the contrary, the abundance of long sentences creates a smooth and steady style; complex and compound sentences slow down the movement of style. Rapid and hastey styles are more emotional, while composed styles are more argumentative and logical (Fotouhi, 2012; 275). In Afsaneh Golriz, sentences are usually simple and short, and there are few compound sentences. The style of the book is exciting and emotional. The frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of speech is higher and the style is dynamic. The time factor is an important variable in the realism of the text and the author's way of looking at things. The present is more certain than the past and different constructions of the past also increase the distance between the speaker and his point of view in the same proportion as it distances from the present (Fotouhi, 2012; 291). In this book, in 200 simple and compound sentences analyzed, there were 127 (63%) simple verbs, 33 (16%) compound verbs, and 5 (2%) prefixed verbs. Also, 72 cases (36%) present verbs and 124 cases (62%) past and future verbs have been used; therefore, the distance between the speaker and the author's point of view is greater in this book. The modality is the speaker's decisiveness in expressing a proposition, which is implicitly shown by grammatical elements (Fotouhi, 2012; 285). In most of the verbs of the book, indicative modals have been used. The indicative modal shows the certainty of the speech. In indicative modal, the audience is confident about the speech. Adverb is a part of speech that the verb does not need and for this reason it can be omitted from the sentence (Vahidian Kamiyar, & Omrani, 2003; 104). The frequency of adverb types is higher in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows that Nakhshabi has used more adverbs. Among the types of adverbs, adverbial complements has been used more. In adverbial groups, the preposition has been omitted symmetrically based on the previous sentence; also, in the verb phrases, the preposition has been removed without symmetry. In Afsaneh Golriz, the verb has been removed based on verbal and semantic symmetry. 4. Conclusion In the phonetic layer, Nakhshabi has used various types of phonetic processes such as substitution, deletion and addition. Substitution in consonants and reduction of phonemes is more visible; however, phonetic processes are not as abundant as the texts of previous centuries. To increase the music, the writer has used all types of rhyme, mostly, parallel rhyme. In most of the sentences, there is internal rhyme, parallelism and leonine verse. He has used various types of puns, phonemes, repetition, and additions successive also. In the lexical layer, there are more sensory words and the style of the sensory book is clear and effective. A large number of abandoned Arabic word can be seen in Afsaneh Golriz, which are used less or not at all in Persian poetry and prose and there is no evidence for them in Dehkhoda's Dictionary. One of the reasons for using archaic words is superiority. A few Turkish and Indian word are used and the number of synonyms and compounds in the book is also significant. In the syntactic layer, there is usually simple and short sentences and few compound sentences. The style of the book is exciting and emotional, and the frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of the speech is high and the style has a dynamic rhythm. Simple verbs are used more, and compound and prefixed verbs have been used less. The tense of most verbs is past, by which the distance between the speaker and the author's point of view can be seen more clearly. Most of the verbs have been used in indicative modal, which shows the certainty of the speech. The frequency of adverb types is more in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows the abundance of adverbs. Among the types of adverbs, adverbial complements have been used more. Sometimes the verb has been omitted based on verbal and, more often, semantic symmetry. The preposition has sometimes been removed from the verb phrase based on symmetry in the previous sentence, or without symmetry. [ABSTRACT FROM AUTHOR]

This article analyses how rape narratives provide insights into the conceptualization of rape, trauma, abuse, and recovery of rape victims. Using William Labov's theoretical model of narrative structure analysis and Michael Halliday's transitivity system, the article examines Alice Sebold's rape narrative, The Lovely Bones (henceforth TLB). The analysis shows that the narrative structure of rape narratives helps understand deeper meanings and underpinned concepts of rape. Such meanings and concepts reveal the real horrors of rape, the gravity of the pain and suffering of rape victims, and the ways of their eventual recovery. Despite its limitations to only TLB, the article offers potential alternative approaches to examine rape narratives to uncover the deeper meanings and suggests new concepts of rape and sexual violence affecting the perspectives to be taken while dealing with rape in general and rape victims being women and children in particular. [ABSTRACT FROM AUTHOR]

