{"id":22986,"date":"2018-06-24T21:12:18","date_gmt":"2018-06-24T21:12:18","guid":{"rendered":"http:\/\/qu.edu.iq\/repository\/?p=22986"},"modified":"2018-06-24T21:12:18","modified_gmt":"2018-06-24T21:12:18","slug":"%d8%a8%d8%ad%d9%88%d8%ab-%d8%a7%d9%84%d8%aa%d8%ae%d8%b1%d8%ac-%d9%84%d9%82%d8%b3%d9%85-%d8%a7%d9%84%d9%84%d8%ba%d9%80%d8%a9-%d8%a7%d9%84%d8%b9%d8%b1%d8%a8%d9%8a%d9%80%d8%a9-%d9%84%d9%84%d8%b9%d8%a7","status":"publish","type":"post","link":"https:\/\/repository.qu.edu.iq\/?p=22986","title":{"rendered":"\u0628\u062d\u0648\u062b \u0627\u0644\u062a\u062e\u0631\u062c \u0644\u0642\u0633\u0645 \u0627\u0644\u0644\u063a\u0640\u0629 \u0627\u0644\u0627\u0646\u0643\u0644\u064a\u0632\u064a\u0629 \u0644\u0644\u0639\u0627\u0645 \u0627\u0644\u062f\u0631\u0627\u0633\u064a 2017-2018"},"content":{"rendered":"

\u0627\u0644\u062f\u0631\u0627\u0633\u0640\u0640\u0629 \u0627\u0644\u0635\u0628\u0627\u062d\u0640\u0640\u0640\u064a\u00a0<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\u062a<\/strong><\/td>\n\u0627\u0633\u0645\u0627\u0621 \u0627\u0644\u0628\u0627\u062d\u062b\u064a\u0646<\/strong><\/td>\n\u0639\u0646\u0648\u0627\u0646 \u0627\u0644\u0628\u062d\u062b<\/strong><\/td>\n\u0627\u0633\u0645 \u0627\u0644\u0645\u0634\u0631\u0641<\/strong><\/td>\n<\/tr>\n
1<\/strong><\/td>\n\u0627\u0641\u0631\u0627\u062d \u062d\u0633\u0646 \u062c\u0628\u0631<\/strong><\/p>\n

\u0627\u0645\u0627\u0646\u064a \u062c\u0628\u0627\u0631 \u062d\u0633\u0646<\/strong><\/td>\n

Functions of Language<\/strong><\/a><\/td>\n\u0623.\u0645. \u0627\u064a\u0645\u0627\u0646 \u062e\u0636\u064a\u0631 <\/strong><\/td>\n<\/tr>\n
2<\/strong><\/td>\n\u0627\u0646\u063a\u0627\u0645 \u063a\u0627\u0641\u0644 \u0639\u0628\u062f\u0627\u0644\u0645\u062d\u0633\u0646<\/strong><\/p>\n

\u0627\u064a\u0627\u062a \u062d\u0628\u064a\u0628 \u0645\u0646\u062f\u064a\u0644<\/strong><\/td>\n

The Theory of Distinctive Features<\/strong><\/a><\/td>\n<\/tr>\n
3<\/strong><\/td>\n\u0627\u0628\u062a\u0647\u0627\u0644 \u0639\u0642\u064a\u0644 \u0641\u0646\u0648\u062e<\/strong><\/p>\n

\u0627\u0633\u0645\u0627\u0621 \u0645\u062c\u064a\u062f \u0628\u062a\u0648\u0631<\/strong><\/td>\n

A Linguistic Study of Process adjuncts in English<\/strong><\/a><\/td>\n\u0645. \u0646\u0636\u0627\u0644 \u062c\u0644\u064a\u0644 \u062d\u0645\u0632\u0629<\/strong><\/td>\n<\/tr>\n
4<\/strong><\/td>\n\u0627\u062d\u0645\u062f \u062d\u0645\u0632\u0629 \u062c\u0627\u0633\u0645\u00a0 <\/strong><\/p>\n

\u062d\u0633\u0646 \u0639\u0627\u064a\u062f \u064a\u0648\u0633\u0641<\/strong><\/td>\n

Adverbial Clauses of Time :A Linguistic Study<\/strong><\/a><\/td>\n<\/tr>\n
5<\/strong><\/td>\n\u0647\u064a\u0644\u064a\u0646 \u062e\u0644\u064a\u0644 \u062d\u0645\u064a\u062f<\/strong><\/p>\n

\u0634\u062c\u0646 \u0639\u0628\u062f \u0627\u0644\u0643\u0631\u064a\u0645 \u0645\u0633\u0644\u0645<\/strong><\/td>\n

Marginal Verbs in English : A Linguistic Study<\/strong><\/a><\/td>\n<\/tr>\n
6<\/strong><\/td>\n\u0627\u062d\u0645\u062f \u0633\u062a\u0627\u0631 \u062e\u0644\u0641<\/strong><\/p>\n

\u062d\u0633\u064a\u0646 \u0646\u0627\u0635\u0631 \u0635\u0627\u0644\u062d<\/strong><\/td>\n

From Colonization to Globalization : Challenges of Arabic<\/a> <\/strong><\/td>\n\u0645.\u0645. \u062d\u0628\u064a\u0628 \u0645\u062d\u0633\u0646 \u0639\u0631\u064a\u0641<\/strong><\/td>\n<\/tr>\n
7<\/strong><\/td>\n\u0627\u0632\u0647\u0627\u0631 \u064a\u0627\u0633\u0631 \u062d\u0633\u0648\u0646<\/strong><\/p>\n

\u062a\u0642\u0649 \u0631\u062d\u0645\u0646 \u0633\u0644\u0645\u0627\u0646<\/strong><\/td>\n

Repetition as a Strategy of Persuasion in Political Discourse<\/strong><\/a><\/td>\n<\/tr>\n
8<\/strong><\/td>\n\u0646\u0648\u0631\u0647 \u063a\u0627\u0646\u0645 \u0641\u0627\u0631\u0633<\/strong><\/p>\n

\u0645\u062d\u0645\u062f \u0635\u0627\u062d\u0628 \u0634\u0646\u0648\u0646<\/strong><\/td>\n

Linguistic Innovation in Short Messaging<\/strong><\/a><\/td>\n\u0623.\u0645. \u0631\u062c\u0627\u0621 \u0641\u0644\u064a\u062d \u0645\u0631\u062f\u0627\u0646<\/strong><\/td>\n<\/tr>\n
10<\/strong><\/td>\n\u0645\u064a\u0639\u0627\u062f \u0645\u062d\u0645\u0648\u062f \u0645\u064a\u0631\u064a<\/strong><\/p>\n

\u0646\u0631\u0645\u064a\u0646 \u0639\u0644\u064a \u0627\u062d\u0645\u062f<\/strong><\/td>\n

Fronting in English<\/strong><\/a><\/td>\n\u0645. \u0645. \u0627\u0633\u0645\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631 \u0639\u0628\u064a\u0633<\/strong><\/td>\n<\/tr>\n
11<\/strong><\/td>\n\u0639\u0644\u0627 \u0635\u0627\u0626\u0628 \u0633\u0639\u064a\u062f<\/strong><\/p>\n

\u0647\u064a\u0644\u064a\u0646 \u0639\u0644\u064a \u0645\u0632\u064a\u0648\u0646<\/strong><\/td>\n

Modality in English<\/strong><\/a><\/td>\n<\/tr>\n
12<\/strong><\/td>\n\u0647\u0646\u062f \u062e\u0627\u0644\u062f \u062c\u0648\u0627\u062f<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0634\u0631\u064a \u0633\u0644\u0645\u0627\u0646<\/strong><\/td>\n

