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En este trabajo se analiza el comportamiento lingüístico femenino en cartas amatorias de los siglos XVII y XVIII firmadas por mujeres. Estos textos se contrastan con otros masculinos de la misma época y pertenecientes a la misma tradición discursiva. Con el fin de contemplar todos aquellos datos necesarios para alcanzar conclusiones fiables, se contextualiza a la mujer como redactora de cartas, y especialmente de epístolas de amor, y se localiza en la retórica este molde discursivo. De este modo se llegan a discriminar los rasgos preferentes que dividen la lengua masculina y femenina, atendiendo a las diferentes partes del discurso (encabezamiento y salutación, exordio, peroratio y despedida), y se determina la influencia de factores de covariación (sociocultural, discursivo), que confluyen en el reparto entre el papel social tradicionalmente asignado a hombres y mujeres y en una concepción diferente de una misma manifestación de discurso, que no presenta variaciones significativas en el eje cronológico de las dos centurias consideradas.
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El Renacimiento trajo consigo multitud de reformas inspiradas por el Humanismo. Entre ellas, el sustancial cambio en una preceptiva del arte que abandona progresivamente el estricto dictamen alegórico y moralista de la estética cristiana medieval para adentrarse en el territorio inexplorado de las nuevas doctrinas poetológicas y retóricas, merced a la lectura renacentista de los filósofos y gramáticos grecolatinos. Se configura así una primeriza teoría del arte moderno sobre una serie de tópicos humanísticos de viejo cuño y raigambre antigua. Uno de los lugares comunes más destacados a este respecto fue el tópico horaciano ut pictura poesis que inspiró, entre los poetas y artistas del Renacimiento y Barroco, una preceptiva común en torno a la mímesis, el decoro, los medios de expresión y los modos imitativos. No fueron los principales maestros españoles ajenos a esta fiebre de hermanar sistemáticamente, durante el Siglo de Oro, las artes más allá de sus posibilidades y límites. De ahí que en esta propuesta se explore la huella dejada por la preceptiva ut pictura poesis como doctrina poética en la España de los Austrias, con objeto de ampliar nuestro conocimiento acerca de los albores de la teoría del arte en la Edad Moderna.
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En este artículo resumimos en qué consiste la presencia de la Literatura Española del Barroco en las Letras y la Cultura Serbias. Mencionamos a los “tres grandes” que han dejado la huella más profunda (Cervantes, Lope y Calderón) y trazamos una lista de sus obras traducidas, adaptadas, estudiadas y/o representadas en los escenarios serbios. También nos referimos a la influencia ejercida por estos autores en nuestra Literatura desde el principio de la recepción (siglo XVIII) hasta nuestros días (el Quijote ante todo, en la narrativa, en la literatura infantil, en la lengua y la cultura en general). Demostramos que las comedias de Lope y de Calderón tienen una historia de estrenos en nuestro país que dura casi 150 años. Don Quijote, Don Juan y Segismundo se han convertido en mito y ya forman parte de la cultura serbia.
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This article explores Tomás Luis de Victoria’s views on the art of music, its role in human spiritual development, the moral responsibility of a composer, as well as his own personal choice in the profession declared in the preface to the collection of liturgical works (Cantica B. Virginis vulgo Magnificat, 1581) published in Rome. Victoria’s beliefs are discussed in the context of the Renaissance culture with particular attention given to their correlation with the humanistic opinions on man’s self-improvement and the liberal arts’ role in the process. Particular attention is given to the influence of Victoria’s ethical position on his practice as a composer, namely, his decision to dedicate his talent to church genres exclusively. Additionally, the paper focuses on Victoria’s method of using rhetorical techniques in his motet Pueri hebraeorum in order to enhance an intellectual and emotional impact of his works on listeners.
