My research tagged [the lights of the statement in the first part of the Koran] came to show that the dear book was developed according to a precise linguistic system is not increased by a word or letter or movement - Aldmh and Kira and the hole - and does not lack anything of it except with the wisdom required by the meanings of the Koranic text or Sura generally . The Koran does not come falsehood from his hands or from behind it is infallible and preserved; because it was revealed by the sage Hamid Hamid ﭽﮗ ﮘ ﮙ ﮚ ﮛ ﮜ ﮝ ﮞ ﭼ [stone]. The Qur'an is safe from any verbal or moral dominance and dominates all the heavenly books and exists at any time and place that speaks the truth ﭽ ﯛ ﯜ ﯝ ﯞ ﯟ ﯹ ﯺﭼ [The cave].
The research was also able to answer questions that concern the mind of Koran readers in the field of language and statement. We have endeavored to show a section of the linguistic miracles in this part of the Koran, which are the arts of Quranic expression and the science of meanings such as manifestation or destruction, omission or proof, submission or delay, brief or redundancy, repetition, affirmation or negation. It was also a response to some of the haters and prejudices against Islam and his family who claim that the Koran is not infallible from error and slippage.
دور المتعين الرمزي في الثقافات
خصوصية التراضي في عقود الاستهلاك
النظام السياسي في تركيا وايران
In conclusion, I should mention that a lot of Alabaltrathih disappeared and no longer practiced in the present invention of alternatives to it like a game Almsra practiced by children for many generations by Almsra wooden, replaced Almsra-mail, or game Aledo.
لا شك أن الموسيقى هي أقدر الفنون على خدمة الإنسان، وهي أرقى أنواع منشطات الحياة والصحة النفسية والعضوية، فالصحة النفسية والعضوية هي تناسق الشيء مع كل شيء الخلية مع الخلايا، والروح مع الأرواح، والإنسان مع الكون، كما تتناسق النغمة مع النغمات، والآلة مع الآلات .
Ser y Estar
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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