A Linguistic Analysis of Antonymy with reference to Quranic Verses<\/a> <\/strong><\/td>\n\u0623.\u0645. \u0628\u0633\u0645\u0629 \u062e\u0627\u0644\u062f \u0627\u0646\u063a\u064a\u0634<\/strong><\/td>\n<\/tr>\n
13<\/strong><\/td>\n\u0646\u0648\u0631\u0633 \u062d\u0645\u064a\u062f \u0639\u0644\u064a<\/strong><\/p>\n

\u0646\u0648\u0631\u0647 \u0639\u0627\u064a\u062f \u062d\u0645\u064a\u0632\u0629<\/strong><\/td>\n

A Linguistic Analysis of\u00a0 Simile with reference to Quranic Verses<\/strong><\/a><\/td>\n<\/tr>\n
14<\/strong><\/td>\n\u0636\u062d\u0649 \u0647\u0627\u0634\u0645 \u0641\u0631\u064a\u062c<\/strong><\/p>\n

\u0646\u0628\u0623 \u062c\u0648\u0627\u062f \u0643\u0627\u0638\u0645<\/strong><\/td>\n

The author Identity in Academic Writing<\/strong><\/a><\/td>\n\u062f. \u0633\u0627\u0645\u064a \u0639\u0628\u0627\u0633<\/strong><\/td>\n<\/tr>\n
15<\/strong><\/td>\n\u0643\u0648\u062b\u0631 \u062f\u0627\u062e\u0644 \u0633\u0627\u0644\u0645<\/strong><\/p>\n

\u0645\u0631\u0648\u0629 \u0641\u0627\u0636\u0644 \u0641\u0644\u064a\u062d<\/strong><\/td>\n

Investigating Prewriting Strategies in Learning to Writing in EFL<\/strong><\/a><\/p>\n

\u00a0<\/strong><\/td>\n<\/tr>\n

16<\/strong><\/td>\n\u0645\u062d\u0645\u062f \u062d\u0633\u0646 \u0639\u0644\u064a<\/strong><\/p>\n

\u0646\u0648\u0631 \u0633\u0639\u064a\u062f \u0641\u0627\u0636\u0644<\/strong><\/td>\n

Meaning Negotiation in Communities of Practice<\/strong><\/a><\/td>\n\u062f. \u0633\u0627\u0645\u064a \u0628\u0634\u064a\u0631 \u0645\u0637\u0631\u0648\u062f<\/strong><\/td>\n<\/tr>\n
17<\/strong><\/td>\n\u0645\u0631\u064a\u0645 \u0633\u0639\u062f \u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0646\u0648\u0631\u0633 \u0635\u0641\u0627\u0621 \u0646\u0639\u0645\u0629<\/strong><\/td>\n

Transitivity <\/strong><\/a><\/td>\n\u0623.\u0645. \u0633\u0644\u064a\u0645\u0629 \u0639\u0628\u062f \u0627\u0644\u0632\u0647\u0631\u0629<\/strong><\/td>\n<\/tr>\n
18<\/strong><\/td>\n\u0645\u0631\u064a\u0645 \u0645\u062d\u0645\u062f \u0639\u064a\u062f\u0627\u0646<\/strong><\/p>\n

\u0646\u0648\u0631 \u0639\u0644\u064a \u0647\u0627\u062f\u064a<\/strong><\/td>\n

redundancy\u00a0 and\u00a0 Pleonasm<\/strong><\/a><\/td>\n<\/tr>\n
19<\/strong><\/td>\n\u063a\u062f\u064a\u0631 \u0641\u0627\u0636\u0644 \u0643\u0627\u0637\u0639<\/strong><\/p>\n

\u0644\u0642\u0627\u0621 \u0639\u0644\u064a \u0639\u0628\u062f<\/strong><\/td>\n

A Linguistic Study of Catch-Phrase<\/strong><\/a><\/td>\n\u0623.\u0645. \u0627\u062d\u0645\u062f \u0645\u062d\u0645\u062f \u0645\u0647\u062f\u064a<\/strong><\/td>\n<\/tr>\n
20<\/strong><\/td>\n\u0641\u0627\u0636\u0644 \u0627\u0635\u064a\u0635\u064a\u0639 \u0639\u0628\u062f<\/strong><\/p>\n

\u0643\u0631\u0627\u0631 \u062c\u0647\u0627\u062f \u0647\u0644\u0627\u0644<\/strong><\/td>\n

Linguistic Aspects of Proverbs in English<\/strong><\/a><\/td>\n<\/tr>\n
21<\/strong><\/td>\n\u0646\u0648\u0631 \u062d\u0645\u064a\u062f \u0634\u0627\u0643\u0631<\/strong><\/p>\n

\u0643\u0648\u062b\u0631 \u062d\u0633\u064a\u0646 \u064a\u0627\u0633\u0631<\/strong><\/td>\n

From Metrical Tree to Metrical Grid<\/strong><\/a><\/td>\n\u0645. \u0645. \u0643\u0631\u064a\u0645 \u0639\u0634\u0639\u0648\u0634<\/strong><\/td>\n<\/tr>\n
21<\/strong><\/td>\n\u0643\u0631\u0627\u0631 \u0639\u0628\u062f \u0627\u0644\u0643\u0631\u064a\u0645 \u0646\u0639\u0645\u0647<\/strong><\/p>\n

\u0644\u0645\u064a\u0627\u0621 \u064a\u062d\u064a\u0649 \u0643\u0631\u0645<\/strong><\/td>\n

Syllable in Phonetic Theory<\/strong><\/a><\/td>\n<\/tr>\n
23<\/strong><\/td>\n\u0646\u0648\u0631 \u0645\u062d\u0645\u062f \u0645\u0638\u0644\u0648\u0645<\/strong><\/p>\n

\u062f\u0639\u0627\u0621 \u0646\u0639\u064a\u0645 \u062e\u0636\u064a\u0631<\/strong><\/td>\n

Negation in English and Arabic<\/strong><\/a><\/td>\n<\/tr>\n
24<\/strong><\/td>\n\u0632\u0647\u0631\u0627\u0621 \u062d\u064a\u062f\u0631 \u0645\u0646\u0639\u0645<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0631\u062d\u064a\u0645 \u0639\u0644\u064a<\/strong><\/td>\n

The Development of Language Fluency<\/strong><\/td>\n\u0645. \u063a\u0635\u0648\u0646 \u0645\u0647\u062f\u064a<\/strong><\/td>\n<\/tr>\n
25<\/strong><\/td>\n\u0632\u0647\u0631\u0627\u0621 \u0639\u0644\u064a \u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0642\u0627\u0633\u0645 \u0633\u0631\u062d\u0627\u0646<\/strong><\/td>\n

Activated Memory in Language Learning<\/strong><\/a><\/td>\n<\/tr>\n
26<\/strong><\/td>\n\u0632\u064a\u0646\u0628 \u0627\u0632\u0647\u0631 \u0639\u0628\u062f \u0627\u0644\u0647\u0627\u062f\u064a<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u062d\u064a\u062f\u0631 \u0646\u0627\u062c\u064a<\/strong><\/td>\n

The Artful Balance: The Parallel Structure of Style<\/strong><\/a><\/td>\n\u0645. \u0628\u0644\u0633\u0645 \u0635\u0627\u0644\u062d<\/strong><\/td>\n<\/tr>\n
27<\/strong><\/td>\n\u0632\u064a\u0646\u0628 \u0639\u0644\u064a \u0643\u0637\u064a\u0641<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u0641\u0627\u0631\u0633 \u0627\u0631\u062d\u064a\u0645<\/strong><\/td>\n

