The eloquence assemblage, as it is appeared in this research, is the most prominent terms that
accompany the art. It includes the whole artworkand it does not stop at the borders of the
construction, but also extends to the material presented in this or that work. It means the
discovery of all that essential in the material presented and it is far away from what is
accidental and fleeting. Moreover, it is the type of pressure of the poetic status and the
familiarity with the material flowing subconsciously. It means that the clever poet masters his
language alongside with his discernment and intelligence framed by fast-witted. The semantic
assemblage within the technical construction means focusing on what embodies t

موازين النقد في الشعر الفارسي

After this trip in the poetry of irony fields, which  restricted to the second Abbasid poetry .it is necessary to mention the most notable results that the research reached

Censure in poetry is a pattern of poetic construction, in which the poet evokes a voice other than his own voice or creates out of his own self another self and engages with him in dialogue in the traditional artistic style whose origin remains unknown. Example of the same may be found in the classical Arabic poets’ stopping over the ruins, crying over separation and departure and speaking with stones and andirons; all in the traditional technical mould. Censure confronting the poet usually emanates from the women as blaming, censure and cursing is closer to woman’s hearts than to the man’ hearts. Censure revolves around some social issues, such as the habit of over drinking wine and extravagant generosity taking risks, traveling,

Masnavi has considered one of the famous mold in Persian literature , who usually used Narrative , explanation and detailing long novels , for the double presented in the ancient Arabic literature as well . Did Masnavi template by Iraniens , or they used the same mold that the Arab termed it (double) . To answer this question , this essay will present samples of the term (doubles)in Arabic poetry with ancient Masnavies in Persian poetry .                

In this paper three techniques for image compression are implemented. The proposed techniques consist of three dimension (3-D) two level discrete wavelet transform (DWT), 3-D two level discrete multi-wavelet transform (DMWT) and 3-D two level hybrid (wavelet-multiwavelet transform) technique. Daubechies and Haar are used in discrete wavelet transform and Critically Sampled preprocessing is used in discrete multi-wavelet transform. The aim is to maintain to increase the compression ratio (CR) with respect to increase the level of the transformation in case of 3-D transformation, so, the compression ratio is measured for each level. To get a good compression, the image data properties, were measured, such as, image entropy (He), percent root-

The theory of probabilistic programming  may be conceived in several different ways. As a method of programming it analyses the implications of probabilistic variations in the parameter space of linear or nonlinear programming model. The generating mechanism of such probabilistic variations in the economic models may be due to incomplete information about changes in demand, pro­duction and technology, specification errors about the econometric relations presumed for different economic agents, uncertainty of various sorts and the consequences of imperfect aggregation or disaggregating of economic variables. In this Research we discuss the probabilistic programming problem when the coefficient b_i is random variable

This paper deals with the restrictive/nonrestrictive relative clauses in German and Arabic. I will, first of all, be concerned with some theories that have been provided to define the restrictive and the nonrestrictive relative clauses, particularly with the phonetic hypothesis. It will be, then, shown that the phonetic aspect is unable to give clear answers in this respect. The best way to determine restrictivity in both languages is, I think, by implementing of semantic indicators.

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This research seeks to show the state of the sad female self in Iraqi women's poetry, reveal its psychological potential within the text, analyze the phenomenon of sadness and explain its presence in poetic texts, show the influences of social life, the turmoil that was the main resource for the crisis of the creative woman's self and how to confront it,  explain the motives and reasons why the creative woman wrote about the sadness of herself through techniques and methods unique to her