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This study is part of an ambitious project that tends to raise awareness of the reality of teaching the Arabic language to non-native speakers in light of the boom brought about by applied linguistics in the field of language teaching and learning, especially with regard to employing the products of the technological revolution in ensuring the efficiency of acquiring foreign languages. The study moves along two parallel tracks that constitute its goal, and at the same time determine the procedural lines on which it will be based, the first track aims to approach the reality of learning Arabic via the Internet, and the second track seeks to contribute to reshaping this reality, while the research effort in the first part focuses on practice Analytical description of previous experiences, it turns in the second part to the analysis of an applied experiment. This study explores some of the challenges / problems / reasons surrounding the process of designing educational materials dedicated to self-learning Arabic, presenting the most prominent of these challenges, and turns in the context to some experiences, as well as a specific model based on providing visual educational materials for self learners, explaining the pedagogical guidelines that Founded it, and the structural structure that was formed across it.
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Nubi is an Arabic-lexifier creole, spoken in Kenya and Uganda. The paper looks at the African component of Nubi in Cook’s (1905) vocabulary. This consists of loanwords from and idiomatic calques after its substrate and adstrate languages. In a number of cases multiple etymologies have to be proposed for these loanwords, i.e., the exact donor language cannot be identified. It is shown that some idiomatic calques may reflect prior pidginization whereas others may be areal features. Reference is also made to Juba Arabic, a pidgin-creole spoken in South Sudan which is closely related to Nubi.
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Comme la variation linguistique est un phénomène commun pour toutes les langues on suppose qu’elle pourrait affecter même une langue qui fonctionne comme variété standard. La situation linguistique de la langue arabe est caractérisée par la diglossie, un phénomène qui se manifeste par l’existence, en même temps, d’une variété standard utilisée pour des fonctions écrites et orales à caractère formel et des variétés locales, les dialectes. La variété standard que nous souhaitons prendre en onsidération est l’arabe moderne standard et notre hypothèse est que celle-ci n’est pas la même partout, qu’elle varie d’un pays à l’autre ou d’une région à l’autre surtout en ce qui concerne le lexique. Si, par exemple, l’arabe standard d’Égypte diffère de celui du Maroc on considère que les variétés locales, les dialectes ont un rôle dans ce processus. Dans sa qualité de variété standard, l’arabe moderne standard est très bien normé et l’un de ses lieux de manifestations le plus représentatif est la presse écrite. De plus, comme de nos jours chaque pays détient et produit sa propre presse écrite, c’est, peut-être, le meilleur lieu pour observer comment les dialectes peuvent influencer l’arabe standard. En même temps, on connaît le fait que la communication réelle entre individus prend souvent place dans un arabe intermédiaire, une combinaison entre le dialecte spécifique de chaque personne et l’arabe standard. Ainsi, on a pu observer le développement d’un autre niveau d’arabe, un arabe propre aux échanges formels qui se manifeste surtout à l’oral. Il s’agit de l’arabe éduqué standard dont Mitchell affirmait qu’il pourrait fonctionner comme une koiné, avec le rôle d’aider tous les arabes à communiquer. Alors, si la variation existe dans l’arabe standard et si les dialectes ont une influence importante dans ce phénomène, on pourrait supposer qu’on observe le développement de plusieurs arabes éduqués locaux ou régionaux qui seraient un mélange entre les arabes dialectaux spécifiques pour chaque région et l’arabe moderne standard.
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Italian libraries and museums house a large number of Arab and Islamic manuscripts, but only a few of them have Ibāḍī collections. The central municipal library Biblioteca Sormani, located in Milan, retains a group of Ibāḍī Islam manuscripts, known as Griffini. I have selected, among the others, a poem written by ‘Alī b. al-Ḥāǧǧ Ibrāhīm Muḥammad al-Nalūtī, whose script I have studied, focusing on the vocalization. I have analyzed each verse, deciphering as much as possible and providing a commentary. This poem is composed of thirty-eight verses, mostly about ḥamāsah (war poetry) and madīḥ (praise) and is written in semi-classical Arabic. The introductory verse is composed in al-raǧaz metre: mustafʿilun mustafʿilun mustafʿilun.