Figurative Language in English<\/strong><\/a><\/td>\n<\/tr>\n
28<\/strong><\/td>\n\u0633\u0627\u0631\u0629 \u0627\u062d\u0645\u062f \u0639\u0628\u0648\u062f<\/strong><\/p>\n

\u0633\u0643\u064a\u0646\u0629 \u0642\u0627\u0633\u0645 \u0643\u0627\u0638\u0645<\/strong><\/td>\n

A Cognitive \u2013 Semiotic Analysis of the Selected Economic Cartoon Panels<\/strong><\/a><\/td>\n\u062f. \u0633\u0648\u0633\u0646 \u0643\u0631\u064a\u0645<\/strong><\/td>\n<\/tr>\n
29<\/strong><\/td>\n\u0633\u0631\u0645\u062f \u0646\u0627\u0638\u0645 \u0643\u0631\u064a\u0648\u062f<\/strong><\/p>\n

\u0639\u0644\u064a \u062d\u0633\u0627\u0646 \u0639\u0637\u064a\u0629<\/strong><\/td>\n

The Use of Im \/politeness in English<\/strong><\/a><\/td>\n<\/tr>\n
30<\/strong><\/td>\n\u0628\u0646\u064a\u0646 \u0639\u0628\u062f \u0627\u0644\u0645\u0637\u0644\u0628 \u062c\u0647\u0627\u062f\u064a<\/strong><\/p>\n

\u0628\u0646\u064a\u0646 \u0643\u0627\u0645\u0644 \u0639\u0628\u062f \u0627\u0644\u0631\u0632\u0627\u0642<\/strong><\/td>\n

Synecdoche in English<\/strong><\/a><\/td>\n\u0645. \u0634\u064a\u0645\u0627\u0621 \u0639\u0645\u0627\u062f<\/strong><\/td>\n<\/tr>\n
31<\/strong><\/td>\n\u062c\u0627\u0633\u0645 \u0645\u062d\u0645\u062f \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0632\u064a\u062f \u0639\u0644\u064a \u062d\u0633\u0646<\/strong><\/td>\n

Features of Human Language<\/strong><\/a><\/td>\n<\/tr>\n
32<\/strong><\/td>\n\u062d\u0646\u064a\u0646 \u062b\u0627\u0645\u0631 \u0645\u062d\u0645\u062f<\/strong><\/p>\n

\u062d\u0646\u064a\u0646 \u0643\u0631\u064a\u0645 \u0639\u0644\u064a\u0648\u064a<\/strong><\/td>\n

Scaffolding in EFL Classrooms<\/strong><\/a><\/td>\n\u062f.\u0633\u0639\u062f\u064a\u0629 \u0648\u062f\u0627\u0639\u0629 \u062d\u0633\u0646<\/strong><\/td>\n<\/tr>\n
33<\/strong><\/td>\n\u062d\u0648\u0631\u0627\u0621 \u0631\u064a\u0627\u0636 \u0639\u0628\u062f<\/strong><\/p>\n

\u0631\u0648\u0627\u0646 \u0643\u0627\u0638\u0645 \u0639\u0628\u0627\u0633<\/strong><\/td>\n

Teacher Talk in EFL Classrooms<\/strong><\/a><\/td>\n<\/tr>\n
34<\/strong><\/td>\n\u062f\u0639\u0627\u0621 \u062d\u0645\u064a\u062f \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u0646<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0631\u062d\u064a\u0645 \u0647\u0627\u0634\u0645<\/strong><\/td>\n

Language Variation and Changes in the History of English<\/strong><\/a><\/td>\n\u0645. \u0644\u0628\u0646\u0649 \u0639\u0644\u064a \u0643\u0627\u0638\u0645<\/strong><\/td>\n<\/tr>\n
35<\/strong><\/td>\n\u062f\u0639\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631 \u0647\u0627\u062f\u064a<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u062c\u0644\u064a\u0644 \u062d\u0646\u0648\u0646<\/strong><\/td>\n

Business Linguistics and Business Discourse<\/strong><\/a><\/td>\n<\/tr>\n
36<\/strong><\/td>\n\u0632\u0647\u0631\u0627\u0621 \u062d\u0633\u0646 \u0647\u0627\u062a\u0641<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u062b\u0627\u0626\u0631 \u062c\u0645\u064a\u0644<\/strong><\/td>\n

A Linguistic Analysis of Hyperbole with reference to Selected Literary Texts<\/strong><\/a><\/td>\n\u0645. \u062c\u0646\u0627\u0646 \u0639\u0637\u064a\u0647<\/strong><\/td>\n<\/tr>\n
40<\/strong><\/td>\n\u0627\u0633\u0631\u0627\u0621 \u0631\u062d\u064a\u0645 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u0627\u0633\u0631\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0644\u0637\u064a\u0641 \u0639\u0628\u0627\u0633<\/strong><\/td>\n

Adverbs of View Point : A <\/strong>Linguistic <\/strong>Study<\/strong><\/a><\/td>\n\u062f. \u0645\u064a\u0633\u0627\u0621 \u0643\u0627\u0638\u0645<\/strong><\/td>\n<\/tr>\n
41<\/strong><\/td>\n\u0627\u0633\u0631\u0627\u0621 \u0635\u0644\u0627\u062d \u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u0627\u0635\u0627\u064a\u0644 \u0645\u0647\u062f\u064a \u062d\u0631\u0628\u064a<\/strong><\/td>\n

Linking Adverbs : A Linguistic Study<\/strong><\/a><\/td>\n<\/tr>\n
42<\/strong><\/td>\n\u0648\u062c\u062f\u0627\u0646 \u0627\u062d\u0645\u062f \u062d\u0645\u0632\u0629<\/strong><\/p>\n

\u0648\u0641\u0627\u0621 \u0628\u0627\u0633\u0645 \u0639\u0628\u062f \u0627\u0644\u0644\u0647<\/strong><\/td>\n

The Role of Context in Discourse Analysis<\/strong><\/a><\/td>\n\u062f. \u0645\u0647\u0627 \u0637\u0627\u0647\u0631 <\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

\u00a0<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
43<\/strong><\/td>\n\u0632\u064a\u0646\u0628 \u0645\u0648\u0633\u0649<\/strong><\/p>\n

\u0643\u0627\u0638\u0645 \u0643\u0631\u064a\u0645 \u0639\u0628\u062f \u0632\u064a\u062f<\/strong><\/td>\n

Wallace Stevens\u2019 \u201cThe Comedian As the Letter “C\u201d As A Mock- Epic<\/strong><\/a><\/td>\n\u0623.\u062f . \u0642\u0627\u0633\u0645 \u0633\u0644\u0645\u0627\u0646 \u0633\u0631\u062d\u0627\u0646<\/strong><\/td>\n<\/tr>\n
44<\/strong><\/td>\n\u0645\u0633\u0627\u0631 \u0639\u0628\u062f \u0627\u0644\u0631\u0632\u0627\u0642<\/strong><\/p>\n

\u0645\u0633\u0627\u0631 \u0646\u0627\u0635\u0631 \u0647\u062f\u0647\u0648\u062f<\/strong><\/td>\n

