{"id":3298,"date":"2022-05-19T13:50:29","date_gmt":"2022-05-19T10:50:29","guid":{"rendered":"https:\/\/homs-univ.edu.sy\/rags\/?page_id=3298"},"modified":"2022-05-19T13:50:29","modified_gmt":"2022-05-19T10:50:29","slug":"%d8%b1%d8%b3%d8%a7%d8%a6%d9%84-%d8%af%d9%83%d8%aa%d9%88%d8%b1%d8%a7%d9%87-%d9%83%d9%84%d9%8a%d8%a9-%d8%a7%d9%84%d8%a2%d8%af%d8%a7%d8%a8-%d9%88-%d8%a7%d9%84%d8%b9%d9%84%d9%88%d9%85-%d8%a7%d9%84%d8%a5","status":"publish","type":"page","link":"https:\/\/homs-univ.edu.sy\/rags\/%d8%b1%d8%b3%d8%a7%d8%a6%d9%84-%d8%af%d9%83%d8%aa%d9%88%d8%b1%d8%a7%d9%87-%d9%83%d9%84%d9%8a%d8%a9-%d8%a7%d9%84%d8%a2%d8%af%d8%a7%d8%a8-%d9%88-%d8%a7%d9%84%d8%b9%d9%84%d9%88%d9%85-%d8%a7%d9%84%d8%a5","title":{"rendered":"\u0631\u0633\u0627\u0626\u0644 \u062f\u0643\u062a\u0648\u0631\u0627\u0647 \u0643\u0644\u064a\u0629 \u0627\u0644\u0622\u062f\u0627\u0628 \u0648 \u0627\u0644\u0639\u0644\u0648\u0645 \u0627\u0644\u0625\u0646\u0633\u0627\u0646\u064a\u0629"},"content":{"rendered":"
\n \n \n \n \n \n \n \n \n \n \n <\/colgroup>\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 \n \n \n \n \n \n \n \n \n
\u0627\u0644\u0631\u0642\u0645 \u0627\u0644\u062a\u0633\u0644\u0633\u0644\u064a<\/th>\u0627\u0644\u0639\u0646\u0648\u0627\u0646<\/th>\u0627\u0644\u0639\u0646\u0648\u0627\u0646 \u0628\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0627\u0646\u062c\u0644\u064a\u0632\u064a\u0629<\/th>\u0623\u0633\u0645 \u0627\u0644\u0628\u0627\u062d\u062b<\/th>\u0623\u0633\u0645 \u0627\u0644\u0645\u0634\u0631\u0641<\/th>\u0627\u0644\u0639\u0627\u0645<\/th>\u0627\u0644\u0642\u0633\u0645<\/th>\u0627\u0644\u0645\u0632\u064a\u062f<\/th><\/tr>\n<\/thead>\n
05<\/td>\u0627\u0644\u0648\u0627\u0642\u0639\u064a\u0651\u0629 \u0627\u0644\u0627\u0646\u062a\u0642\u0627\u062f\u064a\u0651\u0629 \u0641\u064a \u0645\u0633\u0631\u062d\u064a\u0627\u062a \u062c\u0648\u0631\u062c \u0628\u0631\u0646\u0627\u0631\u062f \u0634\u0648 \u0648\u0623\u062b\u0631\u064f\u0647\u0627 \u0641\u064a \u062a\u0634\u0643\u064a\u0644 \u0628\u0646\u0627\u0626\u0647 \u0627\u0644\u0645\u0633\u0631\u062d\u064a\u0651<\/td>Critical Realism in George Bernard Shaw's Plays and Its Impact on the Formation of His Dramatic Construction<\/td>\u0631\u0627\u0626\u0640\u062f \u0633\u0640\u0647\u0640\u064a\u0640\u0644 \u0627\u0644\u0640\u062d\u0640\u0644\u0651\u0627\u0642<\/td>\u0623.\u062f. \u0633\u0640\u0640\u0640\u0627\u0645\u0640\u0640\u064a \u0645\u0640\u0646\u0640\u0635\u0640\u0648\u0631 + \u0623.\u062f. \u0648\u0627\u0635\u0640\u0640\u0641 \u0627\u0644\u0640\u0633\u0651\u0640\u0644\u0627\u0645\u0640\u064a<\/td>2020<\/td>\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
