Abstract:
Taghlib tribe had an important part in the history of the first century of
hijra. She managed to get the best social, economic and political basis in the
Arab- Islamic state. In this basis Taghlib was the best Dhimies in the Islamic
state. This tribe refused to be among the people of the book, and to be from
the people of dhima. That tribe refused to pay the Jizya and Khraj, but
accepted to pay double Sadaqa in stead of Jizya and Khraj, so in that case
many Muslims become angry.
Although their Christianity was naïve and simple, Taghlib hold it until the
end of the third century A.H. Taghlib did so because her people wanted to
keep their good relation with the Byzantine. Taghlib thought that the
Christianity was a good way to protect their independence and the unity of
their existence. The Christianity differentiates them from the other Arab tribes
in the Arabian Peninsula, and the people of the book.
The prophet treated them with a good policy so did the rightly guided
caliphs, Omar wrote a good peace treaty for them. In this peace treaty he
recognized their religion and personality, so did Othman and Ali.
Taghlib entered Avery hard wars with the Qaisit Arab - tribes in the Jaziraalfuratiya.
These wars were for economics, politics and socialist reasons.
Taghlib had got the help of her Islamic branches in athirbegan, kufa and
Basra. This means that the tribal solidarity was joining the Muslims Arab tribes
with the Christian Arab- tribes.
The theatrical text is a literary genre is written to be represented on a stage. Present difficulties in translation because include elements paralinguistic, historical, social, cultural, etc. The drama contains dialect, slang, and jargon elements. Here the translator must decide in favor of a re-creation of such elements with dialects, slang, and jargon in the receiving.
The main objective of this study presents a descriptive about the translation for the theater and the main problems in translation theatrical texts. Try to reach some conclusions about the following questions: What requires theatrical translation? and What is the perfect formation of the translator of theater texts?. The first part is an
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