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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.)

Metaphor and simile, two prevalent forms of figurative language widely employed in daily communication, serve as significant research subjects in linguistics. The Career of Metaphor Theory in cognitive linguistics posits that as conventionality increases, the cognitive mechanisms of metaphor comprehension shift from "comparison" to "categorization." In line with this notion, prior electrophysiological investigations have revealed that novel metaphors elicit a stronger N400 brain response compared to conventional metaphors. However, the observed N400 difference between conventional and novel metaphors may merely stem from the familiarity contrast between them, as conventional metaphors are typically more familiar than novel ones. To address this dichotomy, the present study not only compared the N400 responses between conventional and novel metaphors but also between conventional and novel similes. While conventional and novel similes differ in familiarity, similar to conventional and novel metaphors, both are processed via "comparison" mechanisms. The results revealed that novel metaphors elicited larger N400 amplitudes compared to conventional metaphors, aligning with previous findings. In contrast, no significant N400 differences were observed between conventional and novel similes, suggesting that familiarity disparity is unlikely to account for N400 distinctions. Our findings imply that conventional and novel metaphors undergo distinct cognitive processing mechanisms ("comparison" versus "categorization"), thereby providing further empirical validation for the Career of Metaphor Theory. [ABSTRACT FROM AUTHOR]

This study offers an example of 'standing theology' as distinguished from sitting theology and kneeling theology. This sermon was delivered in St Leonard's Church Deal, Kent for an Upper Deal Parish Service on Sunday 30 July 2023 when the Gospel reading was Matthew 13: 31–33, 44–52. [ABSTRACT FROM AUTHOR]

In this paper I consider ways in which seawater--both on its surface and in its depths--opens up alternative forms of thought and expression in Homer, especially with respect to the body. By tracking the relationship between body and simile as it is mediated by the surface of the sea, I argue that water emerges as an especially mobile and adaptive medium for expressing the transformation that takes place between self and simile in Homer. In the Iliad, similes are wellknown for bringing weather, waves, and other aspects of the natural environment into the poem, whereas in the Odyssey those aspects more often introduce similes of their own. I offer a reading of the shipwreck scene in Odyssey 5 to suggest that the body's struggle to stay afloat is matched there, on a formal level, by the role of waves in drawing simile and body to the sea's surface. I then address a different kind of figurative language (closer to metaphor and associated with grief) that takes place in the depths, through readings of scenes in Books 18 and 24 of the Iliad and Archilochus fragment 13. [ABSTRACT FROM AUTHOR]

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

Copyright of Al-Mishkat for Humanities & Social Studies / Al-Mis̆kāt li-l-ʿUlūm al-Insāniyyaẗ wa-al-IğtimāʿIyyaẗ is the property of World Islamic Sciences & Education University (WISE) 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 Eskişehir Osmangazi University Faculty of Theology is the property of Journal of Eskisehir Osmangazi University Faculty of Theology 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 Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Similes are generally used when something is wanted to be explained effectively by making it concrete. In a simile, the weak in nature is likened to the superior one. In the simile, it is necessary that both sides of the anology be present. In the absence of one of these, the analogy is called metaphor. The metaphor is more aesthetic form of the simile/anolgy. Besides, there are similarities between the art of personification (teşhis) and the talking (intak). In this work, we study the arts based on the simile in elegiac and encomium poems, written for Suleyman The Magnificient, of the great poet Bâkî, one of the great poets of the 16th century. We tried to classify these arts according to some measures and introduce them with appropriate examples. In the introduction of the study, basic information about simile was given. The contribution of analogy-based arts to meaning was evaluated. After the introduction, the types of similes were classified. After giving information about each type of simile, explanations were made on sample couplets. Other couplets related to the same type of simile were cited as reference. After the simile, explanations, sample couplets and references were given regarding the subject of metaphor. As a result, it was seen that Bâkî preferred eloquent similes in the examined couplets and conveyed these similes through Persian phrases. In addition, it was determined that he used compilation and investigative similes excessively. Bâkî especially used concretizations when making analogies. Elements related to the sense of vision are more dominant than other senses. Bâkî used celestial elements extensively in his embellishments. In metaphors, he generally used diagnosis. Arts based on analogy give important clues about a poet's poetry style. This study also provides data about the classical style, as it examines the poetry of Bâkî, one of the most important poets of the classical style, in terms of arts based on analogy. Therefore, this study serves as an example to compare the classical style with other styles of divan poetry. [ABSTRACT FROM AUTHOR]

Penelitian ini dilatarbelakangi oleh pentingnya penggunaan gaya bahasa simile dalam kumpulan puisi balada orang-orang senja Karya Sobirin Zaini. Tujuan dalam penelitian ini yaitu untuk mendeskripsikan, menganalisis dan menginterpretasikan puisi balada orang-orang senja karya Sobirin zaini. Metode dalam penelitian ini yaitu deskriptif dengan pendekatan kualitatif. Sumber data dalam penelitian ini yaitu kumpulan puisi balada orang-orang senja Karya Sobirin Zaini. Teknik pengumpulan data yang digunakan penelitian ini yaitu dengan menggunakan teknik hermeneutik terdiri dari membaca, mencatat, menyimpulkan. Dengan langkah-langkah analisis data sebagai berikut 1. Mengklasifikasikan data sesuai masalah penelitian, 2. Menganalisis data 3. Menginterpretasi hasil penelitian tentang gaya bahasa yang dikemukakan Henry Guntur Tarigan tahun (2013). Setelah dilakukan analisis data ditemukan hasil penelitian tentang gaya bahasa perumpamaan simile dalam kumpulan puisi balada orang-orang senja Karya Sobirin Zaini, Bahwa di dalam kumpulan puisi tergambar kualitas puisi dari aspek gaya bahasa simile dan ditemukan 18 data simile dalam 18 puisi pada Kumpulan Puisi Balada Orang-orang Senja karya Sobirin Zaini. Perumpamaan Simile yang dominan digunakan yaitu simile seperti. Perumpamaan simile yang paling sedikit digunakan yaitu sebagai dan laksana, kata perumpamaan yang tidak terpakai yaitu simile ibarat, bak, umpama, penaka, serupa.