Jami has composed Baharestan according to the characteristics of Golestan. Despite the greater tendency of both works to use the pole of "selection" instead of "combination", the problem arises that despite the fact that the two works that are close to each other in terms of style, what characteristics they have in terms of language and what are the linguistic similarities or differences between the two. In this research, the structure of the nominal group (NP) as one of the important structures of the language in a corpus taken from examples from Golestan and Baharestan has been investigated in a descriptive-analytical way. The findings of the research show that the frequency of NPs in Golestan is more than that of Baharestan. Also, the frequency and relative frequency of NPs without dependents is more in Golestan than that of Baharestan. Examining dependents in NPs shows two results that the constructions "head+noun", "head+adjective" and "head+noun group" are the dominant constructions of single dependent NPs and "relative clause" is as the dominant posterior dependent of NPs in Golestan and Baharestan. On the other hand, the constructions "quantifier + head", "head+ noun", "head + adjective" and "head + noun group" are the dominant constructions of single dependent NPs in Golestan and the constructions of "indefinite adjective + head", "head + noun", "head + adjective", "head + relative clause", "head + NP" and "head + prepositional group” are the dominant constructions in Baharestan. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Djoussour El-maarefa is the property of Association of Arab Universities 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 current study was aimed at exploring the Stylistics aspects of Robert Frost's poem "The Road Not Taken". Frost's selected poem has remained unexplored in terms of stylistics. The goals of the current study were to find out different poetic devices in the chosen poem and to analyse various linguistic levels in it. The data analysis for the current study used a qualitative approach. The researchers employed secondary sources for the data collecting. According to the results of the current study, the poet primarily used nouns, verbs, adjectives, and adverbs in the poem at the lexical level, the researchers looked at punctuation such full stops, commas, colons, semicolons, exclamation marks, apostrophes, dashes, question marks, and round brackets at the graph logical level. The researchers discovered prefixes, suffixes, and compounding at the morphological level, and at the phonological level, the researchers noticed many alliterations, assonance, and consonance in the poem. As far as poetic devices are concerned the researchers discovered different Metaphors, simile, symbolism, personification, and rhyme scheme. [ABSTRACT FROM AUTHOR]

Discourse analysis is considered as an instrument in analyzing elements which influence on our understanding of a particular text. Thus, discourse analysis is a highly coherent model in analyzing any spoken, like conversation, or written, like short story text. The aim of this study is to analyze the discourse analysis of a short story, to show how the discourse is initiated, developed and terminated. How the characters participate, interact and what are the relationships among them, how those characters are introduced in the story; how they interrupt, ask questions, and how turns are distributed. The study also aims at counting the number of topics and how they are interrelated. To know whether the sequence of events is logical or not, and to know the fillers (Ah, Oh) and their functions. Further, the study tries to analyze a short story fro the grammatical point of view for stylistic characterization relying on (A Practical English Grammar) (1986) (Fourth Edition) by A. J. Thomson and A. V. Martinet. Also, to determine the speech acts and their percentages. In order to achieve these aims, the study adopts the discourse analysis of a written text of a short story namely, The Man of the House, by analyzing and describing the different strategies like initiating, developing, and terminating. In this study, the model of discourse analysis is eclectic, comprising of three models; Hymes model (1972) who suggests the category of "speech event", and Sacks model (1968) which proposes interaction analysis based on four categories "conversation", "topic", "sequence", and "turn". Finally Sinclair-and Coulthard’s model (1975) of speech acts classification. The present study hypothesizes that discourse analysis is conducted depending on the text and context and how the two terms complete each other. The meaning of the text is completed by action. Analysis is to be achieved structurally and linguistically. It is also found that the discourse is composed of the cooperating of acts, interaction of the participants, sequence of events, topics, and other units. Throughout the analysis, it has been found that the participants perform different speech acts such as nomination which is the most frequently used. The frequency of nomination is 1156 which represents 52.3% of the total acts, reaction forms 555 which represents 25.1%. Evaluation records 198 which represents 8.9% of the total number of acts. There are other speech acts like comment, obligation, manner, and metastatement mentioned in the story. These acts vary according to their usages and functions, and percentages. In the analysis of speech events, the number of major events is 22 which forms (24.5%), while the number of minor events is 68 which forms (75.5%). It is worth mentioning that the participants in the aforementioned story are of different social classes. The participants sometimes address each other by using terms of address in order to show respect, especially some of them are of higher status. The story is narrated in the first person pronoun ( I ), which means that the writer talks about his personal life. Sullivan did most of the turns, (41) which represents 47.6% of the total turns as he is the protagonist and the most important participant in the story. Dooley had (14) turns so that she came second in order that represents 16.2%. The mother came third in rank and did (13) turns which represents 15.5%. Some of the participants participated in conversations more than others, Dooley and Sullivan for instance participate in 12 turns which represents 29.2%, while Minnie and Sullivan participate in 9 turns which forms 21.9%. Within the grammatical analysis, it is found that the number of content words are 4632 which represents 76.5%, the number of content words is 1420 which represents 23.4%, the number of definite articles is 290 which represents 73.9%, the number of indefinite articles is 102 which represents 26.0% of the total number of articles. The total number of nouns, such as countable nouns, singular nouns, feminine nouns, used by the story author is 2439. Discourse analysis shows when and where the turns and topics are shifted, and changed. The use of fillers, such as (Ah) and (Oh), is important and related to the use of discourse; (Ah) occurs 8 times that is 72.7%, whilst (Oh) occurs 3 times that is 27.2%. Finally, the linguistic analysis of literature has many implications and benefits for language teaching. [ABSTRACT FROM AUTHOR]

