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Language is the fundamental element of communication and understanding in society. It relates immediately to human thoughts and is embodied in written or spoken signs or signals. The field that scientifically studies language (its forms and structures) is called Linguistics. Among the linguistic studies of language is Rhetoric which studies the importance of speech or texts for the audience. Rhetoric is the art of persuasion; it comprises different arguments raised by the speaker/writer depending on social, religious, moral or even traditional evidence in order to prove that the raised arguments are real. In this way, the writer/speaker associates the language to similar or related realities in order to reach the purpose of her/his language. However, presenting arguments and evidence it not always accurate because there are arguments that rely on weak evidence. The purpose of argumentative techniques is still to persuade the audience about a personal view or a societal concept. From this perspective, the feminist linguists suggest that rhetoric is actually masculine; that is, rhetoric is anti-feminist. Therefore, linguists presented a great deal of evidence to prove this theory and bring the feminist ideology into rhetoric. This study aims at providing a feminist rhetorical analysis of the anti-feminist poetry to study the status of women in rhetoric and whether the arguments that demean women are true or not. For this purpose, the current study utilizes Fiorenza's (1995) model of analysis; a feminist rhetorical tool to analyze anti-feminist poems written by male poets in English and Arabic in order to study the arguments as well as the evidence the poets present against women.

This research provides a new method to study praise poetry that can be used as a course to teach English and Arabic to students in the College of Education. This research answers two questions: 1. Is it possible to examine praise poetry as a tagmeme? 2. Is this analysis of great help in teaching English and Arabic to students in the College of Education? The data that will be chosen for the purpose of analysis are two of Shakespeare's sonnets and two of AL Mulik's poems. The sonnets selected for this purpose are 17 and 18. AL Mulik's poems selected for the same purpose are 8 and 9. Each line in both English and Arabic data is numbered by the researcher herself. Then, those lines are grouped into sentences to facilitate the process of analysis. The researcher has relied on Pike and Pike (1977) model for the analysis. The study has reached that AL Mulik's poems and the sonnets are considered as tagmeme and that there is a connection between a AL Mulik's poems and the sonnets. The analysis conducted in this research can be of great help to teach students learning English and Arabic in the College of Education because it supplies them with a novice method of studying the texts to be learned.

'Petits Poèmes en prose or Le Spleen de Paris' has illustratedBaudelaire'sproject for adoptingpoetryrepresents modern life. This volume depicts the life and destiny of the man in the multitude of the physical life. It is a unique thing; it represents a miracle that combines prose with poetry. In the volume of 'PetitsPoèmes en prose or Le Spleen de Paris', Baudelaire pays great attention to the metaphoric image and all kinds of metaphors that can reveal multiple meanings; hence, 'PetitsPoèmes en prose' suggests its poetry. For Baudelaire, the image is charged with symbolic payload inviting the reader to make the effort in discovering the potential secret and meaning beyond words. Baudelaire is keen on the suggestive magic in this new literary of genre; consequently, he is considered as its first pioneer. He introduces a different and new style in a special way. From contacts with big cities and countless intersected relations, this example of urgent poetry has been initiated to be suitable for describing modern life, more abstract and freedom, to be musical without rhythm or rhyme, and smooth enough to agree with the lyrical movements of the soul and the daydream ripples and awareness uprisings.

Human life has always been connected to the concept of love; it has recurred in the works of poets and writers creating a tremendous attraction. The manifestation of love has been influenced by cultural, literary, and social events of humankind through different times and places. Nagi and Jaff are among the most important Arab and Kurdish sonnet writing poets of the contemporary period. Unfortunately, Jaff is less known to the world due to the lack of research by authors and scholars in this regard; however, Jaff is one of the most prominent Kurdish poets. Nagi and Jaff were highly determined in writing sonnets; therefore, it is appropriate to consider them as pioneers of sonnet form particularly romantic sonnets. Nagi views his beloved differently and has a pure innocent love; he expresses a life full of love and adoration along with sorrow and grief. \"All expressions of nature and objects are reflected in the poet's sorrow and grief, no wine will ever soothe this sorrow even the attainment of the beloved\" Ehsan Abbas explains. However, Jaff reflects on the physical and material aspects of love and his beloved. Jaff's material and formal stance is rooted in his great love for the beloved. Mostly, Kurdish poets are influenced by poets and writers of other nations. The relationship between material love and pure love is different in the viewpoint of these two poets. Nagi believes that material or formal love is the beginning of pure divine love, provided that this love is not associated with lust; yet such viewpoint is not strong in Taher Beg Jaff's work probably due to his living condition which was aristocratic and carefree to some extent. Perhaps the impact of this factor can be observed in Jaff's formal and material love.