Childhood\u00a0 in Theodore Roethke\u2019s\u00a0\u00a0<\/a> <\/strong><\/p>\n

\u00a0\u00a0 \u201cMy Papa\u2019s Waltz\u201d<\/a><\/strong><\/td>\n<\/tr>\n

45<\/strong><\/td>\n\u0645\u0644\u0627\u0630 \u062c\u0628\u0627\u0631 \u0645\u062d\u0633\u0646<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u0647\u0627\u0634\u0645<\/strong><\/td>\n

The mythification of the west in Michael Ananie’s poetry<\/strong><\/td>\n<\/tr>\n
46<\/strong><\/td>\n\u0631\u0633\u0644 \u062d\u0633\u0646 \u062e\u0644\u0628\u0627\u0635<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0642\u0627\u0633\u0645 \u0639\u0628\u062f \u0627\u0644\u0639\u0632\u064a\u0632<\/strong><\/td>\n

Slavery in Margaret Mitchell\u2019s\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gone with the Wind\u00a0<\/a> <\/strong><\/td>\n\u0645 . \u0645 . \u062f\u062c\u0644\u0629 \u0643\u0637\u0627\u0646 <\/strong><\/td>\n<\/tr>\n
47<\/strong><\/td>\n\u0631\u0633\u0644 \u064a\u062d\u064a\u0649 \u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u062d\u0645\u064a\u062f \u062d\u0633\u0646<\/strong><\/td>\n

Kaet\u2019s Employment in Ian McEwan\u2019s Enduring Love<\/strong><\/a><\/td>\n<\/tr>\n
48<\/strong><\/td>\n\u0637\u064a\u0628\u0629 \u0645\u062d\u0645\u062f<\/strong><\/p>\n

\u063a\u062f\u064a\u0631 \u0639\u0628\u0627\u0633<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Woman Character in Margaret Atwood\u2019s\u00a0 The Handmaid’s Tale<\/strong><\/a><\/td>\n<\/tr>\n
49<\/strong><\/td>\n\u0631\u0642\u064a\u0629 \u0643\u0627\u0645\u0644 \u0645\u062d\u064a\u0633\u0646<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0627\u0628\u0631\u0627\u0647\u064a\u0645 \u064a\u0648\u0633\u0641<\/strong><\/td>\n

The Representation of the classical in Ann Carson’s Poetry<\/strong><\/a><\/td>\n\u0623.\u0645. \u0633\u062d\u0631 \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631<\/strong><\/td>\n<\/tr>\n
50<\/strong><\/td>\n\u0632\u0647\u0631\u0627\u0621 \u062c\u0645\u064a\u0644 \u062c\u0627\u0633\u0645<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u0627\u0645\u064a\u0646 \u062d\u0633\u064a\u0646<\/strong><\/td>\n

Musicality and its meaning in Wallace Steven’s poetry<\/strong><\/a><\/td>\n<\/tr>\n
51<\/strong><\/td>\n\u0633\u0645\u0631 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645 \u062c\u0648\u0627\u062f<\/strong><\/p>\n

\u0633\u0647\u0627 \u0645\u062d\u0645\u062f \u062c\u0627\u0633\u0645<\/strong><\/td>\n

The Manifestation of Femme Fatale in Shakespeare’s Macbet<\/em>h<\/strong><\/a><\/td>\n\u0623.\u0645 . \u0627\u0645\u0627\u0644 \u062c\u0627\u0633\u0645<\/strong><\/td>\n<\/tr>\n
52<\/strong><\/td>\n\u0633\u0648\u0633\u0646 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646 \u062d\u0645\u0632\u0629<\/strong><\/p>\n

\u0634\u0647\u062f \u062d\u0633\u064a\u0646 \u0645\u062d\u0645\u062f<\/strong><\/td>\n

Feminist Dilemma Carlye Churchill’s Plays<\/strong><\/a><\/td>\n<\/tr>\n
53<\/strong><\/td>\n\u0635\u0628\u0627 \u0639\u0628\u062f \u0627\u0644\u0631\u0632\u0627\u0642 \u0641\u0631\u062d\u0627\u0646<\/strong><\/p>\n

\u0635\u0641\u0627\u0621 \u0627\u062d\u0645\u062f \u0639\u0628\u062f \u0627\u0644\u0631\u0632\u0627\u0642<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Man and Two Woman: S study of the Female characters in Thomas Hardy’s Jude the Obscure<\/em><\/strong><\/a><\/td>\n\u062f . \u0639\u0644\u0627\u0621 \u0639\u0628\u0627\u0633<\/strong><\/td>\n<\/tr>\n
54<\/strong><\/td>\n\u0634\u0645\u0633 \u0645\u062d\u0645\u062f \u0639\u0628\u0627\u062f\u064a<\/strong><\/p>\n

\u0634\u0647\u062f \u0645\u062d\u0645\u062f \u0639\u0628\u062f<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

The Image of\u00a0 Jewish in William Shakespeare\u2019s The Merchant of\u00a0\u00a0\u00a0 Venice and Christopher Marlowe\u2019s The Jew of Malta:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Contributions and Interferences<\/strong><\/a>\u00a0 <\/strong><\/td>\n<\/tr>\n
55<\/strong><\/td>\n\u064a\u0639\u0642\u0648\u0628 \u062d\u064a\u062f\u0631 \u0639\u0644\u064a<\/strong><\/p>\n

\u0645\u062d\u0645\u062f \u062d\u0633\u064a\u0646 \u0639\u0628\u062f\u0627\u0644\u0644\u0647<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

The Passion of Unconscious in\u00a0 Iris Murdoch\u2019s The Unicorn<\/strong><\/a>\u00a0\u00a0 <\/strong><\/p>\n

\u00a0\u00a0 <\/strong><\/td>\n

\u0645.\u0645. \u062d\u0645\u064a\u062f \u0645\u0627\u0646\u0639<\/strong><\/td>\n<\/tr>\n
56<\/strong><\/td>\n\u0639\u0644\u064a\u0627\u0621 \u0648\u0639\u062f \u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0641\u0627\u0637\u0645\u0629 \u0639\u0628\u062f \u0646\u0648\u0631<\/strong><\/td>\n

Trauma in Tina McElory Ansa’s The Baby of the Family<\/em><\/strong><\/td>\n<\/tr>\n
57<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u0641\u0644\u064a\u062d \u062d\u0633\u0646<\/strong><\/p>\n

\u0645\u0631\u0648\u0629 \u0639\u0628\u0648\u062f\u064a \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/td>\n

Victimization in Saul Bellow’s Seize the Day<\/em><\/strong><\/a><\/td>\n\u0645.\u062f. \u0627\u062d\u0645\u062f \u0633\u0639\u062f \u0639\u0632\u064a\u0632<\/strong><\/td>\n<\/tr>\n
58<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u0641\u0644\u0627\u062d \u062c\u0627\u0633\u0648\u0631<\/strong><\/p>\n

\u0643\u0648\u062b\u0631 \u0639\u0644\u064a \u0641\u0644\u064a\u062d<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Unreliable Narration in Franz Kafka\u2019s\u00a0 \u00a0The Metamorphosis<\/strong><\/a><\/p>\n

\u00a0\u00a0\u00a0 <\/strong><\/td>\n<\/tr>\n

59<\/strong><\/td>\n\u0645\u0646\u062a\u0638\u0631 \u0642\u062d\u0637\u0627\u0646 \u0645\u0648\u0633\u0649 <\/strong><\/p>\n