02<\/td>\u0627\u0644\u0642\u0631\u0627\u0621\u0627\u062a\u064f \u0627\u0644\u0642\u0631\u0622\u0646\u064a\u0651\u064e\u0629\u064f \u0627\u0644\u0645\u062a\u0648\u0627\u062a\u0631\u0629\u064f \u0628\u064a\u0646\u064e \u062a\u062d\u0648\u0651\u064f\u0644\u0627\u062a\u0650 \u0627\u0644\u0635\u0651\u0650\u064a\u063a\u0629\u0650 \u0648\u062a\u063a\u064a\u0651\u064f\u0631\u0627\u062a\u0650 \u0627\u0644\u062f\u0651\u0644\u0627\u0644\u0629\u0650<\/td>( Al- Tibrsiy,s Syntactic Efforts in his Book Majma,Al- Bayan in Tafseer Al- Quran) <\/td>\u0639\u0627\u0645\u0631 \u0633\u0644\u064a\u0645\u0627\u0646 \u062f\u0631\u0648\u064a\u0634<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0651\u0643\u062a\u0648\u0631: \u0639\u0628\u062f \u0627\u0644\u0625\u0644\u0647 \u0646\u0628\u0647\u0627\u0646 + \u0627\u0644\u062f\u0651\u0643\u062a\u0648\u0631: \u0645\u062d\u0645\u0651\u062f \u0645\u0627\u062c\u062f \u0627\u0644\u0639\u0637\u0627\u0626\u064a\u0651<\/td>2020<\/td> \u0634\u0639\u0628\u0629 \u0627\u0644\u062f\u0651\u0650\u0631\u0627\u0633\u0627\u062a \u0627\u0644\u0644\u0651\u064f\u063a\u0648\u064a\u0651\u064e\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
03<\/td>\u0634\u0639\u0631 \u0627\u0644\u0632\u0647\u062f \u0639\u0646\u062f \u0623\u0628\u064a \u0627\u0644\u0639\u0644\u0627\u0621 \u0627\u0644\u0645\u0639\u0631\u064a \u0628\u064a\u0646 \u0627\u0644\u062f\u064a\u0646 \u0648\u0627\u0644\u0641\u0644\u0633\u0641\u0629<\/td><\/td>\u062c\u0647\u0627\u062f \u0639\u0628\u062f \u0627\u0644\u0642\u0627\u062f\u0631 \u0642\u0648\u064a\u062f\u0631<\/td>\u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0623\u062d\u0645\u062f \u0639\u0644\u064a \u062f\u0647\u0645\u0627\u0646<\/td>2020<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 \u0648\u0622\u062f\u0627\u0628\u0647\u0627<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
04<\/td>\u0627\u0644\u0646\u0651\u0635\u0651 \u0627\u0644\u0623\u062f\u0628\u064a\u0651 \u0628\u064a\u0646 \u0622\u0644\u064a\u0651\u0629 \u0627\u0644\u0642\u0631\u0627\u0621\u0629 \u0648\u0625\u0634\u0643\u0627\u0644\u064a\u0651\u0629 \u0627\u0644\u062a\u0651\u0623\u0648\u064a\u0644<\/td><\/td>\u0631\u062c\u0627\u0621 \u0639\u0628\u062f \u0627\u0644\u0639\u0632\u064a\u0632 \u0634\u0646\u0648<\/td>\u0623. \u062f. \u062c\u0648\u062f\u062a \u0625\u0628\u0631\u0627\u0647\u064a\u0645<\/td>2020<\/td>\u0627\u0644\u062f\u0631\u0627\u0633\u0627\u062a \u0627\u0644\u0623\u062f\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
01<\/td>\u062a\u0648\u0638\u064a\u0641 \u0627\u0644\u062a\u0631\u0627\u062b \u0641\u064a \u0627\u0644\u0645\u0633\u0631\u062d \u0627\u0644\u0633\u0648\u0631\u064a \u0627\u0644\u0645\u0639\u0627\u0635\u0631<\/td>The Exploit of Heritage in Contemporary Syrian Drama<\/td>\u0648\u0644\u0627\u0621 \u0645\u062d\u0645\u062f \u0634\u0627\u0643\u0631<\/td>\u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629 \u0631\u0634\u0627 \u0627\u0644\u0639\u0644\u064a<\/td>2019<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