Ekphrasis enables poets to invade the most difficult and sensitive areas of thought without the pressure of direct expression. Ekphrastic poetry has a tendency to draw together contradictions; the work of art acting as intermediary between points of opposition, tension and contrast. The presence of the ekphrastic object in a poem is an acknowledgement of the unbridgeable hermeneutic gap between poetry, history and the real, indeed it often acts as the marker that exposes this gap. Also in a practical way, through both its critical and art-historical backgrounds, the practice of ekphrasis is located very firmly within arguments of a temporal nature; it is important to remember that paintings have a material history as well as a conceptual one, and that contemporary poetry is increasingly taking into account, and even seeking to replicate in some cases, the space of the museum itself as well as the paintings within it. Therefore, the present paper aims at affording a new study of the poetry of the contemporary American poetess Jorie Graham through illuminating the rhetorical device of ekphrasis, which is meant to verbally represent what is already represented visually, and its relation to presentations of the most perplexing concepts in modern and contemporary literature in general and poetry in particular, namely, memory and personal history. The paper is an attempt to investigate how Jorie Graham uses images from painting, photography and films in her poems to manipulate time and represent personal history through memory which, in turn, leads to a consideration of how she uses ekphrasis to approach the ethics of representing public history, and how she uses the different temporal conventions of each genre to write about the past.

يستعرض هذا البحث دراسة متعمقة حول قدرة نماذج الذكاء الاصطناعي الحديثة، مثل DeepL وGemini وChatGPT، في ترجمة الشعر الإنجليزي إلى اللغة العربية، ويقدم مقارنة شاملة مع الترجمات البشرية من منظور لغوي وجمالي وثقافي. تهدف الدراسة إلى سد الفجوة البحثية في استخدام هذه النماذج لترجمة النصوص الشعرية، لا سيما وأن الذكاء الاصطناعي قد أحدث تطورا كبيرا في تقنيات الترجمة، إلا أن الدراسات المتخصصة التي تتناول الترجمة الآلية للنصوص الشعرية لا تزال نادرة. يهدف البحث إلى فحص قدرة هذه النماذج على الحفاظ على جوهر الشعر الإنجليزي عند ترجمته إلى اللغة العربية، مقارنة بما يقدمه المترجمون البشريون، في محاولة لفهم مدى قدرة التكنولوجيا الحديثة على استيعاب الخصائص الأدبية المعقدة والمتشابكة للنصوص الشعرية. يتبنى البحث منهجية شاملة تغطي ثلاثة محاور رئيسية. أولا، يقدم الإطار النظري تعريفا موسعا لمفهوم الترجمة الشعرية، مع التركيز على صعوباتها التي تفوق باقي أنواع الترجمة نظرا لما يتضمنه الشعر من صور بلاغية، ورمزية، وإيقاع خاص يصعب نقله بدقة بين اللغات. كما يعرض الإطار النظري ملامح الترجمة الأدبية ومذاهبها التقليدية والمعاصرة، مثل الترجمة الحرفية مقابل الترجمة الحرة، ويسلط الضوء على التحديات التي تطرأ عند تطبيق هذه المفاهيم في الترجمة الآلية للنصوص الشعرية. ثانيا، يقدم الإطار التطبيقي تحليلا معمقا للترجمات البشرية والآلية لقصائد مختارة من وليم شكسبير Sonnet 18)) و (Sonnet 73) وت. س. إليوت (The Waste Land)، عبر معايير شاملة تشمل الفهم البلاغي والإيقاع الشعري، والنقل الثقافي، ودقة نقل الصور المجازية، مع تقديم منهج نقدي يركز على رصد أوجه القوة والضعف في الترجمات المعنية. ثالثا، يتناول البحث تقييما نقديا للنتائج المتوصل إليها، والتي أظهرت بوضوح التحديات التي تواجه النماذج الآلية في الحفاظ على الهوية الأدبية للشعر، خصوصا في نقل الحس الشعري والرمزية الثقافية، وهي المجالات التي لا تزال الترجمات البشرية تتفوق فيها بشكل واضح. من خلال التحليل المقارن، خلصت النتائج إلى أن الترجمات الآلية، رغم دقتها اللغوية في نقل المعنى الحرفي للنصوص، لم تتمكن من إبراز البعد الفني والجمالي للشعر كما فعلت الترجمات البشرية النماذج الآلية قد تنجح في التعامل مع الجمل التقريرية والمصطلحات اللغوية الدقيقة، لكنها تفتقر إلى الحساسية اللازمة لفهم التراكيب البلاغية والمعاني الملتوية التي تتسم بها القصائد الشعرية. كما أظهرت النماذج الآلية قصورا في التقاط العناصر المجازية التي تشكل جوهر الأدب الشعري، مثل الصورة الشعرية والإيقاع الداخلي للقصيدة. في المقابل، تمكن المترجمون البشر من الحفاظ على الطابع الجمالي والرمزي للنصوص الشعرية بشكل أفضل، إذ أظهرت ترجماتهم قدرة على إبراز النغمات اللغوية الفريدة والتركيبات البلاغية المعقدة التي تكمن في الشعر. هذه الفروق بين الترجمات البشرية والآلية تؤكد ضرورة تدخل العنصر البشري في عملية الترجمة الأدبية، بما في ذلك الشعر، لضمان الحفاظ على المعنى الجمالي واللغوي للنصوص. وتؤكد الدراسة على ضرورة دمج التقنيات الحديثة مع الخبرة البشرية لتقديم ترجمات أكثر دقة وجمالا. في الختام، يسلط هذا البحث الضوء على أهمية البحث المستمر في هذا المجال لفتح آفاق جديدة لتطوير أدوات الترجمة الآلية، ويعزز النقاش الأكاديمي حول العلاقة التفاعلية بين الأدب والتكنولوجيا، مؤكدا على ضرورة أن تكون هذه الأدوات في خدمة الأدب وليس العكس، لتظل الترجمة الأدبية بمثابة جسر ثقافي يربط بين الحضارات والنصوص.