A simile is a semantic-stylistic figure, very common in literary texts and authors tend to use it to give their text a new, broader, figurative meaning. In the category of simile, there exist simile phrases, that is, a special type of phraseological unit intended to create a more powerful artistic impression. Given the high frequency of use of these lexical elements in Ivo Andrić's literary works, to conclude their structure and use in Bosnian, we will analyze several phraseological units that contain similes, all taken from Andrić's novel Devil’s Yard. We consider it interesting to observe these lexical units contrastively, so in the Italian translation of Devil’s Yard (La Corte del Diavolo) done by Lionello Costantini, we will identify the Italian equivalents of original simile phrases and analyze their characteristics. With this contrastive analysis, we aim to offer an overview of the basic features of special lexical constructions which contain similes, and to make generalizations about the similarities and differences in their structure, meaning and use in the two language systems. The results of this study will also allow us to comment on the intensity of the author's creativity and the skill of the translator to recognize the semantic and stylistic value of these phraseological units and transfer them into the Italian language.

The article proposes that the final simile in the poem "The Scholarly-Gypsy" by Matthew Arnold referred to English poet Alfred Tennyson. Topics discussed include medical metaphor in the poem as criticism of Tennyson's elegy "In Memoriam," intellectual curiosity of the scholarly-gypsy versus Tennyson's intellectual throne, Arnold's diagnosis of modern life disease and parody of the content of "In Memoriam," references to merchants' bales in both poems, and epic heroism of the scholarly-gypsy.

The art of simile, one of the most important arts of rhetoric, is used to make something look like something else. With the use of this art, it is aimed to add value to the word, to glorify the like- to be liked. This art, the first examples of which have been seen in the Jahiliyyah period poems, reached its peak with the Qur'an in terms of literature and has been widely used in hadiths. This art, which was systematized and whose types were determined by Al-Mubarrad, has preserved its importance until today. In the introduction part of the study, the concept of simile art has been examined, the definition and elements of simile and its aims have been explained. In the other parts of the article, the types of simile have been discussed. In this context, the mental, emotional, curriculum, composition, and plurality of the simile of the musebbeh and the musebbeh bih and their variations, depending on whether they are mentioned in the sentence or not, or their displacement, have been explained in detail with examples from the Qur'an and hadiths. Also in the same section, it has been explained that simile has representational and non-representational varieties in terms of simile aspect, mursel and muekked in terms of simile preposition. According to the purpose of the art of simile; It has been seen that there are varieties such as makbul and merdud. [ABSTRACT FROM AUTHOR]

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 Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Simile is a straightforward method of creating imagery extensively discussed by rhetoricians. However, comparing something to itself is a rare form of simile in rhetoric and has been deemed unjustifiable by scholars. They argue that this simile lacks imaginative properties, requiring little effort for comprehension. Nevertheless, examples of self-comparison can be found in Persian literature, particularly in the works of poets, such as Attar, Nizami, Masoud Saad, Jamaluddin Esfahani, Molana, Zahoori Tarshizi, Akhwan Taalih, and Aminpour. Indian rhetoricians, including Mirza Khan Bin Fakhruddin Muhammad, Sirajuddin Ali Khan Arzoo, and Azad Belgrami, have provided detailed reflections on this simile. While simulating something to itself may not be entirely devoid of literary value, it can serve a creative purpose in certain contexts. In this descriptive-analytical article, we investigated the various dimensions of self-comparison. Initially, we reviewed the perspectives presented in different rhetorical books regarding this rhetorical technique and subsequently delved into its intricacies. Finally, we outlined the purposes behind employing this type of simile with a primary focus on poets and writers aiming to emphasize and express the perfection of Mamdouh's majesty. [ABSTRACT FROM AUTHOR]

Color and image, which provide the main part of the beauty of an artwork, are effective in conveying the concept to the audience; therefore, the analysis of its components can be considered an indicator of the poet's special use of language and the distinction of the literary type of each work. Of course, beauty here is not only the use of literary arts. Poetry can also be beautiful without them. Here, the poet works on strengthening other tools in his hand and compensates for the lack of poetic beauty. In this study, structural and aesthetic factors are discussed, which play a different and deeper role in distinguishing the literary genre. Therefore, it has been tried to avoid as much as possible the mention of descriptive concepts that have been mentioned many times in various literary works. The considered works are the story of Sheikh Sanaan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. The main achievement of this research is to clarify the fact that the rhetorical and linguistic elements in Ramzi's romantic works, on the one hand, help to strengthen their lyrical dimension, and on the other hand, they have a great effect on the formation and opening of the identity of Ramzi. [ABSTRACT FROM AUTHOR]

This paper engages with research on embodiment, cognition, and figurative meaning in cinema to develop a system for categorizing the cinematic cues that viewers use to gauge character affective experience. Many film theorists whose work is primarily focused on affective experience consider the relationship between the spectator and the character's facial and bodily expressions. However, films often convey the affective states of characters by integrating bodily expressions with cinematic techniques, such as lighting, framing, and editing. These cinematic techniques can provide insight into a character's affective states through their figurative associations with represented moods, feelings, and emotions. By exploring the metonymic, metaphoric, and similative properties of cinematic representations of affect, we can better understand how cinematic representations are understood by a community of viewers. Throughout this paper, I put forth the framework of "embodied affective cues" and identify behavioral, physical, and environmental cues to address how a character's affective experience is represented by cinematic cues external to their body. [ABSTRACT FROM AUTHOR]