06<\/td>\u0623\u0628\u0639\u0627\u062f \u0627\u0644\u0635\u0648\u0631\u0629 \u0627\u0644\u0634\u0639\u0631\u064a\u0629 \u0648\u062f\u0644\u0627\u0644\u062a\u0647\u0627 \u0641\u064a \u0634\u0639\u0631 \u0645\u062d\u0645\u0648\u062f \u062f\u0631\u0648\u064a\u0634 <\/td>The Dimension and Connotations of Poetic Imagery in Mahmoud Darwish,s Poetry<\/td>\u062e\u0627\u0644\u062f \u0639\u0644\u064a \u0639\u0644\u064a<\/td>\u0623.\u062f. \u0645\u062d\u0645\u062f \u0633\u0644\u0645\u0627\u0646 \u0639\u064a\u0633\u0649 <\/td>2020<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
07<\/td>\u0627\u0644\u062d\u0650\u062c\u064e\u0640\u0640\u0640\u0627\u062c\u064f \u0641\u0640\u064a \u0627\u0644\u0646\u0651\u064e\u062b\u0640\u0640\u0631\u0650 \u0627\u0644\u062c\u0640\u0627\u0647\u0644\u0640\u064a\u0651\u0650<\/td>Argumentation in Pre-Islamic Prose<\/td>\u0645\u062d\u0645\u0651\u064e\u0640\u062f \u0639\u0628\u062f \u0627\u0644\u0633\u0651\u064e\u0640\u0627\u062a\u0631 \u0632\u0643\u0640\u0631\u064a\u0651\u064e\u0627<\/td>\u0633\u0645\u0640\u0640\u0640\u0631 \u0627\u0644\u062f\u0651\u064e\u064a\u0651\u064f\u0640\u0640\u0648\u0628<\/td>2021<\/td>\u0627\u0644\u0644\u0651\u064f\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u064e\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
08<\/td>\u0627\u0644\u0644\u0651\u0647\u062c\u0627\u062a \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 \u0648\u0623\u062b\u0631\u064f\u0647\u0627 \u0641\u064a \u0627\u0644\u062a\u0648\u062c\u064a\u0647 \u0627\u0644\u0646\u062d\u0648\u064a \u0641\u064a \u0643\u062a\u0627\u0628 (\u0627\u0644\u062f\u0651\u064f\u0631 \u0627\u0644\u0645\u0635\u0648\u0646 \u0641\u064a \u0639\u0644\u0645 \u0627\u0644\u0643\u062a\u0627\u0628 \u0627\u0644\u0645\u0643\u0646\u0648\u0646)\u0644\u0644\u0633\u0645\u064a\u0646 \u0627\u0644\u062d\u0644\u0628\u064a<\/td> Arabic Dialects and their Impact on Syntactic Orientation in the interpretation of Al Durrul Mason in ILm Al Kitab Al-maknun by Al-Sameen Al-Halabi<\/td>\u0628\u062f\u0648\u0631 \u0639\u0628\u062f \u0627\u0644\u0631\u062d\u0645\u0646 \u0627\u0644\u0632\u0651\u064a\u0651\u0627\u062a<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649<\/td>2020<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
09<\/td>\u0628\u0644\u0627\u063a\u0629 \u0627\u0644\u0642\u0650\u0635\u0651\u064e\u0629 \u0641\u064a \u0627\u0644\u0634\u0651\u064e\u0648\u0642\u064a\u0651\u064e\u0627\u062a<\/td>THE ELOQUENCE OF STORY IN (ALSHAWQIYAT) A thesis submitted to obtain dectorate in Arabic Language <\/td>\u0639\u0627\u0644\u064a\u0629 \u0623\u062d\u0645\u062f \u062a\u0648\u0641\u064a\u0642 \u0643\u0644\u064a\u0628 <\/td>\u0623.\u062f. \u0633\u0645\u064a\u0631 \u0645\u0639\u0644\u0648\u0641<\/td>2020<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