Copyright of Lemir is the property of Universitat de Valencia 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 Srbski Jezik is the property of University of Belgrade, Faculty of Philology 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 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.)

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.)

1. Introduction Manuscripts are the treasures left behind by the predecessors and they express their creators’ intellectual richness and insight. One of the manuscripts that has been examined and scientifically corrected for the first time is the manuscript of Dor al-Majales by Seif-al-Din Zafar bin Burhan Nobahari. This research aims to briefly introduce this manuscript and examine its linguistic properties and find out whether the catalogers’ assumption is correct or incorrect in assigning this work to the 7th century A.H. These questions are answered in this research: To the stylistics of which period does the prose of this work correspond? What new points does the knowledge of its linguistic properties reveal? Is it possible to gain more knowledge about the author and his intellectual and literary attitude by studying this work? This manuscript is mentioned only in an article entitled "Persian Works of Shiite Scholars" by Mohammad Baghestani (2004), published in the Journal of Pazhoohesh Va Hozeh, No. 23 and 24, pp. 367-367; the author has mentioned "Seif al-Din Zafar bin Burhan Nobahari" as a 10th century Shiite scholar and has introduced the book of "Dor al-Majales" as a "religious history". The incorrectness of this perception about the author’s lifetime and his religion was proven by comprehensively examining the manuscript of Dor al-Majales in this article. The structural features, as well as the similarities and differences of this work with other educational sources and religious chronicles of the time and before were revealed by correcting this work. 2. Methodology Seven copies of the manuscript were observed in the libraries of Iran by referring to the catalogers of Iran’s manuscripts Fankha and Dena. In this research, the manuscript preserved in the library of the Islamic Council was chosen as the base version. The upcoming research has been done using the content analysis method with library tools and descriptive-analytical method. In order to answer the article questions, the base version was first copied and compared with six other versions. Then, linguistic properties were extracted by studying the work and referring to stylistics books. 3. Discussion The author’s name was obtained from the preface of the manuscript of "Dor al-Majales", but there is no information about him as to his birthplace and place of residence, his age while creating the work, his profession, and the political situation of his era; there are no points that reveal such information in the text. According to the themes that the author chose for the chapters of his book, as well as the expression of his desire to attend religious meetings, it can be guessed that he himself was a member of Sufism and a devotee of that intellectual attitude. The manuscript of Dor al-Majales contains a short introduction in praise of God and of Prophet Muhammad (PBUH) and greetings to the four Caliphs; thirty-three chapters describe the virtues of some of the great prophets, the successors of the beloved Prophet of Islam, and some of his companions. The author has also magnified some of the Islamic manners and morals and has presented instructive stories of famous mystics. At the end of each chapter, there is a prayer that begins with the phrase "O God" and ends with the phrase "by His grace, bounty, and full generosity". In one or two lines, the author prays for himself and other believers, and sometimes emphasizes this prayer with an oath to the person’s honor in whose name the chapter id entitled. The writer’s name and the date of writing of the copy of Dor alMajales preserved in the library of the Islamic Council with the abbreviation of "S", No. (1/14248), are unknown; it is written in 146 pages and 15 lines with Nastaliq script. The titles and addresses are in cinnabar color and the typeface of the text is black. Seif al-Din Zafar has defined the text’s poems as verses or quatrains. Dor al-Majales has been lithographed in Lahore in the years of 1293 AH, 1321 AH, and 1900 AD. Seif al-Din Zafar recounts his sermons with anecdote, and since anecdotes are based on dialogue between characters, most of the speeches are inside the stories in this text. As most of the speech writings, the writing style of this manuscript is simple and straightforward, devoid of any artificiality; it is clear and expressive in terms of words, and it is short and concise in terms of sentences. Most of the available speech books are compiled in the lecture style and on the basis of questions and answers, but this method is not observed in Dor al-Majales. In this research, two categories of stylistics have been explored regarding manuscripts of Dor al-Majales. In examining and evaluating the stylistics of each work, its linguistic, literary and intellectual properties are discussed; it is tried to identify the text in terms of phonetic, lexical and syntactic levels as well. At the phonetic level, the text has been examined in terms of substitutes (Abdal), reduction, increase and decrease of phonemes. From lexical point of view, the author has used about twenty-five percent Arabic words and expressions, prayer sentences, parentheses, independent and subordinate (dependent) clauses. The influence of the style of Indian writers is evident in the careful observation in the writing of the manuscripts. Some current nouns, verbs and compounds with old forms and meanings can be seen in this work. This book has the characteristics of the Persian first period texts in most cases, in terms of the syntactic level. 4. Conclusion Dor al-Majales is one of the educational works of speech writing created by Seif al-Din Zafar bin Burhan Nobahari in thirty-three chapters. The themes of each chapter are educational, religious and historical. He likes a simple and straightforward style for his book in the way of general speech writings. The work can be assigned to the 7th century AH by examining the characteristics of calligraphy and style. The frequency of using Arabic words and combinations in this text is higher than in the previous periods. The influence of the thought and words related to Sufism is moderate in this work. The language features of this work are consistent and harmonious with texts such as Tarikh-e-Balami, Tarikh-e-Sistan, and Tarikh-eBeyhaqi, and reflecting on the stylistic features of Dor al-Majales shows that the author was influenced by works before him. The influence of the local language and the use of Indian vocabulary, and some stylistic characteristics of Indian writers is significant in this work. [ABSTRACT FROM AUTHOR]