Simile represents the intellectual and mental essence of poets and writers, enabling access to their works' hidden layers of imagination and familiarizing the reader with their personal beliefs, life experiences, and perspectives on society. Similes are often influenced by the central interests and perspectives of the poet or writer, reflecting the prevailing thoughts and dominant culture of society. Similes are shaped by the personal and individual worlds of the poet or writer, as well as by the culture and beliefs of the community, thereby being influenced by these factors, whether consciously or unconsciously. Among the figures of speech, simile has always been of particular interest to poets and writers. Houshang Moradi Kermani has also paid significant attention to similes. A simile is the most important and commonly used imaginative form in Moradi Kermani stories. In this descriptive-analytical research, simile, the elements of simile, the objectives of simile, and the role of simile in the stories of Houshang Moradi Kermani were examined. The research findings indicate that simile is used to enhance the narrative elements, such as atmosphere, characterization, tone, dialogue, and internalization of the theme. Similes are harmonious with the language and tone of the narrator and the story’s characters, with the similes used in the atmosphere of the story being more imaginative. The objectives of simile are primarily to express situation of the tenor, exaggeration, belittlement, and creating fantasy. [ABSTRACT FROM AUTHOR]

Elegy about Imam Hussain (AS) and Ashura poetry are very important in Arabic and Persian literature so much so that the poets have addressed its various aspects and the composers of T’aziyeh have dedicated the most impressive part of their poems to it. Focusing on the principle of coherence as the most important criterion of text formation, the present article tries to examine the coherence between the elements of the text by Mura'at al- Nazir. Seyyed Bahrul Uloom and Mir'aza have used this literary array a lot so that its abundant and appropriate use has made their poems coherent. This article, with a descriptive-analytical method, examines the coherence resulting from Mura'at al- Nazir in the poems of these two poets in a comparative way. In this way, firstly, the theoretical topics, the definition of coherence and compliance are presented based on library resources. This thesis continues to discuss Mura'at al-Nazir in Hosseini's elegies (a comparative study of Seyyed Bahrul Uloom and Mir 'aza's poems and at the end, it examines and analyzes the coherence of Mura'at al- Nazir by relying on the examples extracted from the poems. One of the achievements of the research is that both poets use Mura'at al-Nazir through combination with other figures of speech such as: simile, antonym, metaphor, and allusion for more harmony and proportion according to different themes. Both poets have a coherent text, but Mir'aza's poems, due to the fact that his audience are common people, have a sadder tone; also, his poems seem simpler and smoother. [ABSTRACT FROM AUTHOR]

Copyright of ABHATH is the property of ABHATH 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.)

Does the Sinitic literati tradition operate with real metaphor, or only with metonymy? Does Confucianism lack transcendence in the sense of (a set of) ideas that allow a distancing of self from world and society, beyond politically motivated reclusion, or is it entirely bound to the normative power of the factual? As a contribution to tackling these conjoined questions, this article discusses the use of metaphor in two long songs (gasa) by 16th century Korean literati who certainly self-identified as Confucians: Song Sun's "Myeonangjeongga" and Jeong Cheol's "Gwandong byeolgok." Through a study of figurative language in these two works, it is shown that true metaphoricity does take place, but more conspicuously and effectively at the level of extended metaphor than on the level of individual similes; and that a major effect of this metaphoricity is the creation of a sense of transcendence. By emphasizing the important place of the expression of transcendence as a liberating force in both poems, the paper makes an implicit argument concerning the religious dimension of Confucianism that an immanence-transcendence distinction, the code of religious language, is at work in Confucian texts, serving Confucian aims. [ABSTRACT FROM AUTHOR]

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

This article explores the use of rhetorical devices in the epic imagery of Yakutian epic poetry. The study focuses on the continuity of tropes such as epithet, hyperbole, simile, metaphor, and metonymy, drawing upon various recordings of Olonkho texts from different time periods. The main attention is given to tropes found in the earliest texts (1840-1860s), as this was a period of greatest diversity and variation in their usage. The author proposes a classification of tropes based on their period of usage and spread. It is noted that in the diachronic analysis, there is a demythologization of the image of the “milk lake” and an evolution of the artifact of the “bone bow”. The conclusion is drawn that by the mid-19th century, Yakutian epic art, with its already established regional traditions, possessed a highly developed arsenal of rhetorical devices for epic imagery. It is suggested that the peak of mutual influence among storytellers occurred during the heyday of gold mining in the Bodaiibo residence (1870-1900s), as many Olonkho performers have biographical data indicating their involvement in mining activities in Bodaiibo, where they would have encountered other prominent Olonkho performers. After this period, similarities in the use of tropes can be observed in Olonkho texts. The relevance of this research is driven by the increasing interest in contemporary Russian society towards the ethnocultural diversity and uniqueness of different peoples.