10<\/td>\u0627\u0644\u0642\u0648\u0627\u0639\u062f \u0627\u0644\u0643\u0644\u0651\u0650\u064a\u0651\u064e\u0629 \u0648\u0627\u0644\u0636\u0648\u0627\u0628\u0637 \u0641\u064a \u0627\u0644\u0641\u0643\u0631 \u0627\u0644\u0646\u0651\u064e\u062d\u0648\u064a\u0651\u0650<\/td>General Rules and Constraints in Syntactic Thinking<\/td>\u0645\u062d\u0645\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0648\u062f \u0645\u062d\u0645\u062f \u0627\u0644\u062d\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u062f\u064a\u062f<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0631\u0636\u0648\u0627\u0646 \u0627\u0644\u0642\u0636\u0645\u0627\u0646\u064a +\u0627\u0644\u062f\u0643\u062a\u0640\u0640\u0640\u0640\u0648\u0631 \u0645\u062d\u0645\u0640\u0640\u0640\u0640\u0640\u062f \u0645\u0627\u062c\u0640\u0640\u0640\u0640\u0640\u062f \u0627\u0644\u0639\u0637\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0627\u0626\u064a<\/td>2020<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
11<\/td>\u062c\u0645\u0627\u0644\u064a\u0651\u0627\u062a \u0627\u0644\u0641\u0646\u0648\u0646 \u0627\u0644\u0628\u0644\u0627\u063a\u064a\u0651\u0629 \u0628\u064a\u0646 \u0627\u0644\u0639\u0628\u0627\u0633 \u0628\u0646 \u0627\u0644\u0623\u062d\u0646\u0641 \u0648\u062f\u064a\u0643 \u0627\u0644\u062c\u0646 \u0627\u0644\u062d\u0645\u0635\u064a<\/td>The aesthetics of metaphorical arts In al abbas bin al ahnaf and dik al jin al homsi<\/td>\u0631\u062f\u064a\u0646\u0629 \u0639\u0628\u062f\u0627\u0644\u0641\u062a\u0627\u062d \u0627\u0644\u0642\u0627\u0633\u0645<\/td>\u0623.\u062f : \u0647\u0627\u064a\u0644 \u0627\u0644\u0637\u0627\u0644\u0628 + \u0623.\u062f \u062e\u0644\u062f\u0648\u0646 \u0635\u0628\u062d<\/td>2021<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
12<\/td>\u062a\u0631\u0627\u0633\u0644 \u0627\u0644\u0634\u0651\u0639\u0631 \u0645\u0639 \u0627\u0644\u0641\u0646\u0648\u0646 \u0641\u064a \u063a\u0632\u0644 \u0627\u0644\u0639\u0635\u0631 \u0627\u0644\u0623\u0645\u0648\u064a\u0651<\/td>The Correspondence of Poetry with Arts in The Ghazal of The Umayyad Era<\/td>\u062f\u0644\u0627\u0644 \u0633\u0644\u0648 \u0634\u062d\u0627\u062f\u0629<\/td>\u0627\u0644\u0623\u064f\u0633\u062a\u0627\u0630\u0629 \u0627\u0644\u062f\u0651\u0643\u062a\u0648\u0631\u0629: \u0633\u0645\u0631 \u0627\u0644\u062f\u0651\u064a\u0651\u0648\u0628<\/td>2021<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