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The present paper seeks to provide an insight into the usage of the Arabic language in contemporary humorous poetry, by assessing the extent to which the terms, structures and expressions occurring therein are close to or far from formal Arabic, and by studying the interaction of such a variation with the levels of poetic speech that can be identified within this genre, which is known for blending, in fluctuating proportions and different circumstances, elements of colloquial Arabic or borrowings from other languages in texts that can otherwise be written in accordance with the norms of classical Arabic. These phenomena and their impact on the language of contemporary poetry have been investigated in connection with the works of a number of prominent authors of humorous poetry from several Arab countries, such as: Abd al-Hamid al-Deeb, Hassan Jad, Hussein Shafiq, Hafez Ibrahim, Mahmoud Ghanim, Bayram al-Tunisi, Muhammad al-Asmar, and Ali al-Jundi, Ahmed Matar, Ahmed Rafiq, Ibrahim Tuqan, Yasser Qatamesh, Mustafa Rajab, and others. The type of poetic discourse known as “dreaming poetry”, which expresses people’s pains and grievances in a funny and sarcastic manner, criticizing some social and political situations in a special, distinctive language, is yet another aspect that was not lost in this research.
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The paper presents different opinions regarding the reflection of diglossia in the Egyptian literary production. There are arguments for and against writing in colloquial Arabic and writers like Naǧīb Maḥfūẓand Ṭāhā Ḥusayn stand among the purists, while other intellectuals support the idea that the dialect be proclaimed an official language. Salāma Mūsā argues that literature should be written in a language that aims to be understood by a large public in order to ensure the progress of the society. He goes so far as to say that fuṣḥā (that is, what in the West would be called Standard Arabic) is too complex lexically and syntactically and its old canons make inefficient the delivery of the message. However, the process of writing in one of the Egyptian spoken varieties of Arabic has become a common practice and is a key factor in creating an authentic image of the society. This paper focuses on Khaled al-Khamissi’s collection of 58 short stories Taxi and explores the main challenges faced in the process of writing in a language that has circulated orally for centuries.
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The study of the ways and forms of functioning of the Sharia terminology in the Family Law texts of such Arab states as Morocco, Syria and Kuwait plays a pivotal role in researches of the lexical structure of the Arabic language of law, especially its Sharia segment. There is no doubt that studying the lexical design of the texts of the Arab Family Law influenced by Islamic law in various degrees, as well as, generally, the work with any texts of the Arab Sharia-originated Family Law, in particular, its lexico-stylistic analysis and translation, requires deep knowledge of the sublanguage of the Sharia and understanding not only the meanings of its conceptual apparatus, but also the semantic and notional connections between the terminological elements, which form the terminological system of Sharia law. The present study aims to develop more accurate and effective mechanisms for semantic and functional-stylistic analysis of certain lexical units of a terminological nature, which frequently and versatilely appear in the texts of the Family Law of Morocco, Syria and Kuwait.
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Conditional clauses (CCs), which specify hypotheses regarding something that could have taken place or will take place, consist of a protasis (condition) and an apodosis (governor) (Arabic: šarṭ/jawāb).Different types of CC are recognized cross-linguistically along a logical continuum from real to impossible conditions. In Modern Standard Arabic (MSA) and Arabic dialects, different CCs are distinguished by conditional markers and verbal patterns. Distinctive strategies characterize each variety. The use of CCs from local dialectal types in high-standard spoken and written Arabic is therefore striking, yet frequent, alongside standard forms. I analyze dialectal Muṯallaṯ, Northern Galilean, and Galilean Bedouin CCs and their use inacademic language. Six elderly speakers for each traditional variety constituted the control groups. For each variety, I selected highly educated women/men, bilingual in their dialect/MSA and educated in the humanities/sciences: six senior academic staff members over age fifty-five and six university students up to age thirty-five. Following Grigore (2005a; b), the CC corpus for the present study is yielded by both spontaneous interactions among members of the same dialectal variety and age group and controlled individual speech production. Different dialectal conditional systems have emerged from this analysis. Traditional dialectal systems show a distribution of verbal patterns and conditional markers similar to those in Damascene Arabic (Jalonen 2017). Nonetheless, they express two real subtypes (‘more possible’, ‘less possible’) and two irreal subtypes (hypothetical, counterfactual), similarly to Baghdadi Arabic (Grigore 2005a; b). Each traditional conditional system expresses the four semantic categories through different morpho-syntactical means. Dialectal structures persist in the conceptual background of educated speakers, producing different perceptions of the MSA conditional system. The pluricentricity of Arabic and fleeting boundaries between ‘norm’ and‘ spoken-word’ are reaffirmed, which is not surprising in a dialectal area with substantiated ancestral traditions of linguistic independence from the models of the Arabian Peninsula.