\u0647\u062f\u0649 \u0639\u0628\u062f \u0645\u0633\u0644\u0645<\/strong><\/td>\n

The condition of Man in war Poetry<\/strong><\/td>\n\u0645. \u0639\u0644\u064a \u0639\u0628\u062f \u0627\u0644\u062c\u0644\u064a\u0644<\/strong><\/td>\n<\/tr>\n
60<\/strong><\/td>\n\u0639\u0644\u064a \u0627\u0631\u0643\u0627\u0646 \u0639\u0637\u064a\u0647<\/strong><\/p>\n

\u0645\u0635\u0637\u0641\u0649 \u0639\u0644\u064a \u0643\u0627\u0638\u0645 <\/strong><\/td>\n

Nationalism in T. S. Eliot\u2019s The Waste Land<\/strong><\/a><\/td>\n<\/tr>\n
61<\/strong><\/td>\n\u0645\u062d\u0645\u062f \u0645\u0646\u0647\u0644 <\/strong><\/p>\n

\u0632\u064a\u0646\u0628 \u0638\u0627\u0641\u0631<\/strong><\/td>\n

Depiction of city in T.S.Eliot’s Poetry<\/strong><\/a><\/td>\n<\/tr>\n
62<\/strong><\/td>\n\u0646\u0648\u0631\u0627 \u0627\u062d\u0645\u062f \u0643\u0627\u0645\u0644<\/strong><\/p>\n

\u0627\u0646\u0648\u0627\u0631 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645 \u062c\u0627\u0633\u0645<\/strong><\/td>\n

Exile , Postcolontion and Violence in Naipaul\u00a0 One out of Many<\/strong><\/a><\/td>\n\u0623\u200c.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u0628\u0627\u0633\u0645 \u0646\u0634\u0645\u064a<\/strong><\/td>\n<\/tr>\n
63<\/strong><\/td>\n\u0642\u0627\u0633\u0645 \u062d\u0633\u064a\u0646 \u0639\u0644\u064a<\/strong><\/p>\n

\u0630\u0648 \u0627\u0644\u0641\u0642\u0627\u0631 \u0645\u0647\u062f\u064a<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Realistic Depiction of Postcolonial Society in Toni\u00a0 Morrison\u2019s\u00a0 Beloved<\/em>\u00a0<\/a> <\/strong><\/td>\n<\/tr>\n
64<\/strong><\/td>\n\u0646\u0634\u0648\u0627\u0646 \u0642\u0627\u0633\u0645 \u0634\u0644\u0627\u0643\u0629<\/strong><\/p>\n

\u0645\u0646\u0635\u0648\u0631 \u0643\u0627\u0638\u0645 \u0639\u0628\u062f<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Mary Shelley’s Frankenstein<\/em> as a gothic novel<\/strong><\/a><\/td>\n\u0645.\u0645. \u0627\u062d\u0645\u062f \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/td>\n<\/tr>\n
65<\/strong><\/td>\n\u0646\u063a\u0645 \u0631\u0636\u0627 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0635\u0627\u0628\u0631\u064a\u0646 \u0645\u062d\u0645\u062f \u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Individual VS. Society in The Giver<\/strong><\/a>\u00a0 <\/strong><\/td>\n<\/tr>\n
66<\/strong><\/td>\n\u062d\u0633\u0646 \u062c\u0645\u064a\u0644 \u062e\u0636\u064a\u0631<\/strong><\/p>\n

\u0645\u0646\u0633\u064a \u062e\u0644\u0641\u0629 \u0645\u0646\u0633\u064a<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Water Imagery in Virginia Woolf\u2019s Mrs.Dalloway<\/em><\/strong><\/a><\/td>\n<\/tr>\n
67<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u0646\u0627\u0634\u064a \u062c\u0627\u0633\u0645<\/strong><\/p>\n

\u0645\u0646\u0649 \u0628\u0627\u0633\u0645 \u062c\u0627\u0633\u0645<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

The Image of Women in Oscar Wilde\u2019s Salom\u00e9\u00a0 and A Woman of No Importance<\/strong><\/a>\u00a0 <\/strong><\/td>\n\u0645.\u0645. \u0645\u0647\u0646\u062f \u0639\u0627\u062c\u0644<\/strong><\/td>\n<\/tr>\n
68<\/td>\n\u0645\u0631\u062a\u0636\u0649 \u062d\u0645\u064a\u062f<\/strong><\/p>\n

\u0639\u0642\u064a\u0644 \u0645\u062c\u064a\u062f<\/strong><\/td>\n

The Image of Utopia in Anton Chekhov’s Three Sisters<\/strong><\/a><\/td>\n<\/tr>\n
69<\/strong><\/td>\n\u0632\u064a\u0646\u0628 \u062d\u0627\u0632\u0645 \u0645\u062d\u0645\u062f<\/strong><\/p>\n

\u064a\u0648\u0633\u0641 \u0633\u0627\u0645\u064a \u0643\u0627\u0645\u0644<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Aestheticism in James Joyce’s Portrait of the Artist as a Young Man<\/em><\/strong><\/td>\n<\/tr>\n
70<\/strong><\/td>\n\u0647\u062f\u064a\u0631 \u0639\u0644\u064a \u0639\u0628\u0627\u0633<\/strong><\/p>\n

\u0645\u0631\u064a\u0645 \u0639\u0628\u0627\u0633 \u062c\u0628\u0631<\/strong><\/td>\n

Saudade in Elizabeth Bishop\u2019s<\/strong><\/a>\u00a0 <\/strong><\/p>\n

At the Fishhouses\u201d and\u00a0 \u201cOne Art”<\/strong><\/a><\/td>\n

\u0645.\u0645. \u062d\u0648\u0631\u0627\u0621 \u0641\u0627\u0636\u0644<\/strong><\/td>\n<\/tr>\n
71<\/strong><\/td>\n\u0646\u0648\u0631 \u062d\u0633\u064a\u0646 \u0627\u0628\u0631\u0627\u0647\u064a\u0645<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0627\u062d\u0645\u062f \u0643\u0631\u062f\u064a<\/strong><\/td>\n

The Duel of death in Edna Milly’s :Renascence”\u00a0 and “Spring”<\/em><\/strong><\/a><\/td>\n<\/tr>\n
\u00a0<\/strong><\/td>\n\u00a0<\/strong><\/td>\n\u00a0<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/strong><\/p>\n

\u0627\u0644\u062f\u0631\u0627\u0633\u0640\u0640\u0640\u0640\u0629 \u0627\u0644\u0645\u0633\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0627\u0626\u064a\u0629<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\u062a<\/strong><\/td>\n\u0627\u0633\u0645\u0627\u0621 \u0627\u0644\u0628\u0627\u062d\u062b\u064a\u0646<\/strong><\/td>\n\u0639\u0646\u0648\u0627\u0646 \u0627\u0644\u0628\u062d\u062b<\/strong><\/td>\n\u0627\u0633\u0645 \u0627\u0644\u0645\u0634\u0631\u0641<\/strong><\/td>\n<\/tr>\n
1<\/strong><\/td>\n\u062d\u0648\u0631\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645 \u0627\u0631\u062d\u064a\u0645\u0629<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u062c\u0627\u0628\u0631 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645<\/strong><\/td>\n

Re-reading Beowulf \u00a0from a Modernist Perspective: A Study of Richard Wilbur’s Poetry<\/strong><\/a><\/td>\n\u0623.\u062f . \u0642\u0627\u0633\u0645 \u0633\u0644\u0645\u0627\u0646 \u0633\u0631\u062d\u0627\u0646<\/strong><\/td>\n<\/tr>\n
2<\/strong><\/td>\n\u0627\u0645\u064a\u0646\u0629 \u062e\u0634\u064a\u0627\u0646 \u0639\u0628\u064a\u0633<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u062c\u0627\u0628\u0631 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u0646<\/strong><\/td>\n

