The present paper talks about balance between two poems which are the Nouniya for Ibn Zaidoun and Andalusia for Ahmed Shawqi. This study is not claimed to be the first of its kind but we found some artistic aspects that deserve to stop at them. This what makes the two the focus of critics and scholars as well in addition to their emphasis on the unity of the human feelings and immortality through the poet's ability to employ those feelings and emotions in a way that it can express the human soul in every time and place. That is what we believe Ibn Zaidoun had reached in his poem. Therefore, the present paper has come into the conclusion that Ibn Zaydoon's Nouniya is better than Shawqi's Andalusia due to what we got through reading and analyzing an aspect of their poems. This preference can be summed up as follows:
- Ibn Zaidoun adopted the style of irony and holding diodes which is based on antimony and contrast between opposite sides in the poem (perhaps the expression through paradox is connected to the argumentative situation, time and the conflict through which it falls into)1. Therefore, the language of Ibn Zaidoun relying on irony in manifesting the psychological meaning in a complete picture is coupled a lot with the human action whichdraws its continuation through time and this has given it human dimensions and a continuous argumentation.
- The language of Ibn Zaidoun is a coherent language that expresses the nature of his era as he managed to adapt it to fit the emotional purposes that he wanted to express. Shawqi on the other hand used expressions that belonged to the pre-Islamic era. This forced us to go back to the dictionary to find out the meanings , i. e. , he did not bend the words to acquire new connotations so as to contribute to the development of the situation and content, a point to be considered for the poet.
- The poem of Ibn Zaidoun represented an integrated thematic unit from the beginning till the end, while Shawqi's poem was divided into sections, starting with parking on the ruins, descriptive parts, monologues, and conclusion.
The symbol in Ibn Zaidoun's poem acquired human dimensions, while Shawqi was characterized by locality in that the Sphinx symbolism was associated with Egypt. This is not compared to the beloved that expresses comprehensive human positions in every time and place. The symbol of the beloved for Ibn Zaidoun includes the entire poem while is confined to limited lines for Shawqi.
The group for the multiplication of closets is the set G|N of all closets of N in G, if G is a group and N is a normal subgroup of G. The term “G by N factor group” describes this set. In the quotient group G|N, N is the identity element. In this paper, we procure K(SL(2,125)) and K(SL(2,3125)) from the character table of rational representations for each group.
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Iraq faces significant economic challenges, owing in part to its reliance on oil revenue and the country's overburdened public sector. The supremacy of State-Owned Enterprises (SOEs), obstructive rules, a lack of access to finance, a shortage of skilled labor, and inadequate infrastructure all impede private sector growth. This research relied mainly on information from global development organizations, most markedly the World Bank, as well as policy documents, and it discovered a scarcity of pertinent educational writings. The following are the key findings of this research: Recent economic growth has not resulted in poverty reduction; the stretched history of war and insecurity in Iraq has hampered progress and development; the private se
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A factor group is a mathematical group obtained by aggregating similar elements of a larger group using an equivalence relation that preserves some of the group structure. In this paper, the factor groups K(SL(2,121)) and K(SL(2,169)) computed for each group from the character table of rational representations.
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Theatrical production mechanisms were determined according to the extents of the theatrical performance, the directing plan, and the ideas that the theatrical performance seeks to convey to the audience. Accordingly, theatrical production mechanisms differ between one theatrical performance and another according to the requirements of each of them and the surrounding circumstances that accompany the production of theatrical performance, and in order to search for production mechanisms and their repercussions on the show. Theatrical The current research was divided into four chapters, namely (Chapter One - Methodology), which identified the research problem in the following question: What are the production mechanisms and their implicatio
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