This paper provides an empirical analysis of the novel Autumn by Scottish author Ali Smith, published in 2016. Our study seeks to contribute to the understanding of the way the author has chosen to represent the cultural and generational gaps on the background of Brexit in the UK in her novel, by providing an in-depth stylistic analysis dwelling on the author's linguistic choices. The applicative part of our study will provide a stylistic investigation of the selected literary text, bringing to the fore the main linguistic features and the symbols the author has chosen in order to depict the general state of the nation and to underline the divisions and the fractions born as a consequence of the 2016 referendum in the UK. This study addresses several issues related to the cultural and generational gaps already existing in the pre-Brexit period in the UK, which are reflected in Ali Smith's novel. Smith, who considers that all Brexit did was to reveal these gaps, underlines the fact that these misuderstandings and differences had already been there before the UK's decision to withdraw from the European bloc. The main objective of this paper is to provide a stylistic analysis with special focus on the symbols and symbolism identified in the selected literary text, be they people, marks, locations, or material objects, representing something beyond the literal meaning. Our analysis fosters a more in-depth understanding of the selected literary text, uncovering the hidden yet essential aspects of the novel. [ABSTRACT FROM AUTHOR]

Copyright of E-Pedagogium is the property of Palacky University in Olomouc 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 Sacrum et Decorum is the property of Wydawnictwo Uniwersytetu Rzeszowskiego 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 value of translation is underestimated in Singapore, resulting in the marginalization of translators and interpreters. This study adopts a stylistic approach to investigating the marginality of translation in the public services with a view to identifying issues that could have hindered the professionalization of translation and interpreting in Singapore. The data of this study is public discourse drawn from government websites pertaining to translation. The article first examines the employment practices of government agencies. The subsequent stylistic analysis, aided by corpus linguistic software, focuses on deviant linguistic features in vocabulary, syntax, figures of speech, context and cohesion. Theories of point of view, framing and cooperative principles in conversations are integrated into the critical interpretation of policymakers' word choices to understand their attitudes. The study reveals that linguistic repertoires in the public domain embrace abstractionism to reduce the salience of translation, perceived as the fringes of bilingualism. [ABSTRACT FROM AUTHOR]

Departing from a doctoral thesis that deals in detail with questions of stylistics at a theoretical and applied level (with concerns and examples of German language and literature), the current article combines the author’s concerns for this research area with her didactic work in the field of LSP. More precisely, the article focuses on how the metaphor is found in the teaching of specialized vocabulary and more specifically in authentic resources used in class. Considering the vocabulary as the backbone of the didactics of specialized languages (by the need for students to be initiated especially in the professional terminology in the studied language), the current article connects medical metaphor with a series of recent methodologies in the didactic sphere, announcing problems and proposing didactic solutions to make the LSP teaching-learning process more efficient. [ABSTRACT FROM AUTHOR]

Copyright of Contemporary Islamic Studiens Magazine 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 Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