Ecopoetry in , Jorie Graham’s \u201cThe Geese,\u201d and\u00a0 \u201cAt Luca Signorelli’s Resurrection of the Body.\u201d<\/strong><\/a><\/td>\n<\/tr>\n
3<\/strong><\/td>\n\u062d\u0646\u064a\u0646 \u062d\u0645\u0632\u0629 \u0645\u0646\u0639\u0645<\/strong><\/p>\n

\u062d\u0648\u0631\u0627\u0621 \u0647\u0627\u062f\u064a \u062d\u0645\u0632\u0629<\/strong><\/td>\n

Gender in Sylvia Plath “Daddy”<\/strong><\/a><\/td>\n\u0645 . \u0645 . \u062f\u062c\u0644\u0629 \u0643\u0637\u0627\u0646 <\/strong><\/td>\n<\/tr>\n
4<\/strong><\/td>\n\u0633\u0631\u0648\u0631 \u0627\u064a\u0648\u0628 \u0645\u062d\u0645\u062f<\/strong><\/p>\n

\u0647\u0646\u062f \u0636\u064a\u0627\u0621 \u0639\u0644\u0642<\/strong><\/td>\n

Historiographic Metafiction in John Fowles’ French<\/strong><\/a><\/p>\n

Lieutenant’s Woman<\/strong><\/td>\n<\/tr>\n

5<\/strong><\/td>\n\u0633\u0644\u0645\u0649 \u0643\u0627\u0638\u0645 \u0645\u0639\u0627\u0631\u0632<\/strong><\/p>\n

\u0648\u0644\u0627\u0621 \u0635\u0627\u0644\u062d \u0647\u0627\u062f\u064a<\/strong><\/td>\n

Racism in Gendowlyin Brooks Maud Martha<\/strong><\/a><\/td>\n\u0623.\u0645. \u0633\u062d\u0631 \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631<\/strong><\/td>\n<\/tr>\n
6<\/strong><\/td>\n\u0633\u0627\u0631\u0629 \u0643\u0631\u064a\u0645 \u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u0639\u0630\u0631\u0627\u0621 \u062e\u0636\u064a\u0631 \u0639\u0628\u0627\u0633<\/strong><\/td>\n

The Festival Complex in Wole Soyinka’s Death and the King’s Horseman<\/strong><\/a><\/td>\n\u0623.\u0645 . \u0627\u0645\u0627\u0644 \u062c\u0627\u0633\u0645<\/strong><\/td>\n<\/tr>\n
7<\/strong><\/td>\n\u0645\u0631\u064a\u0645 \u062d\u0644\u0648 \u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

Reconsidering\u00a0 the self in Michael Ondaatje\u2019s \u00a0\u00a0the Skin of a Lion<\/strong><\/a><\/td>\n\u062f . \u0639\u0644\u0627\u0621 \u0639\u0628\u0627\u0633<\/strong><\/td>\n<\/tr>\n
8<\/strong><\/td>\n\u0633\u0647\u0627\u062f \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631 \u0644\u0641\u062a\u0647<\/strong><\/p>\n

\u0633\u0627\u0631\u0629 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646 \u0645\u0647\u062f\u064a<\/strong><\/td>\n

The Image of the Frustrated Humanity in William Golding’s Lord of the Flies<\/strong><\/a><\/td>\n<\/tr>\n
9<\/strong><\/td>\n\u0632\u0647\u0631\u0627\u0621 \u0631\u0634\u0627\u062f \u0639\u064a\u0627\u0644<\/strong><\/p>\n

\u0639\u0628\u064a\u0631 \u0639\u0644\u064a \u0631\u062d\u0645\u0627\u0646<\/strong><\/td>\n

Obsessions and Tendencies in Nabokov’s Lolita<\/strong><\/td>\n\u0645.\u0645. \u062d\u0645\u064a\u062f \u0645\u0627\u0646\u0639<\/strong><\/td>\n<\/tr>\n
10<\/strong><\/td>\n\u0631\u0628\u0627\u0628 \u0631\u0632\u0627\u0642 \u0639\u0628\u062f \u0627\u0644\u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0632\u064a\u0646\u0628 \u062d\u064a\u062f\u0631 \u0645\u0633\u0627\u0641\u0631<\/strong><\/td>\n

Dream of Immortality in Anne Rice’s\u00a0\u00a0 Interview with A Vampire\u00a0<\/a> <\/strong><\/td>\n<\/tr>\n
11<\/strong><\/td>\n\u062f\u0639\u0627\u0621 \u062d\u0645\u064a\u062f \u064a\u0627\u0633\u064a\u0646<\/strong><\/p>\n

\u0636\u064a \u0641\u0627\u0631\u0633 \u0639\u0628\u062f \u0627\u0644\u0632\u0647\u0631\u0629<\/strong><\/td>\n

Imagery in Scott Fitzgerld’s The Great Gatsby<\/strong><\/a><\/td>\n\u0645.\u062f. \u0627\u062d\u0645\u062f \u0633\u0639\u062f \u0639\u0632\u064a\u0632<\/strong><\/td>\n<\/tr>\n
12<\/strong><\/td>\n\u063a\u0641\u0631\u0627\u0646 \u062c\u0645\u0639\u0629 \u0634\u0631\u0627\u062f<\/strong><\/p>\n

\u0641\u0627\u0637\u0645\u0629 \u0633\u0644\u064a\u0645 \u0643\u0627\u0638\u0645<\/strong><\/td>\n

Religion in Alfred Lord Tennyson\u2019s Poetry<\/strong><\/a><\/td>\n\u0645. \u0639\u0644\u064a \u0639\u0628\u062f \u0627\u0644\u062c\u0644\u064a\u0644<\/strong><\/td>\n<\/tr>\n
13<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u062d\u064a\u062f\u0631 \u0639\u0628\u062f \u0627\u0644\u0639\u0632\u064a\u0632<\/strong><\/p>\n

\u0646\u0648\u0631 \u0631\u064a\u0627\u0636 \u062d\u0633\u064a\u0646<\/strong><\/td>\n

Unreliable Narration in Vladimir Nabokov\u2019s “The Vane Sisters\u201d\u00a0<\/a> <\/strong><\/td>\n\u0623.\u0628\u0627\u0633\u0645 \u0646\u0634\u0645\u064a<\/strong><\/td>\n<\/tr>\n
14<\/strong><\/td>\n\u062c\u0646\u0627\u0646 \u0644\u064a\u0644\u0648 \u062f\u0627\u064a\u062e<\/strong><\/p>\n

\u0627\u0633\u0645\u0627\u0621 \u0639\u0628\u0627\u0633 \u062d\u0633\u064a\u0646<\/strong><\/td>\n

Darl as a Tragic Hero in Faulkner’s As I Lay\u00a0 Dying<\/em><\/strong><\/td>\n\u0645.\u0645. \u0627\u062d\u0645\u062f \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/td>\n<\/tr>\n
15<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u0644\u0637\u064a\u0641 \u0633\u0644\u0645\u0627\u0646<\/strong><\/p>\n

\u0646\u0628\u0636 \u0627\u062d\u0645\u062f \u0645\u0631\u0632\u0629<\/strong><\/td>\n

Loss , Love and Geographical Imagination in Donne’s Poetry\u00a0<\/a> <\/strong><\/td>\n<\/tr>\n
16<\/strong><\/td>\n\u0631\u062d\u0627\u0628 \u0645\u0647\u062f\u064a <\/strong><\/p>\n