13<\/td> \u0627\u0644\u0645\u0634\u0627\u0643\u0644 \u0627\u0644\u062a\u064a \u064a\u0648\u0627\u062c\u0647\u0647\u0627 \u0645\u062a\u0639\u0644\u0645\u0648 \u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0625\u0646\u0643\u0644\u064a\u0632\u064a\u0629 \u0627\u0644\u0633\u0648\u0631\u064a\u0648\u0646 \u0641\u064a \u0641\u0647\u0645 \u0648\u0625\u0635\u062f\u0627\u0631 \u0627\u0644\u0643\u0644\u0627\u0645 \u0627\u0644\u0645\u062a\u0648\u0627\u0635\u0644 <\/td>The Problems Encountered by Syrian Learners of English in the Perception and Production of Connected Speech Processes<\/td> \u062d\u0627\u0632\u0645 \u0637\u0644\u0627\u0644 \u0627\u0644\u062e\u0631\u0627\u0628\u0647<\/td>\u062f. \u0631\u064a\u0627\u0636 \u0637\u064a\u0641\u0648\u0631 +\u0623.\u062f. \u0623\u062d\u0645\u062f \u0645\u062d\u0645\u062f \u062d\u0633\u0646<\/td>2021<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0627\u0646\u0643\u0644\u064a\u0632\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
14<\/td>\u0641\u0627\u0639\u0644\u064a\u0651\u0629\u064f \u0627\u0644\u0635\u0651\u064f\u0648\u0631\u0629\u0650 \u0627\u0644\u0628\u0644\u0627\u063a\u064a\u0651\u064e\u0629\u0650 \u0641\u064a \u062a\u0641\u0627\u0636\u064f\u0644 \u0627\u0644\u0634\u0651\u0650\u0639\u0631 \u0641\u064a \u0627\u0644\u0646\u0651\u064e\u0642\u062f\u0650 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0650 (\u062d\u062a\u0651\u064e\u0649 \u0646\u0647\u0627\u064a\u0629 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0633\u0651\u064e\u0627\u0628\u0639 \u0627\u0644\u0647\u062c\u0631\u064a)<\/td>The effectiveness of the Rhetorical Image in poetry Diffeventiation in the Arabic Criticism (Until the End of the 7th Century AH) A thesis submitted for obtaining a doctorate Department Of Arabic Language<\/td>\u0641\u0631\u0627\u0633 \u0637\u0631\u0643\u064a \u0627\u0644\u0623\u062d\u0645\u062f<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0633\u0645\u064a\u0631 \u0623\u062d\u0645\u062f \u0645\u0639\u0640\u0644\u0648\u0641<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
15<\/td>\u0642\u0635\u064a\u062f\u0629 \u0627\u0644\u062a\u062c\u0631\u0628\u0629 \u0641\u064a \u0627\u0644\u0634\u0639\u0631 \u0627\u0644\u0639\u0631\u0628\u064a \u0627\u0644\u0633\u0648\u0631\u064a \u0627\u0644\u0645\u0639\u0627\u0635\u0631<\/td>The Poem of Experience In Contemporary Arab Syrian Poetary <\/td>\u0645\u062d\u0645\u062f \u0628\u0634\u064a\u0631 \u064a\u0627\u0633\u0631 \u0627\u0644\u0623\u062d\u0645\u062f<\/td>\u0623.\u0645.\u062f. \u0631\u0634\u0627 \u0627\u0644\u0639\u0644\u064a<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