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This study investigates the vocabulary and semantics of political, social and cultural articles collected from two news sources: BBC Arabic, a prestigious news portal in Modern Standard Arabic by the British Broadcasting Corporation targeting Arab speakers world-wide, and Al-'arabu l-yawma, a Jordanian independent daily newspaper published in Modern Standard Arabic, whose target audience is rather local. The purpose of the study is to contrast and compare the extent to which – if any – elements of vernacular Arabic have percolated up to the assumed stable linguistic code of Modern Standard Arabic. The study also contrasts and compares the use of Modern Standard Arabic versus vernacular elements with respect to the type of topic debated, whether political, social or cultural, with political articles being more likely to display less vernacular elements and the cultural articles to display more. The study also looks at the possible shift in the semantics of lexemes from their consecrated use in Modern Standard Arabic to their use in vernacular Arabic.
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Discussion and research about the communicative approach have mostly concerned the spoken dimension. It is true that communication itself aims at both informing and persuading, where persuasion –underpinned by ideologies – equals propaganda, and propaganda persuasive campaigns may also take place in writings like the ones of jihadist groups. Such propaganda assigns the utmost care to effectiveness, and precise styles are adopted in short posts or messages too. In the past (Labov 1972, Weinreich 1953) discourse studies and stylistic variations were mostly related to the spoken dimension of languages, compared to the standard one, and recently both written hybrid manifestations and media Arabic have been investigated (Eid 2007). I now suggest to consider jihadist posts, where an over-simplified written style is showed and communication is mediated by computers (CMC). Linguistics motivates stylistic variations by the speaker’s attitude (and not the writer’s one!). However, the recent proliferation of easy-to-access media outlets calls for some remarks in the field of MSA writing practices, which affect the stylistic level and trigger discourse variations. May the jihadist propaganda style contribute to the elaboration of a new written code, at least in media Arabic, distinguished by a general simplification of grammar categories, linguistic structures, and lexical oppositions? The selection of posts I provide exemplifies the generalization of easy-to-apply rules, syntactic-semantic functions, and repetitive word order or chunks. In conclusion, hypotheses for typification, enregisterment and the birth of anew genre are suggested for final discussion.
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Like in other languages, Arabic distinguishes between conditional sentences on the one hand, represented by the operators of supposition ʾiḏā, ʾin and law applied to a clause, and indefinite conditional sentences on the other, represented by the nouns man (« whoever »), mā (« whatever »), matā (« whenever »),ʾayna, ʾayna-mā (« wherever »), mahmā (« whatever »), etc. The vast majority of recent grammars of Contemporary Written Arabic, according to Classical Arabic grammar treatises, present the syntax of these indefinite conditional sentences as equivalent to that of the ʾin conditional structures in Classical Arabic, thatis to say either ʾin faʿala … faʿala or ʾin yafʿal … yafʿal. But a detour by the contemporary Arab press shows many other realities. This study exhibits and analyzes this great syntactic diversity that affects not only the apodosis but also the protasis of these conditional sentences as well as it shows an innovation: the temporal deneutralization within the protasis of faʿala which can then be interpreted as a formal and semantic past, following the fact that yafʿalu and sa-yafʿalu can be used in it as present and future.