Yaghma Jandaghi is one of the most famous and prominent poets of the Qajar era who has written significant sonnets with moral and romantic content. Since the beginning of Persian poetry till now, rhetoric has always been taken into special consideration by poets, and one of the fundamental issues of rhetoric in any language is poetic imagination forms, including four general topics, namely simile, metaphor, irony, and metonymy, the thoughtful and appropriate use of which can add to the imaginative aspect as well as the richness of poems. Yaghmai Jandaghi's sonnets are highly important in terms of the inclusion of rhetoric, especially rhetoric and the use of poetic imagery. Yaghma’s sonnets contain moral and romantic themes, written in different meters and mainly in a style similar to that of Hafez’s poems. Since little attention has been paid to the issue of imagination forms in Yaghmai Jandaghi’s poems, in the present research, an attempt has been made to analyze the imagery techniques used in the sonnets of Yaghmai Jandaghi with an in-depth view and with respect to the poet's taste in using them as an aesthetic approach and expressive and artistic technique so that a manifestation of his poetic merits can be presented to the audience. Keywords: Yaghma Jandaghi, Sonnets, Simile, Metaphor, Irony and Metonymy. Introduction Rhetoric is one of the important techniques used by poets in order to add an imaginative aspect to their poetry, and most of them have tried to apply different categories of this artistic technique, especially simile and metaphor. Perhaps, it can be argued that the poets of the Qajar era, including Yaghmai Jandaghi, have created a special innovation from the aesthetic dimension using artistic techniques in poetry. This research attempts to evaluate Yaghmai Jandaghi's sonnets accurately from a rhetorical point of view, and then to discuss the imagination forms used in them, including similes, metaphors, irony, and metonymy so that at the end it would be possible to figure out his intended approach in using poetic imagination forms and provide their frequencies. Therefore, the current study seeks to provide an answer to the following research question: How has Yaghmai Jandaghi used imagination forms in his sonnets? Materials and Methods This research has been carried out using the descriptive-analytical method, examining the content of Yaghmay Jandaghi's sonnets and extracting the examples of imagination forms in them through a library approach. Research Findings Yaghmai Jandaghi's sonnets are considered to be a relatively rich work in terms of using imagination forms, and wherever the poet needed imagination forms to expand the content and also to make his audiences understand the topic under discussion, he used them very appropriately in the layers of his poems. The following table shows the frequency of imagination forms applied in Yaghmai Jandaghi's sonnets. Table 1. The Frequency of Imagination Forms in Yaghmai Jandaghi's Sonnets Title of imagination forms Frequency Percentage Sensible to sensible simile 68 5% Sensible to intellectual simile 14 1% Intellectual-to-intellectual simile - - Intellectual to sensible simile 12 1% Baligh (eloquent) simile 347 29% Tafzil (preference) simile 30 3% Tamsil (allegoric) simile 51 4% Mozmar (hidden) simile 100 7% Plural simile 7 0.08% Tasvieyh (equalization)simile - - Mafruq (subtrahend) 37 3.2% Malfouf (covered) simile 70 5% Conditional simile 14 1% Morakab (compound) simile 65 5% Mosarrahe Mojarrad (explicit singular) metaphor 24 2% Mosarrahe morashahe (descriptive explicit) simile 90 6.5% Motalaghe mosarrahe (descriptive separated ) metaphor 53 4.5% Dependent metaphor 1 - Makniyeh (implicit) metaphor Metaphoric case 110 7% Metonymy 57 4% Nominal allusion 23 2% Verbal allusion 118 9% Total sum of imagination forms in sonnets 1291 100% Discussion of Results and Conclusions Considering the results of this research, the following three conclusions have been made: Yaghmai Jandaghi's sonnets are among the most important parts of his collection due to the inclusion of linguistic issues, lexicology, grammar, rhetorical techniques, and imagination forms as they have the potential to be carefully analyzed by researchers and experts in each of these techniques, so that the unknown aspects of these valuable sonnets can be identified for those interested in literature. The most important imagination forms used in Yaghmai Jandaghi's sonnets are simile, metaphor, irony, and metonymy each of which has been used for specific purposes; for instance, the sensible simile has the greatest contribution to making the topic and content sensible. Due to the closeness of his style to the Indian style, it can be argued that the poet has made the most use of allegorical, implicit, and compound similes in order to make abstract and sensible concepts sensible for the audience and so that his poems could have a double effect on the audience. In Yaghma's poetry, explicit and implicit metaphors stand out in parallel in his poems. Regarding explicit metaphors, it was found that the tools of simile used in his poems mainly include the beloved’s parts of the body, such as their lips, mouth, eyes, and hair. In implicit metaphors, he has mainly given life to things such as death, the sky, the zephyr, and the inanimate phenomena of his surroundings and attributed human and living beings’ characteristics to them.

The article elaborates the role and function of conjunctions, disjunctions and prepositions in the formation of some rhetoric devices. Conjunctions such as 'neither....nor', 'either....or', 'or', 'and', 'no....or', 'like', 'as', as well as some prepositions are capable of creating a number of stylistic devices. Even the omissions of these conjunctions result in emergence of a new rhetoric device. Paradiatole, asyndeton, polysyndeton, meiosis, hyperbole, simile are produced as a result of usage of the afore-mentioned conjunctions, disjunctions and prepositions. It has been noted that excessive use of conjunction 'and' makes polysyndeton while normal usage of this conjunction is called "syndeton". However, the deliberate omission of any conjunctions is characterized as "asyndeton". Conjunctions as "like" and "as" are used to produce meiosis, hyperbole and simile. Excessive use of any conjunction leads to pleonasm which is the sign of hackneyed or trite language. The article revealed the difference between conjunctions and disjunctions. The author underlines that disjunctions should be categorized as a separate part of speech in grammar. This claim is one of the novelties of English grammar, as well. [ABSTRACT FROM AUTHOR]