16<\/td> \u0627\u0644\u062c\u0647\u0648\u062f \u0627\u0644\u0646\u062d\u0648\u064a\u0629 \u0641\u064a \u062a\u0641\u0633\u064a\u0631 \u0627\u0644\u0633\u0631\u0627\u062c \u0627\u0644\u0645\u0646\u064a\u0631 \u0644\u0644\u062e\u0637\u064a\u0628 \u0627\u0644\u0634\u0631\u0628\u064a\u0646\u064a (\u062a 977 \u0647\u0640)<\/td><\/td>\u0644\u0637\u064a\u0641\u0629 \u064a\u0648\u0633\u0641\u0627\u0646<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
17<\/td>\u0627\u0644\u062a\u0651\u0650\u0642\u0652\u0646\u0650\u064a\u0651\u064e\u0627\u062a\u064f \u0627\u0644\u0641\u064e\u0646\u0651\u0650\u064a\u0651\u064e\u0629 \u0648\u0627\u0644\u0623\u064e\u0628\u0652\u0639\u064e\u0627\u062f\u064f \u0627\u0644\u0641\u0650\u0643\u0652\u0631\u0650\u064a\u0651\u064e\u0629 \u0641\u064a \u0623\u062f\u064e\u0628 \u0644. \u0646. \u062a\u0648\u0644\u0633\u0652\u062a\u064f\u0648\u0652\u064a (\u062f\u0650\u0631\u064e\u0627\u0633\u064e\u0629 \u0646\u064e\u0642\u0652\u062f\u0650\u064a\u0651\u064e\u0629 \u062a\u064e\u0637\u0652\u0628\u0650\u064a\u0652\u0642\u0650\u064a\u0651\u064e\u0629) <\/td>Artistic Techniques and Intellectual Dimensions in L. N. Tolstoy's Literature (An Applied and Critical Study)<\/td>\u0646\u0627\u0638\u0645 \u0648\u0647\u0628\u064a \u0627\u0644\u062f\u0651\u0650\u064a\u0628\u0648<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0651\u064f\u0643\u062a\u0648\u0631 \u0623\u062d\u0645\u062f \u0633\u064a\u0641 \u0627\u0644\u062f\u064a\u0646<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
18<\/td>\u0627\u0644\u0634\u0651\u0650\u0639\u0631\u064a\u0651\u064e\u0629\u064f \u0648\u0627\u0644\u0633\u0651\u064e\u0631\u062f\u064a\u0651\u064e\u0629\u064f \u0641\u064a \u0634\u0650\u0639\u0631\u0650 \u0627\u0644\u0645\u064e\u062f\u0631\u064e\u0633\u0629\u0650 \u0627\u0644\u0623\u0648\u0633\u064a\u0651\u064e\u0629<\/td>Poetics and Prose in Al-Awsi School Poetry<\/td>\u0639\u0645\u0640\u0640\u0640\u0631 \u0632\u0643\u0640\u0640\u064a \u0633\u0645\u0633\u0640\u0640\u0640\u0640\u0645<\/td>\u0623.\u062f. \u0633\u0645\u0640\u0640\u0631 \u0627\u0644\u062f\u064a\u0648\u0628<\/td>2022<\/td>\u0627\u0644\u0644\u0651\u064f\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u064e\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
19<\/td>\u0627\u0644\u062a\u0641\u0643\u064a\u0631 \u0627\u0644\u0646\u062d\u0648\u064a\u0651 \u0639\u0646\u062f \u064a\u0627\u0633\u064a\u0646 \u0627\u0644\u062d\u064f\u0645\u0635\u064a\u0651 \u0627\u0644\u0639\u0644\u064a\u0645\u064a\u0651 \u0641\u064a \u062d\u0627\u0634\u064a\u062a\u0647 \u0627\u0644\u062a\u0635\u0631\u064a\u062d \u0639\u0644\u0649 \u0627\u0644\u062a\u0648\u0636\u064a\u062d<\/td> Syntactic Thought in Yassin AL-Homsi AL-Ulaymi\u2019s Annotation: AL -Tasrih Ala AL-Tawdih<\/td>\u0645\u0644\u0643 \u0625\u0628\u0631\u0627\u0647\u064a\u0645 \u0627\u0644\u0623\u062d\u0645\u062f <\/td> \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0635\u0628\u062d\u064a \u0642\u0635\u0651\u0627\u0628<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