\u0631\u0624\u0649 \u0633\u0627\u0644\u0645 \u0641\u0631\u0645\u0627\u0646<\/strong><\/p>\n

\u0645\u0646\u062a\u0638\u0631 \u0635\u0627\u062d\u0628 \u0645\u0647\u062f\u064a<\/strong><\/td>\n

Parents and Children in Elizabeth Bowen’s\u00a0<\/a> <\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n<\/tr>\n

17<\/strong><\/td>\n\u0646\u0648\u0631 \u0641\u0627\u0626\u0632 \u062c\u0633\u0627\u0628<\/strong><\/p>\n

\u0647\u062f\u0649 \u062d\u0633\u064a\u0646 \u0645\u0646\u0639\u0645<\/strong><\/td>\n

Imagism in Amy Lowell’s “Patterns”<\/strong><\/a><\/td>\n\u0645.\u0645. \u0645\u0647\u0646\u062f \u0639\u0627\u062c\u0644<\/strong><\/td>\n<\/tr>\n
18<\/strong><\/td>\n\u0647\u062f\u0649 \u0639\u0628\u0627\u0633 \u062c\u0627\u0633\u0645<\/strong><\/p>\n

\u0646\u0648\u0631 \u0627\u0644\u0647\u062f\u0649 \u0639\u0628\u062f \u0627\u0644\u0643\u0631\u064a\u0645<\/strong><\/td>\n

Mythology in Edith Sitwell’s Poetry: A Study in Selected Poems\u00a0<\/a> <\/strong><\/td>\n<\/tr>\n
19<\/strong><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u0647\u0627\u062f\u064a \u062d\u0633\u0646<\/strong><\/p>\n

\u062a\u063a\u0631\u064a\u062f \u062d\u0633\u0646 \u0645\u062d\u0645\u062f<\/strong><\/td>\n

Religion in Wystan Hugh Auden\u2019s Poetry<\/strong><\/a><\/td>\n\u0645.\u0645. \u062d\u0648\u0631\u0627\u0621 \u0641\u0627\u0636\u0644<\/strong><\/td>\n<\/tr>\n
20<\/strong><\/td>\n\u0641\u064a\u062d\u0627\u0621 \u0641\u0627\u0647\u0645 \u0641\u0627\u0636\u0644<\/strong><\/p>\n

\u062d\u0646\u0627\u0646 \u0643\u0631\u064a\u0645 \u0645\u0648\u062d\u0627\u0646<\/strong><\/td>\n

Inhumanism in Robinson Jeffer\u2019s The Double\u00a0 Axe<\/strong><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
21<\/strong><\/td>\n\u0627\u0646\u0648\u0627\u0631 \u0646\u0627\u062c\u064a \u062d\u0633\u0646<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0639\u0644\u064a \u062d\u0645\u0632\u0629<\/strong><\/td>\n

The Functions of Intonation<\/strong><\/a><\/td>\n\u0623.\u0645. \u0627\u064a\u0645\u0627\u0646 \u062e\u0636\u064a\u0631 <\/strong><\/td>\n<\/tr>\n
22<\/b><\/td>\n\u0627\u062d\u0645\u062f \u0639\u0628\u062f \u0627\u0644\u0632\u0627\u0642 \u0645\u062c\u0647\u0648\u0644<\/strong><\/p>\n

\u0639\u0628\u0627\u0633 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u0646 \u062f\u062e\u064a\u0644<\/strong><\/td>\n

Gamification in Education<\/strong><\/a><\/td>\n\u0645.\u0645. \u0627\u0628\u062a\u0633\u0627\u0645 \u0645\u062d\u0645\u062f \u0639\u0644\u064a\u0648\u064a<\/strong><\/td>\n<\/tr>\n
23<\/b><\/td>\n\u0627\u062d\u0645\u062f \u0639\u0628\u0627\u062f\u064a \u0639\u0628\u064a\u062f<\/strong><\/p>\n

\u0642\u0627\u0633\u0645 \u0639\u0628\u0627\u0633 \u0643\u0627\u0645\u0644<\/strong><\/td>\n

Code \u2013 Switching and Identity<\/strong><\/a><\/td>\n\u0645. \u062d\u0628\u064a\u0628 \u0645\u062d\u0633\u0646 \u0639\u0631\u064a\u0641<\/strong><\/td>\n<\/tr>\n
24<\/strong><\/td>\n\u0647\u062f\u0649 \u0642\u0627\u0633\u0645 \u0646\u0639\u0645\u0629<\/strong><\/p>\n

\u0631\u0624\u0649 \u0642\u0627\u0633\u0645 \u0645\u0647\u062f\u064a<\/strong><\/td>\n

Hedging as Politeness Marker in English Language<\/strong><\/a><\/td>\n\u0623.\u0645. \u0631\u062c\u0627\u0621 \u0641\u0644\u064a\u062d \u0645\u0631\u062f\u0627\u0646<\/strong><\/td>\n<\/tr>\n
25<\/strong><\/td>\n\u0645\u062d\u0645\u062f \u062c\u0627\u0633\u0645 \u0628\u062f\u0631<\/strong><\/p>\n

\u0639\u0644\u064a \u062d\u0633\u0646 \u0643\u0627\u0638\u0645<\/strong><\/td>\n

Passive in English with reference to Quranic Verses<\/strong><\/a><\/td>\n\u0645. \u0645. \u0627\u0633\u0645\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0627\u0645\u064a\u0631 \u0639\u0628\u064a\u0633<\/strong><\/td>\n<\/tr>\n
26<\/strong><\/td>\n\u0633\u064a\u0641 \u0641\u0631\u0627\u0633 \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/p>\n

\u0645\u0647\u0646\u062f \u0645\u062d\u0645\u0648\u062f \u0634\u0627\u0643\u0631<\/strong><\/td>\n

The First Person Pronoun in English with reference to Quranic Verses<\/strong><\/a><\/td>\n\u0623.\u0645. \u0628\u0633\u0645\u0629 \u062e\u0627\u0644\u062f \u0627\u0646\u063a\u064a\u0634<\/strong><\/td>\n<\/tr>\n
27<\/b><\/td>\n\u0639\u0644\u064a \u0641\u064a\u0635\u0644 \u062c\u0627\u0628\u0631<\/strong><\/p>\n

\u062d\u064a\u062f\u0631 \u062d\u0633\u064a\u0646 \u0639\u0628\u062f<\/strong><\/td>\n

Incorporating Culture into a Foreign Language Classroom<\/strong><\/a><\/td>\n\u062f. \u0633\u0627\u0645\u064a \u0639\u0628\u0627\u0633<\/strong><\/td>\n<\/tr>\n
28<\/b><\/td>\n\u0645\u0635\u0637\u0641\u0649 \u0633\u0627\u0645\u064a \u0634\u0648\u064a\u062d<\/strong><\/p>\n

\u0642\u0627\u0633\u0645 \u0633\u0644\u0645\u0627\u0646 \u0631\u0627\u0636\u064a<\/strong><\/td>\n

\u00a0Writing and Identity in Disciplinary Studies<\/strong><\/a><\/td>\n\u062f. \u0633\u0627\u0645\u064a \u0628\u0634\u064a\u0631 \u0645\u0637\u0631\u0648\u062f<\/strong><\/td>\n<\/tr>\n
29<\/b><\/td>\n\u0641\u0627\u0637\u0645\u0629 \u062d\u0633\u064a\u0646 \u0639\u0644\u064a<\/strong><\/p>\n