Kur’ân-ı Kerim ve icâz konusu ile güçlü bağı bulunması nedeniyle Belâgatın üç ilmi, Müslüman âlimler tarafından geniş bir ilgi görmüştür. Çünkü âlimler Kur’ân’ın icâz yönlerinde ihtilaf etmelerine rağmen, her sûresinde açıkça görülen belâgat yönü üzerinde ise ittifak etmişler ve Arap kelâmından bu görüşü destekleyen belagat kurallarını çıkarmaya başlamışlardır. Böylece telif eserler çoğalmış; bunlardan bazıları için hüsn-ü kabul ve ününe dair bir şeyler yazılanlar vardır. Sözgelimi Abdülkâhir el-Cürcânî’nin iki kitabı, ardından Sekkâkî’nin Miftâhu’l-Ulûmu sonrasında ise Hatîb el-Kazvînî’nin Telhîsu’l-Miftah’ı ile başlayan silsile nihayetinde belâgât meselelerinin büyük çoğunluğunun Hatîb el-Kazvînî’nin “el-Îdâh fî Ulûmi’l-Belağa” kitabında kaleme aldıklarıyla istikrar bulmuştur. Bu kitap, selefin ilmini kapsaması nedeniyle ilim ehli arasında büyük bir nam kazanmış ve hükümleri belâgat ile uğraşanların zihinlerinde bedîhiyyat mertebesine geçmiştir. Araştırmamız, Muhammed bin Ali el-Cürcânî'nin (h. 729) "el-İşârât ve et-Tenbîhât fî İlmi’l-Belâgâ” isimli eserinde çağdaşı olan Hatîb el-Kazvînî’nin "el-Îdâh fî Ulûmi’l-Belâğa" adlı kitabında ele aldığı belagat konularının kritik incelemesini oluşturmaktadır. Araştırmanın önemi, ihtilaf ve tartışma konusu olmasına rağmen, uzun yıllar boyunca bedîhiyyât olarak kabul edilen belâğat konularını gün yüzüne çıkarmasındadır. Konuları kritik ve analiz yöntemi ile ele almış bulunmaktayız. Tarafların delillerini ortaya koymakta, bunları tartışmakta ve aralarında tercih yapmaya çalışmaktayız. Araştırma konusunun büyüklüğünü dikkate alarak sadece beyân ilmine giren meselelerle yetindik. Bu meseleleri gündeme getirmemize sevk eden, Muhammed el-Cürcâni'nin kitabı ve görüşleri, el-Kazvînî ile aynı dönemde yaşamasına ve onunla birçok belâğat konularında tartışmasına rağmen, statüsüne uygun ilgiye hâiz olmamasıdır. Bu durum bizi ilgili konulara ışık tutmaya ve belâğat dersi için zengin bir materyal olması için tekrar ortaya çıkarmaya sevk etmiştir. Cürcâni'nin Kazvînî’ye yönelik itirazları çeşitlilik arz etmektedir; bunlar bazen kuramsal meselelerle, bazen de getirdiği delillerle ilgilidir. Yalnız itirazların çoğu, Kur'an ve şiirsel delillerden yapılan çıkarımın doğruluğu ve belâgat meselesinin bunlara yönelik uygulama boyutu etrafında cereyan etmektedir. Örneğin “Vechü’ş-Şebeh’il-Hayâli” ve “et-Teşbîhü’l-Maklûb” meselesine yönelik Cürcâni'nin itirazı gibi. Ayrıca (Ad kavminde de ibretler vardır. Onların üzerine köklerini kurutan rüzgarı göndermiştik) ayet-i kerimesinde geçen istiâreye yönelik de Cürcâni'nin bir itirazı bulunmaktadır. Cürcânî'nin Kazvinî döneminden sonra belâgat ile ilgilenenlerce pek yankı bulmayan birçok belâgat meselesindeki eksik yönlere yönelik belâğatçıların dikkatini çekmeyi başardığı, önem ve nüfuz etkisi olan “el-Îdâh” adlı kitaba yönelik itirazlarının Arap belâgatının inşasının tamamlanmasına katkı sağlayan hakiki bir ek ve kritik gözden geçirme oluşturduğu gerçeği karşımıza çıkmaktadır. Cürcânî'nin Kazvini'nin hatasını bulduğu teşbih kısmındaki gözlemleri ve düzeltmelerinin çoğu, altı yerde odaklanmaktadır. Bu arada mecaz konusu üç itirazı, kinâye ise bir itirazı içermektedir. Cürcânî, Kazvînî’ye görüş itibarıyla muhalif olmasına rağmen, muhalifinin delillerini aktarırken bilimsel dürüstlük ahlakına sahiptir. Zira iktibaslarında herhangi bir tahrif veya değişiklikle karşılaşmadık. Cürcânî, "et-Teşbîhü’l-Maklûb", “Merâtibü’t-Teşbîh” konusu, vech-i şebehin teşbihin iki ana unsuruna dahil oluşu ve olmayışı gibi gündeme getirdiği konuların birçoğunda sağlam mantıklı, güçlü delil ve görüş sahibidir. Bu arada Cürcânî’nin çağdaşı Kazvînî’yi eleştirdiği başka belâğat konuları da bulunmakta olup iki muhalif tarafın burada görüşü zayıf olarak karşımıza çıkmaktadır. Çünkü bilimsel kritik ölçüsünde ikisinin delilleri sağlam değildir. Bu da bizi delil ve burhânın desteklediği başka bir görüşü benimsememize sevk etti. Örneğin “Vechü’ş-Şebeh’il-Hayâli”, “Murââtü’s-Sıfâtı’l-Muhtelifeti lil müşebbeh bih” ve (Ad milletinde de ibretler vardır. Onların üzerine köklerini kurutan rüzgarı göndermiştik) ayet-i kerimesinde geçen istiâre gibi.

