LANGUAGE ART <p>&nbsp;</p> <p>&nbsp;<img src="/public/site/images/admin95/ejeld1005.jpg" width="621" height="452"></p> <p>Welcome to the&nbsp;site of&nbsp;International Multilingual Journal of <strong>Language Art</strong>. This journal is a peer reviewed publication that&nbsp;studies about&nbsp;linguistic and languages, which is published in various languages as per the choice of the author (Persian, English, Arabic, Tajik and Russian) and soon we will add some experts of French language to our Editorial Team. The journal follows double-blind peer review process. The journal seeks original manuscripts that provide theoretically informed empirical analyses of worldwide contemporary issues, as well as original theoretical or conceptual analyses.</p> <p>Print ISSN:&nbsp;2476-6526 &nbsp;&amp; Online ISSN: 2538-2713</p> <p><span style="color: black; font-size: 14pt;"><span style="font-family: Times New Roman;">&nbsp;</span></span></p> en-US <div><span style="color: white;"><img src="/public/site/images/admin95/CC-BY_icon.svg_.png" alt="" /></span><br /> <a href="">"Creative Commons Attribution 4.0 International (CC-BY 4.0)"</a></div> (Mohammad Beygi) (Mohammad Beygi) Mon, 31 May 2021 00:00:00 +0000 OJS 60 خرابات در ادب فارسی و زبان شعری عراقی واژه ی خرابات در ادبیّات فارسی و به طور اخصّ در ادبیّات عرفانی،از واژه های پر بسامد و انگشت نماست.به علّت معانی گوناگون و گاه متضادّی که این واژه ی هزار رنگ در ادب عرفانی پذیرا گردیده،در متون نظم و نثر فارسی به کرّات از خرابات و خراباتی،سخن به میان آمده،و به خصوص،متون نظم و نثر عرفانی،سرشار از این واژه ی متناقض نماست؛چرا که هر شاعر و نویسنده ی پارسی زبان،از ظنّ خود یار خرابات شده است.در این مقال،معانی مختلف این واژه در ادب پارسی کاویده شده،و نظر تعدادی از نویسندگان و شاعران پارسی زبان،و به صورت خاصّ،دیدگاه عارف سوخته جان،فخر الدّین عراقی در این زمینه به تفصیل بیان گردیده است. دکتر شاهرخ محمدبیگی, علی صابری, سکینه طالب زاده Copyright (c) 2021 سکینه طالب زاده, علی صابری, دکتر شاهرخ محمدبیگی Wed, 02 Jun 2021 00:00:00 +0000 شگردهای زبانی و معنایی حافظ با اسامی غلامان و کنیزان در ساخت ایهام تناسب Hafez's poem can be considered as the most complex and mysterious poem in Persian in terms of using the artistic, rhetorical and semantic capacities and functions of language. In this regard, he goes so far that in order to receive and understand the intellectual world of his speech, no part of his speech can be ignored and delayed. What; Cleverly, cleverly and consciously, he has used all the subtleties and capacities of language to express his ideas and draw his worldview, and he has used them with all skill. Among these linguistic possibilities are the names of a type of slaves and maids in different historical periods of Iran, which were given to them for different reasons. It is due to the use of these linguistic techniques that Hafez's poetry has always been studied and studied by literary scholars from various angles. On the other hand, since the most important feature of Hafez's stylistics and art is his wonderful use of ambiguity and its types, especially proportional ambiguity, many scholars and poets have tried to extract evidence of ambiguity and its types in his poetry, different layers of meaning and linguistic cryptography. Show his art and reveal the wonders of the prismatic relationship of words in his poetry. In this research, an attempt has been made to show the artistic applications of the names of a kind of slaves and maids in the construction of the confusion of appropriateness and the confusion of desperation in Hafez's poetry by documentary and analytical methods. The results of the research show that Hafez, consciously and reluctantly, uses the names of a kind of slaves and maids in a context of confusion of proportionality and descent, so that both the prismatic and engineered relations of the words of the poem حسین سلیمی Copyright (c) 2021 حسین سلیمی Wed, 02 Jun 2021 00:00:00 +0000 Mental Lexicon and Dictionaries of Arabic Language for Non-Native Speakers The paper studies mental lexicon, describes its main features and overviews existing theories of information distribution in mental lexicon of a monolingual and bilingual person. As well, it compares the structure of mental lexicon with that of a paper dictionary, and the mental lexicon of a native speaker of the Arabic language with that of a non-native speaker. The researcher hypothesizes that due to some differences in the mental lexicon of native and non-native speakers some explanations of lexical entries used in dictionaries that target native speakers may not be relevant for dictionaries that aim at second language learners. In order to prove this hypothesis a study was held in Qatar University which embraced two groups of students: students of the