Adrienne Rich utilizes free verse to surprise her readers by covering the intertwined relationship between politics and society, which results in encapsulating everyday practices in most of her poems. She tries to articulate the depressed voice of women, thus making this group noticeable by people. The study discusses Rich's poems \"Planetarium\" and \"Power\", focusing on pronouns, spacing, enjambment, and diction. It explains how the change in pronouns, for instnace, serves the theme of uniting women's experience of oppression and resistance and how the enjambment and the choice of diction are used to add emphasis on women's suffering and their consequent need to oppose patriarchy. Relying on this stylistic approach, the paper concludes that Adrienne Rich is resisting patriarchy through a feminine stylistic tone.

Ever since the 1970s Asian American literature emerged to tackle issues of Western racism against Asians, the importance of preserving the Asian ethnic heritage, and chiefly constructing a definite sense of identity based on self-definition. Celebrating the ethnic self and its nationality and language of origin as well as its traditional values from root culture are the most essential aspects that formed Asian American literature. Asian American writers came to be known for being a vital voice of justice for the marginalized members of their community who strive to preserve their culture in the face of ethnic segregation. However, John Yau (1950-), a prominent contemporary Chinese American poet, goes beyond self identified poetic writings of the ethnic self, challenging the cultural stereotypical molds of the American mainstream that encapsulated the Asian American identity. Instead of promoting the preservation one's ethnic and cultural indentity, Yau evokes an unsettling image of fluid 'Otherness' that does not yield to prescribed representations. The purpose of this paper is to examine Yau's poetic vision of otherness and its significance by exploring a selection of his poems, mainly \"Ing Grish,\" arguing for an anti-essentialist notion of constructing the Asian American identity that is not based on one's culture of origin. Tackling the poet's unorthodox presentation of the ethnic self of Chinese Americans, the paper also emphasizes that within the fluid culture of contemporary America, the Asian American identity is necessarily unsettling, but liberated from rigid predicate identities and cultural classifications.