Despite the recognised role of similes in cognitive and communicative processes, there is a limited understanding of their construction and use in specific contexts, such as online food reviews. The study aims to explore the use of the ‘like + gerund’ simile pattern within the Extrinsic Food-Related Frame (FrF) – comparisons with inedible objects – in online food reviews and to understand the cognitive mechanisms guiding this specific form of simile construction and interpretation. To that end, the study addresses three research questions. How do reviewers use ‘like + gerund’ similes within the Extrinsic FrF to express their perceptions and experiences? What cognitive mechanisms underpin this specific form of simile construction and interpretation? Do these hyperbolically contrastive similes function as a form of aggressive narrative? The study employed a Python-powered corpus analysis of the Amazon Fine Foods Reviews dataset, focusing on ‘like + gerund’ simile detection, refinement, and frame detection, followed by cognitive mechanism identification, allowing for a systematic exploration of the cognitive mechanisms behind simile construction within the Extrinsic FrF. Study findings suggest that reviewers often use these similes to express striking or unexpected comparisons with inedible objects, emphasising their perceptions and experiences in an engaging and memorable way. Further, the analysis identified several cognitive mechanisms underpinning this unique form of simile construction and interpretation, suggesting a complex interplay between language, cognition, and personal and cultural experiences. The study also found that these hyperbolically contrastive similes can potentially function as a form of aggressive narrative. Such linguistic aggression, however, is not viewed as necessarily harmful or negative, as it is often a tool used by reviewers to express their experiences more vividly and persuasively. Study results have exposed how figurative language, particularly similes, shape our cognitive and communicative processes, expanding our understanding of the interplay between language, cognition, and consumer behaviour in specific contexts. This has both theoretical implications for cognitive linguistics and metaphor theory, and practical implications for narrative construction in online reviews.

This study examines the sociopragmatics of animal and supernatural creatures’ names in Yemeni Arabic (YA) and their translation into English. The study aims to identify the most effective English translations of these metaphors by sending a questionnaire to 43 native English speakers (NESs), focusing on Target Language metaphors and similes (TL) and using Abdul-Raof’s (2006) framework to classify similes. The findings indicate that YA dialects use animal and supernatural creatures’ names to convey meanings, feelings, and intents, while NESs preferred to use detailed similes that incorporate both feature and element. Unlike YA, which accepts all three types of metaphor and simile to address humans using animal and supernatural creatures’ names, most NESs rejected the metaphor, which lacks simile. These findings suggest that animal and supernatural creature names are translated differently in the two languages and cultures, highlighting potential differences in cultural aspects. Generally, this study contributes to our understanding of the sociopragmatics of language use in different cultures and their impact on cross-cultural communication. The findings suggest the need for further research into the translation of animal and supernatural creatures’ names in different languages and cultures.

This article performs a psycho-rhetorical reading of the generalized theorization and specific application of simile in classical and early modern rhetorical treatises and in Shakespeare's similaically entitled play, As You Like It (1600), respectively. Shakespeare's play articulates multiple forms of gender and sexuality that are situated beyond the phallic norm inscribed into the privileged category of metaphor and trope; that is, cisgender heterosexuality. These forms include nonprocreative pleasure, lesbianism, homosexuality, incest, adultery, polyamory, pansexuality, drag and masquerade, and nonbinary gender, all of which are associated with the figure of simile. The similaically erotic, polymorphic language of Shakespeare's illustrative comedy transgresses the Law of the phallus, and fabricates alternative gradations of gender, sexuality, love, li(n)king, and desire. Consequently, repressive and reductive operations of ancient and early modern rhetorical guides constitutively fail in Shakespeare's play, and reaffirm the nonnormative forms of gender and sexuality that they aspire to censure and censor. [ABSTRACT FROM AUTHOR]

This paper offers a new reading of Heraclitus fragment B90 (Diels-Kranz). It argues that we can enrich our understanding of the fragment by reading it, not as a primitive analogy, but as a skillful simile grounded both in the poetic tradition and in the cultural context that would have conditioned its significance for Heraclitus and his audience. Read in this way, B90's evocation of a cosmos whose common measure parallels the common measure of the polis' marketplace is not simply a source of cosmological doctrine. It is also an epistemic challenge that threatens to undermine the very possibility of cosmology. [ABSTRACT FROM AUTHOR]

A wealth of research has been carried out on smartphone use in line with the revolutionary advancements in ICT technologies. However, employing an example of figurative language to describe smartphone use is not common in previous studies. This study was conducted to contribute to the literature in this regard. Therefore, 40 Foundation English students at a private university in Erbil, Iraq were chosen by systematic sampling method. The students took a survey, a questionnaire and an interview within 10 weeks. Quizizz software program was used to conduct the questionnaire and the survey. Subsequently, MAXQDA software program was used to transcribe and analyze the interview. Content analysis method was preferred to classify the themes and interpret accordingly. During the data collection process, students` favorite activities, daily or weekly usage and importance of smartphones were explored in detail. Students` simile examples were classified under 4 subheadings which were food and drink, electronic devices, stationery items and people. The findings revealed that social media platforms were the most popular pastimes; the amount of time on smartphone increased during the weekend; smartphone addiction level was noticeable. The findings of this study may have some implications on the problematic use of smartphones and its adverse effects on users` personal, social and professional lives.

Background & Statement of the problem: Semantic shift is characterized by detecting areas of creativity in textual construction, according to semantics that document the relationship between many links related to the context, such as the signifier and the signified, the meaning and the meaning of the meaning, and the meaning and its origin. A metaphorical shift has emerged in the collection of Ibn al-Abar, documenting the significance between the reasons associated with it that go back to To the addressee as the case may be, to the speaker as creativity, and to the context as speech, until it became a violation of the usual linguistic system, in the effect that gave poetry connotations that created for the recipient a language he was not familiar with before. Objectives: aimed interrogate the graphic arts that the poet Ibn al-Abar projected into the essence of compositions, and analyze aspects of arts similes and metaphors, effect of which was evident between the simile, and between the metaphor and the connotation that indicates it, and between the metaphor and the face of the resemblance, and monitoring the metaphorical and similar shifts in his collections. And the impact, and linking them to the meaning and idea of content of context. Methods: analytical approach that contributed to eliminating the shifting connotations between the terms . Results:The arts of eloquence crystallized. It constituted major introduction to phenomenon of displacement that seemed inherent with it, expressed metaphorical semantic shifts throughout poetry. was not merely description of appearances, but rather was considered veil that obscured what was hidden within its true decoration. Conclusions (Recommendations and contributions): Analyze the forms shift in meaning included in poetry collection, which led to a departure from the norm in poems, which contained within them shift from meaning, and from the intentionality of the discourse to generality. It left impression the recipient between the signifier and reference to signified. [ABSTRACT FROM AUTHOR]