Arabic language as a native language and those who learn Arabic as a second language. Maryia Hres Copyright (c) 2021 Maryia Hres Thu, 17 Jun 2021 00:00:00 +0000 Toward arabic scientific digital content The Arabic language is accused of failing to keep up the scientific and digital development, and being unable to assimilate science and digital knowledge production and promotion. And since the Internet has become one of the reliable sources of information, the poor Arab scientific digital content has become questioning the reliability of the information available in the Arabic language, which necessitates developing authentic Arabic content that reflects Arab identity, heritage and civilization,. Therefore, this research aims to know the challenges that the Arabic language is facing today, and the reasons that prevent it from being matched to the digital age, in addition to revealing the secret behind the low quality of Arab digital content. we conclude with some recommendations that support Arab digital content on the network. Abadou Fadila Copyright (c) 2021 Abadou fadila Sat, 29 May 2021 00:00:00 +0000 “The Intentional Fallacy”, itself a Fallacy: a Critique of Wimsatt and Beardsley’s “The Intentional Fallacy” Abstract This research aims to highlight the falsities of William K. Wimsatt and Monroe C. Beardsley’s article “The Intentional Fallacy” (1946). These two New Critics believe that the intention of the author should not be considered when judging the text because the intention of the author is neither available nor desirable. The present research questions two of their claims: that the intention is something separate from the textual meaning and that the authorial intention is private and biographical while the poem is public. To refute their claims, the research employs E.D. Hirsch’s concept of verbal meaning. Verbal meaning is simply a special kind of intentional object which he considers to be synonymous with textual meaning. The study goes beyond Hirsch’s ideas and claims that from the moment the author transfers his intention, through language, to the text, it is no longer an intention but the object. Language, according to the New Critics is a proper and reliable medium, so when Wimsatt and Beardsley question the authorial intention, they are actually questioning the very notion of language. Their second claim, that is the private nature of the author’s intention, will be rejected by borrowing T.S. Eliot’s analogy of the poet to a catalyst. Eliot shows that the poet does not include his/her personality traits in the poem. The achievement of this study is a new view toward the authorial intention, a view which is not based on personal and biographical factors but on verbal factors. Sareh Khosravi, Behzad Barekat Copyright (c) 2021 sareh khosravi, Dr. Behzad Barekat Wed, 02 Jun 2021 00:00:00 +0000 Language Appropriation and Cultural Reconstruction: An example of Morrison’s Song of Solomon Cultural fragmentation as a result of collective trauma evokes the question of representation as a means of identification during conflict. In the period of intellectual revolution, language lies at the core of the problem since speaking is the negation of silence and silencing. The question of the appropriate way to express and reclaim one’s past, culture, and identity falls within the scope of historical constructors/ re-constructors’ negotiations. While some of them, including Ngũgĩ wa Thiongʼo, suggest writing in national and ethnic languages for the sake of their people, others like Chinua Achebe prefer writing in the dominator’s language to display and prove the culture of the dominated through creating an international discourse. However, the latter standpoint calls also for a New Language that is guilt-free using language appropriation. Toni Morrison’s Song of Solomon is worth pointing at work to illustrate the significance of language appropriation. Morrison assumes a kind of escape, a spiritual one, embedded in language. Milkman, the protagonist, has an identity that is split spatially as Homi Bhabha labels that. While his identity must just match his social reality, Milkman is stuck in the after effects of cultural identification. As a result, in order to piece together his fragmented reality, he must fly back to his origins. During his journey, he learns about the past through an encoded song, Song of Solomon. Although the lyrics are mostly written in English in addition to some African dialects, the song sounds like nonsense while it bears cultural connotations. Thus, language is used within a specific context that makes it able to cope with the signified. Yassmine Boukhalkhal Copyright (c) 2021 Yassmine Boukhalkhal Sat, 17 Jul 2021 00:00:00 +0000