\u0627\u0633\u0631\u0627\u0621 \u0635\u0644\u0627\u062d \u0637\u064a\u0627\u062d<\/strong><\/td>\n

Embolalia and Chiasmus<\/strong><\/a><\/td>\n\u0623.\u0645. \u0633\u0644\u064a\u0645\u0629 \u0639\u0628\u062f \u0627\u0644\u0632\u0647\u0631\u0629<\/strong><\/td>\n<\/tr>\n
30<\/strong><\/td>\n\u062d\u0633\u064a\u0646 \u062c\u0644\u064a\u0644 \u0639\u0628\u064a\u062f<\/strong><\/p>\n

\u062d\u0645\u064a\u062f \u0645\u062d\u064a\u0644 \u062d\u0633\u0646<\/strong><\/td>\n

Imperative Sentence in English with reference to Quranic Verses<\/a> <\/strong><\/td>\n\u0623.\u0645. \u0627\u062d\u0645\u062f \u0645\u062d\u0645\u062f \u0645\u0647\u062f\u064a<\/strong><\/td>\n<\/tr>\n
31<\/b><\/td>\n\u0631\u0633\u0644 \u0635\u0627\u0644\u062d \u0645\u0647\u062f\u064a<\/strong><\/p>\n

\u0631\u0646\u0627 \u062c\u0645\u064a\u0644 \u0639\u0628\u062f \u0627\u0644\u0632\u0647\u0631\u0629<\/strong><\/td>\n

Pitch Variation<\/a> <\/strong><\/td>\n\u0645. \u0645. \u0643\u0631\u064a\u0645 \u0639\u0634\u0639\u0648\u0634<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n<\/tr>\n

32<\/b><\/td>\n\u0635\u0644\u0627\u062d \u0645\u0647\u062f\u064a \u0631\u0632\u062c<\/strong><\/p>\n

\u0639\u0644\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0631\u0636\u0627<\/strong><\/td>\n

Sonority between English and Arabic<\/strong><\/a><\/td>\n\u0645. \u0645. \u0643\u0631\u064a\u0645 \u0639\u0634\u0639\u0648\u0634<\/strong><\/td>\n<\/tr>\n
33<\/strong><\/td>\n\u0627\u0644\u0641\u0631\u0642\u0627\u0646 \u0645\u064a\u062b\u0645 \u0634\u0645\u0631\u0627\u0646<\/strong><\/p>\n

\u062c\u0627\u0626\u0632 \u0633\u0641\u0627\u062d \u062d\u0645\u0648\u062f<\/strong><\/td>\n

Reading\u00a0\u00a0\u00a0 Strategies<\/strong><\/a><\/td>\n\u062f.\u0639\u0644\u064a \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/td>\n<\/tr>\n
34<\/strong><\/td>\n\u0627\u064a\u0645\u0627\u0646 \u062d\u0633\u0646 \u0639\u0628\u062f<\/strong><\/p>\n

\u0636\u062d\u0649 \u0643\u0631\u064a\u0645 \u0630\u064a\u0627\u0628<\/strong><\/td>\n

Thematic Roles in English<\/strong><\/a><\/td>\n\u0645. \u0634\u064a\u0645\u0627\u0621 \u0639\u0645\u0627\u062f<\/strong><\/td>\n<\/tr>\n
35<\/strong><\/p>\n

\u00a0<\/strong><\/td>\n

\u0628\u0634\u0627\u0631 \u0639\u0628\u062f \u0627\u0644\u062c\u0648\u0627\u062f \u0628\u0634\u064a\u0631<\/strong><\/p>\n

\u0646\u0628\u064a\u0644 \u0639\u0632\u064a\u0632 \u062d\u0633\u064a\u0646<\/strong><\/td>\n

A Socio- Pragmatic Analysis of the Language\u00a0\u00a0<\/strong>\u00a0Racism in Selected Political Speeches\u00a0\u00a0<\/strong><\/a><\/td>\n\u062f. \u0633\u0648\u0633\u0646 \u0643\u0631\u064a\u0645<\/strong><\/td>\n<\/tr>\n
36<\/strong><\/td>\n\u0627\u064a\u0645\u0627\u0646 \u0643\u0631\u064a\u0645 \u0633\u0644\u0645\u0627\u0646<\/strong><\/p>\n

\u0632\u0647\u0631\u0627\u0621 \u0633\u0639\u064a\u062f \u0646\u0639\u0645\u0629<\/strong><\/td>\n

Dialects ,Languages and Ethnicity<\/strong><\/a><\/td>\n\u0645. \u0644\u0628\u0646\u0649 \u0639\u0644\u064a \u0643\u0627\u0638\u0645<\/strong><\/td>\n<\/tr>\n
37<\/strong><\/td>\n\u0631\u062d\u064a\u0645 \u062d\u0633\u0646 \u0643\u0627\u0638\u0645<\/strong><\/p>\n

\u0633\u064a\u0641 \u062b\u0627\u0645\u0631 \u0639\u0627\u064a\u0632<\/strong><\/td>\n

A Linguistic Analysis of Grice Maxims<\/strong><\/a><\/td>\n\u0645. \u062c\u0646\u0627\u0646 \u0639\u0637\u064a\u0647<\/strong><\/td>\n<\/tr>\n
38<\/strong><\/td>\n\u0646\u0648\u0631\u0647 \u0633\u0639\u062f \u0648\u0637\u0628<\/strong><\/p>\n

\u0639\u0644\u064a \u0646\u0627\u0638\u0645 \u0627\u062d\u0645\u062f<\/strong><\/td>\n

Conditional Sentence in English<\/strong><\/a><\/td>\n\u062f. \u0647\u0627\u0634\u0645 \u0627\u0644\u0645\u0631\u0627\u062f\u064a<\/strong><\/td>\n<\/tr>\n
39<\/strong><\/td>\n\u0627\u0646\u062a\u0635\u0627\u0631 \u062d\u0645\u064a\u062f\u064a<\/strong><\/p>\n

\u0634\u064a\u0645\u0627\u0621 \u062d\u0633\u0646<\/strong><\/td>\n

Corporative Writing<\/strong><\/a><\/td>\n\u062f. \u0639\u0644\u064a \u0639\u0628\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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\u0627\u0644\u062f\u0631\u0627\u0633\u0640\u0640\u0629 \u0627\u0644\u0635\u0628\u0627\u062d\u0640\u0640\u0640\u064a\u00a0 \u062a \u0627\u0633\u0645\u0627\u0621 \u0627\u0644\u0628\u0627\u062d\u062b\u064a\u0646 \u0639\u0646\u0648\u0627\u0646 \u0627\u0644\u0628\u062d\u062b \u0627\u0633\u0645 \u0627\u0644\u0645\u0634\u0631\u0641 1 \u0627\u0641\u0631\u0627\u062d \u062d\u0633\u0646 \u062c\u0628\u0631 \u0627\u0645\u0627\u0646\u064a \u062c\u0628\u0627\u0631 \u062d\u0633\u0646 Functions of Language \u0623.\u0645. … <\/i>\u0642\u0631\u0627\u0621\u0629 \u0627\u0644\u0645\u0632\u064a\u062f<\/span><\/a><\/p>\n","protected":false},"author":42,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-22986","post","type-post","status-publish","format-standard","hentry","category-28"],"_links":{"self":[{"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=\/wp\/v2\/posts\/22986","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22986"}],"version-history":[{"count":0,"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=\/wp\/v2\/posts\/22986\/revisions"}],"wp:attachment":[{"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22986"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=22986"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/repository.qu.edu.iq\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=22986"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}