This research study examines several literary methods in order to examine the complex interaction between aesthetics and language in literature. Language is a potent medium through which writers produce art and arouse emotions, not just a means of communication. This study tries to provide light on how literary elements like metaphor, simile, imagery, symbolism, and rhythm are applied in order to enhance the aesthetic experience of literary works. The research study also examines how language's rhythmic components - such as metre, rhyme, and repetition - affect our perception of beauty. It looks into how rhythm can add musicality to writing and poetry, increasing reader engagement and conjuring up particular feelings or ambiances. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla 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 three sciences of rhetoric have received wide attention from Muslim scholars due to their close connection with the Holy Qur’ān and its miraculousness. the scholars agreed that the rhetorical aspect is evident in every surah, and began to search in the speech of the Arabs, the rhetorical bases that support this opinion, so the books multiplied and the explanations spread, such as the books of Abdul-Qādir Al-Jurjānī, then As-Sakkākī's Miftāḥ al-‘Ulūm, then al-Khaṭīb al-Qazwīnī's Talkhīṣ al-Miftāḥ. Then most of the rhetorical issues settled upon what al-Khaṭīb al-Qazwīnī wrote in his book “al-’Īḍāḥ fī ‘Ulūm al-Balāghah”, This research constituted a critical study of the rhetorical issues that Muhammad bin Ali al-Jurjānī (729 AH) addressed in his book “al-Ishḍārāt wa at-Tanbīhāt fī ‘Ulūm al-Balāghah” on his contemporary, al-Khaṭīb al-Qazwīnī, in his book “al-’Īḍāḥ fī ‘Ulūm al-Balāghah”. The importance of the research lies in the fact that it reveals rhetorical issues that have been considered postulates for ages, although they were the subject of controversy and discussion. The researcher dealt with it with criticism and analysis, so he presented the evidences of the parties and discussed them, trying to make tarjīḥ (preponderance). Given the enormity of the subject of the research, it only discussed issues contained in the science of Bayān only to raise these issues is that the book of Muhammad al-Jurjānī and his opinions did not receive the attention worthy of his stature, although he lived in the same era with al-Qazwīnī and his struggle with him in many rhetorical issues. Which prompted the researcher to shed light on it to be a rich material for the rhetorical lesson. Al-Jurjānī's objections to Al-Qazwīnī varied. Sometimes it relates to theoretical issues and rules, and at other times to the evidence contained in Al-Qazwīnī’s book “Al-Īḍāḥ”; However, most of these objections were applied, revolving around the integrity of inference with Qur’ānic and poetic evidence, towards his objection to the issue of the imaginary face and the inverted analogy, as well as his objection to the metaphor contained in the Almighty's saying: “And in `A-ad also was a lesson, when We sent against them the barren wind.” Despite Al-Jurjānī’s disagreement with Al-Qazwīnī in his opinion, he was scientifically honest while conveying the opponent's evidence, as the researcher did not find any modification or change in his quotes. Al-Jurjānī had a strong argument and sound logical opinion in many of the issues he raised. It appeared to the researcher that the opinion of the two disputing parties was weak, which led him to adopt another opinion supported by evidence and proof, such as what was stated in the case of the as-shabah al-khayālī, and the issue of observing the different characteristics mushabbah bihī, and the metaphor contained in the Almighty’s saying: "And in `A-ad also was a lesson, when We sent against them the barren wind." [ABSTRACT FROM AUTHOR]