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Conflicts contribute to an increased interest in languages (Van Deusen-Shull 2003: 214–215); this has been reflected in the learning and teaching of Arabic in the United States in particular, and in other countries since the 9/11 attacks (Alosh 2005: 115; Allen 2007; Dahbi 2004; Sehlaoui 2008: 281–283). As a report by the British Council had predicted through four different indicators, the need for Arabic as a second language (L2)arose due to cultural, educational, and diplomatic reasons (Tinsley & Board 2013: 15). If definitions and concepts are common in the process of acquiring and learning L2, regardless of the identity of the target language, they should become a common starting point among those working in the field (Gass & Selinker2008; Van Patten & Benati 2010).The specificity of the Arabic language in this field calls for bridging the gaps between these concepts, and in some cases expanding them (Hussein Ali 2006; Ibrahim & Allam 2006: 437–46), even though contemporary Arabic suffers from a chronic shortage of linguistic terminology and an over all instability (al-Sarāqbī 2008; Naǧāt 2016). In recent years, there has been a growing interest in heritage language learning. Some consider those who have learned to read Arabic for the purpose of reciting the Qur’an (Qara’a learners) to be part of that category, while others consider them to be part of the second language acquisition(SLA) group. This paper defines this group as Qara’a and attempts to classify it by identifying its characteristics, whether linguistic, pedagogical, or psychological. Finally, the paper tries to address the group’s pedagogical and educational needs and attitudes.
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Arabic has both a syntactic and a morphological inchoatives. We will focus in this article on the morphological inchoativity. More specifically, the morpho-syntactic structure of inchoative verbs can hold two kinds of inchoative morphology. We will argue here that the alternation of these two morphologies on the verb is not at random, or accidental, as was always assumed before, but is linked to the aspectual semantic of the verbal root. We will show first the limits of a morpho-phonological analysis to explain this variation of the two inchoative morphemes, and we will argue afterwards that this variation is a consequence of the aspectual semantic of the verbal root.
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The present work aims at exposing the patterns of language behavior and bringing to light the way the bilingual Turks of Dobrudja insert words, phrases and sentences from Romanian into everyday conversations in Turkish, using both redundant and complementary code-switching, a linguistic phenomenon which has attracted increasing attention. In order to demonstrate this, I made individual and group recordings in the autumn of 2018 with several interlocutors who live in Constanța, Cernavodă and Făurei (the Turkish names of these localities are Köstence, Boǧaz-Köy and Kalaycı, respectively). They are women and men, aged between 60 and 70 who have declared their belonging to the ethnic Turkish people. I mention that in the last locality, a village on the Romanian-Bulgarian border, there are almost 500 Turkophones. According to the hodja of the locality, most of them are Roma people, who declare themselves Turks.
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The beginnings of Christian literature in Arabic and the use of Arabic in a liturgical setting go back to the early 8th century. During its history, the Arabic Christian vocabulary underwent several stages of formation. The earliest common Christian vocabulary was much influenced by Aramaic, which co-existed with Arabic in the region for centuries. In addition, different lexical peculiarities developed within the vocabulary specific for each Middle Eastern Christian community (Melkites, Copts, Jacobites, Nestorians, Maronites),reflecting their religious traditions and their cultural history. The Arabic Christian Orthodox vocabulary developed under the strong influence of Byzantine tradition. As the manuscript sources witness, in the 17th-18th centuries a large number of Church terms (especially from the liturgical domain) were Greek loanwords that circulated widely and were in common use among the Melkites. If compared with the contemporary texts, it can be observed that many original Greek terms became archaisms and were replaced with Arabic equivalents. At the same time, the majority of the terms used since the Ottoman epoch coincide with the contemporary variants. It can be concluded that the bulk of Arabic Christian Orthodox terminology was formed in the 17th century, in the period of the “Melkite Renaissance”.
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