20<\/td>\u0628\u0650\u0646\u064e\u0627\u0652\u0621\u064f \u0627\u0644\u0623\u064f\u0633\u0652\u0644\u064f\u0648\u0628\u0650 \u0641\u064a \u0634\u0650\u0639\u0652\u0631\u0650 \u0627\u0644\u062a\u0651\u064e\u0641\u0652\u0639\u0650\u064a\u0652\u0644\u064e\u0629\u0650 \u0627\u0644\u0633\u0651\u064f\u0648\u0631\u064a\u0651 \u0627\u0644\u0652\u0645\u064f\u0639\u064e\u0627\u0635\u0650\u0631\u0650 \u0645\u0646 \u0639\u0627\u0645 2000 \u0645 \u062d\u062a\u0651\u064e\u0649 2019\u0645 <\/td>\"style structure in modern syrian poetry \"taf,eel verse\" From2000 To 2019:A Critical Analysis Study<\/td> \u0644\u064a\u0646\u0627 \u0623\u062d\u0645\u062f \u064a\u0639\u0642\u0648\u0628<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0646\u0632\u0627\u0631 \u0645\u062d\u0645\u062f \u0639\u0628\u0634\u064a<\/td>2022<\/td>\u0642\u0633\u0645 \u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629- <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
21<\/td>\u0627\u0644\u0642\u064a\u0645 \u0627\u0644\u062c\u0645\u0627\u0644\u064a\u0629 \u0639\u0646\u062f \u0634\u0639\u0631\u0627\u0621 \u0627\u0644\u0631\u0627\u0628\u0637\u0629 \u0627\u0644\u0642\u0644\u0645\u064a\u0629( \u0645\u064a\u062e\u0627\u0626\u064a\u0644 \u0646\u0639\u064a\u0645\u0629 \u0648 \u0625\u064a\u0644\u064a\u0627 \u0623\u0628\u0648 \u0645\u0627\u0636\u064a \u0648 \u0646\u0633\u064a\u0628 \u0639\u0631\u064a\u0636\u0629)<\/td>Aesthetic values of pen league poets (Michael Nu'ayma , Ileyya Abu Madi, and Naseeb Arida)<\/td> \u0647\u0645\u0633\u0647 \u0628\u0631\u0647\u0627\u0646 \u0639\u0628\u0627\u0633<\/td>\u0623.\u062f.\u0646\u0632\u0627\u0631 \u0639\u0628\u0634\u064a<\/td>2022<\/td>\u0627\u0644\u0644\u0651\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
22<\/td>\u062a\u062c\u0644\u064a\u0627\u062a \u064f\u0627\u0644\u0623\u0646\u0633\u0646\u0629\u0650 \u0639\u0646\u062f\u064e \u0623\u063a\u0631\u0628\u0629\u0650 \u0627\u0644\u0634\u0639\u0631\u0627\u0621\u0650 \u0627\u0644\u0639\u0631\u0628\u0650 \u0641\u064a \u0627\u0644\u0639\u0635\u0631\u0650 \u0627\u0644\u062c\u0627\u0647\u0644\u064a\u0651\u0650 <\/td>Personification in the Poetry of Black Arab poets in the Pre- Islamic Age<\/td>\u0628\u0633\u0651\u0627\u0645 \u0623\u062d\u0645\u062f \u0627\u0644\u0645\u062c\u062f\u0644<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u062c\u0648\u062f\u062a \u0625\u0628\u0631\u0627\u0647\u064a\u0645<\/td>2022<\/td>\u0627\u0644\u0644\u0651\u064f\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u064e\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