In this article, we aim at proving that a certain discourse tradition, regarding the usage of expressive phraseologisms in prose, does not function properly when it comes to Liviu Rebreanu's two novels, namely Ion and Răscoala. Usually, as Cristinel Munteanu previously demonstrated, in the literary texts authored by writers such as Duiliu Zamfirescu, Mihail Sadoveanu, Fănuș Neagu etc., as a rule, one can identify the most expressive idioms and set phrases at the dialogued level, and not at the narrative level. It seems that in Liviu Rebreanu's case this discourse tradition functions the other way round. Our study, based on a comprehensive analysis of both aforementioned novels, will confirm such a hypothesis. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Investigación Lingüística is the property of Servicio de Publicaciones de la Universidad de Murcia 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 Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia 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 e-Scripta Romanica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

Our article aims at taking into consideration some aspects regarding the two concepts: identity and individuality, in the lyrical work of Traian Dorz - a contemporary Romanian poet, regrettably less studied, author of thousands mystical poems and of several volumes of mémoires and religious meditations. We will have in view certain aspects of the textual construction in a series of poems which have as message the relation - seen from a Christian point of view - between the meaning of ascension on the path of faith and the collapse of the human condition, between the ecstatic state and the limits of the telluric, between the sacred silence of the intimacy with God and the manifestation proper to the community spirit Beyond the simple presence of these significations, such poems concentrate, in their essence, theological truths and confessions of faith, highlighting the author's artistic belief, his conception about life and Divinity. [ABSTRACT FROM AUTHOR]

Copyright of Studii şi Cercetări de Onomastică şi Lexicologie is the property of University of Craiova, Faculty of Letters 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 Études de Stylistique Anglaise is the property of Societe de Stylistique Anglaise 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.)

In this note I focus on the legacy of Marcello Durante in the field of Comparative Philology. I showcase a selection of works and underscore their scientific impact in the fields of Indo-European Studies and Classics. [ABSTRACT FROM AUTHOR]

By far, human language is an effective means of communication, while linguistic choices assist in interpreting and understanding the meaning and message of the words used by the writers. In unison, linguistic deviation brings a telling diversity and evocative defamiliarisation to human interest. The present position paper attempts to analyze the semantic deviations in The Three Strangers, a short story by Thomas Hardy. Since figurative speech changes the meaning of an actual word. The present study will explain why writers opt for such deviations in writing. The data is examined through foregrounding theory, as Mukarovsky (1975) propounded. Thus, the present study aims to highlight and evaluate the semantic deviation (not confused with semantic evasion) in the selected sample. The study's findings and results reveal that the writer has employed the given stylistic technique in similes, metaphors, and personifications to help the reader have portrayed a vivid and vibrant visualization of the storyline. Further research on stylistic deviations such as phonetic (e.g., alliteration, rhyme), morphological (e.g., word formation), and grammatical (e.g., inversion, ellipsis) levels can be done.