The main purpose of the current study is to investigate novice poets’ Ghazal poetry who have adopted the Isfahani-Hindi style. In particular, this study seeks to identify the most prominent elements of the Hindi style in the contemporary youth Ghazal through a descriptive-analytical method based on library research. The research questions are: Why has Ghazal that should be in line with Nimayi or the taste of the contemporary audience adopted the Hindi style in some trends? In this way, what elements of the Hindi-style tradition have been innovative? And which pattern or approach has been imitative in Ghazals? The results of this study show that in some Ghazals, superficial and blind modeling of the equation and theme of neo-composition or applying new but hasty and superficial allegory and simile has weakened the content and structure of the couplet. IntroductionDespite its inclination towards the basics of new and Nimayi poetry, the contemporary Ghazal has also revealed a great tendency towards the Hindi style. The purpose of this study is to examine the contemporary Ghazal in recent decades from the point of view of following the Isfahani-Hindi style. In particular, the study attempts to find which contemporary poets (mostly novice ones) have been able to reconnect the Ghazal with the Isfahani-Hindi style tradition. The other purpose is to investigate which styles of Isfahani-Hindi imaginary elements are more prevalent in new Ghazals, and whether every new and unprecedented theme is valuable in the body of verse and Ghazal. Some poets’ poetry, noting the Isfahan-Hindi style and following the theme creation confirms modelling. On the other hand, elements and foundations of the Safavid Ghazal are evident in the contemporary Ghazal too. As such, it is necessary to investigate imitation or innovation or both in this regard.MethodologyThe method of this paper is descriptive-analytical and with a limited statistical sample and a case study with library research. Research FindingsSome poets, imitating the features of allegory, exhortation, and theme creation in the Hindi style did not become captives of imitation and tried to recreate a new language and meaning following the Hindi style and the new Ghazal. This style is also manifested in the Moteahed Ghazal, and clear language signs can be seen in the example of specific words of the Hindi style in the new Ghazal:They rejected our kindness curvy mirrors from now on (Lotfi, 2016, p. 10)In the verses below, there is a hint along with the change in the story base and its elements. One of the important characteristics of the Hindi-style poetry is the proud tone and expression of the poet's contentment and restraint. This is seen in Saeb Tabrizi's and Bidel Dehlavi's Ghazals, and this tone creates a kind of exaggeration in the description of the poet's moods or the things described in his poetry.As rock by is measured by the mountain Pain also is measured by us as we are the yardstick (Lotfi, 2016, p. 30)Despite creating beautiful themes, contemporary lyricists sometimes create themes that are unable to convince the audience artistically. For example, the poet considers the devastating Bam earthquake (occurred on December 5, 2003) to be caused by his lover's sneeze. An earthquake in which thousands of people lost their lives and many suffered physical and mental injuries (see Askari, 2018, p. 14). In general, the effects and the main foundations of the Hindi-style Ghazal in the form and meaning of the Ghazal of the 1380s and 1390s AH can be traced. In such poems, what is detrimental is imitation without innovation in the processing of similes. Discussion of Results and ConclusionsNovice poets’ Ghazal, influenced by the Hindi style, is mostly associated with vision and innovation. As far as thematic creation and design of new and detailed themes is concerned, poets have tried to pay attention to the language and atmosphere. In the simile and allegory part, new but superficial and simple similes are noticeable. As for the "hint", which is the most prominent method of imitating the Hindi style, the work of young poets is based on looking at the story elements and the details of the subject from a different angle. This is associated with a kind of norm avoidance that is often transformative in the emotion and content of the hints. In the sonnets of some young poets, the tone mixed with pride and contempt and expression in the Hindi style is clearly visible. In the current study, the weakness of similes and superficial and unflattering similes of sonnet verses have been examined. It is concluded that structure-oriented imitation based on allegory and thematization and trying to express new themes become the weakness of language and theme to the degree that sometimes thematizations cause the weakness of authorship and the weakness of the linguistic and content elements of sonnets by such poets.

This study aims to show how Hawthorne uses characterization techniques and figurative languages such as metaphor and simile to describe the mental state of Arthur Dimmesdale and Hester Prynne's characters. This study uses a qualitative method with a psychological approach. The theory used in this research is the theory of life instinct and death instinct by Sigmund Freud. This study analyzes the style of language and characterizations to reveal the characters' mental conditions and inner conflict. The results of this study show that Hawthorne uses characterization techniques and figurative language to tell the conflict between the life and death instinct in Arthur Dimmesdale and Hester Prynne. Arthur Dimmesdale represents human weakness and hypocrisy that results in feelings of regret, inner conflict, and suffering that lead to the instinct of death. At the same time, the character Hester is described as having a strong and patient nature that leads to the instinct of life. This study concludes that Hawthorne uses characterization techniques and figurative language such as metaphor and simile to show the characters, Dimmesdale and Hester. They experience inner conflicts and life and death instincts.

Previous research has identified a type of nonstandard simile in which the ground is a non-salient feature of the source term (for example, the nonstandard hard as a lamp as opposed to the standard hard as a rock), and found this type to be common in poetry and much rarer in non-poetic discourse. Since these nonstandard similes entail a fundamental semantic breach and violation of a basic convention of the simile, how can their existence be explained? Here we claim that it is the poetic context itself, the poem within which these similes appear, which is the key to explaining their existence and their unique advantage. Through a series of poetic examples, including poems by Plath, Lee, and Rukeyser, we show how the semantic difficulty of the nonstandard simile serves the poem and fulfils various functions within it. [ABSTRACT FROM AUTHOR]

Despite the recognised role of similes in cognitive and communicative processes, there is a limited understanding of their construction and use in specific contexts, such as online food reviews. The study aims to explore the use of the ‘like + gerund’ simile pattern within the Extrinsic Food-Related Frame (FrF) – comparisons with inedible objects – in online food reviews and to understand the cognitive mechanisms guiding this specific form of simile construction and interpretation. To that end, the study addresses three research questions. How do reviewers use ‘like + gerund’ similes within the Extrinsic FrF to express their perceptions and experiences? What cognitive mechanisms underpin this specific form of simile construction and interpretation? Do these hyperbolically contrastive similes function as a form of aggressive narrative? The study employed a Python-powered corpus analysis of the Amazon Fine Foods Reviews dataset, focusing on ‘like + gerund’ simile detection, refinement, and frame detection, followed by cognitive mechanism identification, allowing for a systematic exploration of the cognitive mechanisms behind simile construction within the Extrinsic FrF. Study findings suggest that reviewers often use these similes to express striking or unexpected comparisons with inedible objects, emphasising their perceptions and experiences in an engaging and memorable way. Further, the analysis identified several cognitive mechanisms underpinning this unique form of simile construction and interpretation, suggesting a complex interplay between language, cognition, and personal and cultural experiences. The study also found that these hyperbolically contrastive similes can potentially function as a form of aggressive narrative. Such linguistic aggression, however, is not viewed as necessarily harmful or negative, as it is often a tool used by reviewers to express their experiences more vividly and persuasively. Study results have exposed how figurative language, particularly similes, shape our cognitive and communicative processes, expanding our understanding of the interplay between language, cognition, and consumer behaviour in specific contexts. This has both theoretical implications for cognitive linguistics and metaphor theory, and practical implications for narrative construction in online reviews. [ABSTRACT FROM AUTHOR]

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

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

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.)