The term "semantic exchange" was popularized in Arabic, especially in derivatives, grammatical structures, etc., but it came under different names or terms, including deviation, deviation, transition, displacement, tooth breach, replacement, attention, etc. In the rooting of this term through its study in language and terminology, and among linguists, grammar and others, we have reached a number of results, including The existence of a harmonization between the lexical and idiomatic meaning of the term exchange, and the phenomenon of semantic exchange is a form of expansion in language, and that the first language scientists They had turned to this And studied under Cairo for different names, as noted above.

“La Femme: une présence invincible”
L'univers du dramaturge est très féminisé puisque Giraudoux donne volontiers la parole aux femmes, dont il fait des personnages de premier plan.
En fait la femme semble seule capable de sauver l'humanité par une mission plus générale qui la rend garante d'une équilibre de l'univers, pour préserver son amour, et son époux, la femme giralducienne peut sauvegarder la dignité d'une people, elle refuse sa ville soit fondée sur les mensonges, les hypocrisies.
Pourtant, la femme peut aussi être la cause de la guerre, elle est responsable des destructions aux mondes.
A Considérer l'ensemble des personnages crées par Giraudoux est frappé par l'omniprésence des femmes, par la gra

Este breve estudio expone algunas erratas gramaticales y semánticas en dos versiones árabes de la novela El amor en los tiempos de cólera del gran novelista colombiano Gabriel García Márquez, las dos versiones árabes son: la versión 1 (por el traductor Saleh Almani) y la versión 2 (por el traductor Ahmed Magdi). Identifica estas erratas explicando cada caso de ambas versiones. Además determinar la versión más aceptable y satisfactoria

Abstract

     This paper tackles the theme of alienation as being a concurrent state of human being from birth to death; so extensive is the description of this state by writers. Alienation has been a product of their hard experiences and miserable lives. One such writer is Jean-Marie Gustave le Clézio who was so perfect in describing alienation in his works. Upon so many occasions, he imagined one or more of his characters as living in a chaotic world and so lived safely in alienation. The novel "Le Procès-Verbal" is one of the most important of his works. This paper deals with e the narrative structure of novel while shedding light on the hero's alienation: its essence and causes.

It is no secret to anyone that the Koran is a speech to people, and how it is not a speech to humans is a home to them and suitable for their understandings, and the people of rhetoric mean great care has never been before in the division of the Koranic discourse, followed by linguists and science of the Koran. After reading the letter, I followed it in the Holy Quran, taking advantage of what was written by former writers in language and interpretation. Thanks to God, I have done what I wanted. Perhaps one of the most important reasons that led me to write my research and optional for this topic; is related to the Koran. So I started to develop the research plan, and divided it as I saw it, I started to pave the way, and then divided it

Criticism is inherently impolite and a face-threatening act generally leading to conflicts among interlocutors. It is equally challenging for both native and non-native speakers, and needs pre-planning before performing it. The current research examines the production of non-institutional criticism by Iraqi EFL university learners and American native speakers. More specifically, it explores to what extent Iraqi EFL learners and American native speakers vary in (i) performing criticism, (ii) mitigating criticism, and (iii) their pragmatic choices according to the contextual variables of power and distance. To collect data, a discourse-completion task was used to elicit written data from 20 Iraqi EFL learners and 20 American native speaker

Dans le romantisme et ses textes, il est important de mentionner qu'il n'existe qu'un seul thème romantique qui est l'amour, mais assez pour avoir fait du XIXème siècle, une révolution du texte romantique. L'amour consiste à la réduction de l'univers, à un seul être, puis la dilatation de ce seul être, voilà l'amour. cet amour passionnel n'est qu'un arrangement froid et réfléchi excluant d'emblée l'exaltation des sentiments. Néanmoins, cet amour passionnel peut être brutal. quant à la mort, dans le drame romantique, l'amour et la mort sont liés. Beaucoup d'histoires d'amour finissent le plus souvent par un suicide passionnel : le romantique cherche à l'atteindre par l'amour un sentiment sanctifié, et divinisé ; mais c

       The present study discusses the significant role of the historical memory in all the Spanish society aspects of life. When a novelist takes the role and puts on the mask of one of the novel’s protagonists or hidden characters, his memory of the events becomes the keywords of accessing the close-knit fabric of society and sheds lights on deteriorating social conceptions in  a backwards social reality that rejects all new progressive ideas and  modernity. Through concentrating on the society flawing aspects and employing everything of his stored memory, the author uses sarcasm to criticize and change such old deteriorating reality conceptions.   

   &nbs

            El color es uno de los elementos novelísticos que ayudan los autores para desarrollar las acciones y llevarlas al desenlace adecuado. Y Blasco Ibáñez depende al color para pintar las escenas artísticas dentro sus novelas, especialmente, sus novelas que pertenecen al siglo de naturaleza. Él conocido con la abundancia de los colores para describir el ambiente y los personajes, como indica el autor catedrático José A. Balseiro:

  "su pluma no supo__ como el pincel de los primitivos__ del matiz logrado a toques mínimos, pacientes. ¿No era, a caso, coterráneo de Joaquín Sorolla, en cuya paleta mediterránea celebrábase, día tras día, el milagro del f

Etude de I' espace dans un extrait de Les sequestres d' Altona de Jean