Although we have access to a number of critical editions of Attār's works, there still remain some problematic and ambiguous points in his works that cannot be clarified merely based on the codicological details. To elucidate such matters, it is indispensable to analyze closely the different aspects of Attār's style based on the authentic documents to discover the general patterns. In this study, we deal with some of the symmetrical patterns recurring throughout all the layers (from the verses to the whole work) of Attār's original poems. These patterns are classified into four main groups including repetition, parallelism, congruency, and a particular recurrent structure. The study of these symmetrical patterns, combined with the other stylistic and codicological details, can help us with evaluating the authenticity of some of the confusing parts in Attār's works.

The diary of the Romanian king Carol II, Însemnări zilnice (Daily Notes), may seem sketchy, but it is loaded with significant deeds and details. Additionally, it is stylistically marked from the point of view of omissions, allusions, and dissimulations. The epoch was one of complex historical background and the author made use of various, even if diminished, rhetoric figures. Rhetoric, oratory, and stylistics play many roles in the autobiographical pact. Carol II made use of them în a scarce manner precisely with the purpose of increasing the authenticity and sincerity of his discourse. On the other hand, many entries in the diary are hasty, but they strive to glorify or justify the king and his entourage. We sooner than later identify a macrorhetoric intended to delineate, on the one hand, a sophistic royal potrait and to decipher and characterize people belonging to the high society, on the other hand, a strategy to tackle with a tumultuous decade.

Problem Definition: Stylistic terms are concepts that are constantly used in art discussions. The similarity and semantic uniformity of these concepts, as well as the lack of a clear demarcation between them, have paved the way for a kind of conceptual clutter and confusion. Therefore, determining the position of each of them and their relationship helps to read artistic texts and understand the position of works and artists.Objective: This study focuses on the concept of style, based on the relationship of other stylistic concepts with it, it has also sought to explain the semantic boundaries of stylistic concepts that are constantly confused with each other and are used interchangeably.Research Method: This research is library source-based, and the presentation method is descriptive and analytical. Using library resources, concepts similar to that of style were examined, and the relationship between them and the concept of style was determined.Results: This study concluded that concepts such as school, movement, artistic method, visual style, form, content, mode, technique, and genre are constantly misused instead of each other. Therefore, by explaining the exact meaning of each of these terms and examining their relationship with the concept of style, we conclude that style, genre, and mode are different artistic methods. Moreover, depending on its approach, each is influenced by components and sub-categories such as techniques, forms, content, etc. In addition, it was found that although school and movement have close conceptual boundaries, the main root of their difference is in their location.

Between both solutions to the crisis of positivism at the beginning of the 20th century, V. N. Voloshinov chose K. Vossler’s idealistic neophilology, entirely rejecting Saussurianism. Voloshinov transposed Vossler’s stylistic individual idealism into sociological concepts: “spirit” becomes “ideology”, “culture” becomes “superstructure”, and “idealistic neophilology” becomes “sociological poetics”. This terminological rearrangement has caused constant misunderstandings in the interpretation of the book “Marxism and the Philosophy of Language”. Indeed, here is a source of interesting fluctuations in the assessment of structuralism: the holistic approach, which requires starting from the Whole in order to arrive at the particular, and not the other way around, which is encountered at that time among many linguists in Russia, for example Peshkovsky, was often confused by critics with the structuralist principle. The article compares the French, generally “leftist”, mostly Marxist reception of V. N. Voloshinov’s book with the predominant role of the interindividual (personalist) moment, situational determinism and rejection of linguistics in the name of concrete pragmatics. That is why the main object of Voloshinov’s research is not the sentence, as it is for linguists, but the unrepeatable utterance, understandable only within the framework of a particular communication situation.

As a video-sharing site, YouTube has evolved into a new platform for audio-visual content creation. This condition enables not only celebrities and corporations (television media) to create content and become YouTubers but also the general public to do so. This article seeks to describe how YouTubers' vlog contents are stylized in Indonesia. As the defining elements, form, and style are transformed into data to identify the resulting stylistics. This descriptive qualitative research uses a subjective approach. The interpretation analysis was conducted based on the results to verbally illustrate the form and style elements of the vlog contents of the ten most subscribed Indonesian Youtuber channels in 2020. The findings indicate that the forms and styles of Indonesian YouTubers' vlog contents result in authentic, dynamic, spontaneous, and distinctive stylistics. These stylistics can finally create a sense of intimacy and engage the audience in the delivered content.

Introduction. The relevance of the article is determined by the need to identify and describe the stylistic characteristics of the texts of folklore genres, as well as revealing the composition of the identified expressive means and figurative techniques of the Mari language. With a modern interest to the spiritual heritage of nations, the development of philological sciences, an analysis of the stylistic characteristics of the texts of Mari fairy tales can provide a more complete picture of the language and style of Mari folklore, which is an integral part of the system of functional styles of the Mari language. The article presents new data on the systemic nature of stylistic devices in the texts of folk tales. Materials and Methods. The empirical material is presented by 133 Mari folk fairy tales borrowed from various sources and considered from the stylistics within the framework of the theory of systems using a combination of general scientific (analysis and synthesis) and specific stylistic (semantic-stylistic, stylistic interpretation of the text) methods. Results and Discussion. The identified and described set of expressive and figurative means testifies to the wide variety of the components of folklore functional style, which is part of the system of styles of the Mari language. The algorithm for studying expressive means and figurative techniques in the texts of fairy tales presented in the article makes it possible to use the theoretical basis and methodological base in the study of texts of other folklore genres that belong not only to the Mari linguistic culture. Conclusion. The relevance and significance of the research is determined by the tasks set in it resulting in definition of new data on the systemic nature and components of the style of folk fairy tales. The main part of the system of stylistic devices is made up of expressive techniques of the phonological and syntactic levels of texts, supplemented by techniques of the morphological and lexical levels.

In stylistics books (and some articles and margins of texts) usually, the linguistic coordinates of ancient Persian texts are discussed in a separate section. In this section, researchers have tried to explain the salient morphological, syntactic, and phonetic features of the texts. But in some cases, because the Pahlavi texts (Persian texts are their logical sequence) were careless, there have been errors in describing some of the coordinates, naming them, and mentioning the evidence, and most importantly, the background to many of these functions is not mentioned. In the present article, we have set the criteria and benchmark as stylistic functions that have been shown in Middle Persian (Pahlavi) texts. In this way, we have reviewed some of the coordinates of ancient Persian texts under two headings: 1. "properties that are incorrectly described" 2. "properties not addressed".

يتناول هذا البحث في ثناياه قصيدة " فكّر بغيرك" للشاعر الفلسطينيّ محمود درويش، وَفْق المنهج الأسلوبي _ الذي يعنى بالمستويات المختلفة للنص، وقد حللت الباحثة القصيدة تحليلًا دلاليًّا، ملتفتة إلى الجوانب النفسيّة تكئة للعبور إلى النص الشعري وكشف بنيته العميقة، وعليه ائتلف البحث من مقدّمة، وتمهيد، وثلاثة مطالب تناولت فيها الباحثة: التعريف بالشاعر وبديوانه المستل منه القصيدة ، ثم بيان مفهوم الأسلوبية والمستوى الدلالي في التحليل الأسلوبي، ومن ثمّ قرأت الباحثة القصيدة قراءة عبر الحقول الدلاليّة ، وبيّنت ما اختصّت به القصيدة من تراكيب وألفاظ دلاليّة وأكثر هذه الألفاظ تكرارًا وأهمّية لتكونَ محور القصيدة وموضوعها الرئيس، مبرزةً في تحليلها التناسق الفنّي والانسجام في البناء العام للقصيدة . ثم قفلت بحثها بخاتمة بيّنت فيها أهمّ النتائج التي توصّلت إليها في مطالب بحثها.3 This research deals with the poem "Think of Others" by the Palestinian poet Mahmoud Darwish, according to the stylistic approach - which is concerned with the different levels of the text. , a preface, and three demands in which the researcher dealt with: introducing the poet and his poetry from which the poem is derived, then explaining the concept of stylistics and the semantic level in stylistic analysis. To be the poem’s focus and main theme, highlighting in its analysis the artistic consistency and harmony in the general structure of the poem. Then she closed her research with a conclusion in which she indicated the most important results that she reached in the demands of her research.