23<\/td>\u062a\u0648\u0638\u064a\u0641 \u0627\u0644\u062d\u0648\u0627\u0633 \u0641\u064a \u0627\u0644\u0631\u0651\u0648\u0627\u064a\u0629 \u0627\u0644\u0646\u0651\u0633\u0627\u0626\u064a\u0651\u064e\u0629 \u0627\u0644\u0633\u0651\u064f\u0648\u0631\u064a\u0651\u064e\u0629 \u0628\u064a\u0646 \u0639\u0627\u0645\u064a 1967-2000\u0645<\/td>The Employment of the Senses in Syrian Women -written Noveles During the Year 1967 - 2000<\/td>\u0633\u062d\u0631 \u062c\u0648\u0631\u062c \u0639\u0637\u064a\u0647<\/td>\u0623.\u062f \u062c\u0648\u062f\u062a \u0625\u0628\u0631\u0627\u0647\u064a\u0645<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
24<\/td>\u0627\u0644\u0645\u0633\u0627\u0626\u0644 \u0627\u0644\u0646\u0651\u062d\u0648\u064a\u0651\u0629 \u0648\u0627\u0644\u0644\u0651\u064f\u063a\u0648\u064a\u0651\u0629 \u0641\u064a \u0627\u0644\u0645\u0633\u0627\u0626\u0644 \u0627\u0644\u0628\u0635\u0652\u0631\u064a\u0651\u0627\u062a \u0648\u0627\u0644\u062d\u0644\u0628\u064a\u0651\u0627\u062a \u0644\u0623\u0628\u064a \u0639\u0644\u064a\u0651\u064d \u0627\u0644\u0641\u0627\u0631\u0633\u064a\u0651\u0650<\/td>Linguistic and Syntactic Issues in Abi Ali AL-Farisi's Books Entitled AL-Basriyyaat and AL-Halabiyyaat<\/td>\u062d\u0633\u0640\u0640\u0646 \u0645\u0631\u0634\u062f \u0627\u0644\u0645\u0640\u062d\u0640\u0645\u0651\u0640\u0640\u062f<\/td>\u0623.\u062f.\u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649<\/td>2022<\/td>\u0627\u0644\u0644\u0651\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
25<\/td>\u0627\u0644\u0645\u0643\u0648\u0651\u0646\u0627\u062a \u0627\u0644\u0641\u0646\u0651\u064a\u0651\u0629 \u0648\u0627\u0644\u0641\u0643\u0631\u064a\u0651\u0629 \u0641\u064a \u0634\u0639\u0631 \u0646\u0632\u0627\u0631 \u0642\u0628\u0627\u0646\u064a<\/td>The Artistic and Intellectual Constituents in Nizar Qabbani's Poetry <\/td>\u0647\u0628\u0629 \u0646\u0632\u064a\u0647 \u0641\u0627\u062e\u0648\u0631\u064a<\/td>\u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u062c\u0648\u062f\u062a \u0625\u0628\u0631\u0627\u0647\u064a\u0645 <\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
26<\/td>\u0627\u0644\u0640\u0640\u062c\u064f\u0640\u0647\u0640\u0648\u062f\u064f \u0627\u0644\u0640\u0646\u0651\u064e\u0640\u062d\u0652\u0640\u0648\u064a\u0651\u064e\u0640\u0629\u064f \u0648\u0627\u0644\u0644\u0651\u064f\u0640\u063a\u064e\u0640\u0648\u0650\u064a\u0651\u064e\u0640\u0629\u064f \u0641\u0640\u064a \u0622\u062b\u064e\u0640\u0627\u0631\u0650 \u0627\u0644\u0645\u0631\u0652\u0632\u064f\u0648\u0642\u064a\u0651\u0650 (\u062a\u0640421\u0647\u0640) <\/td>Linguistic and syntactic efforts\u00a0\u00a0in Al \u2013 Marzuqi's works (Died in 421 AH) \u0627\u0644\u0639\u0627\u0645 :2022<\/td>\u0639\u0640\u0628\u0640\u062f \u0627\u0644\u0644\u0651\u0640\u0647 \u0635\u0640\u0627\u0644\u0640\u062d \u0627\u0644\u0640\u064a\u0640\u0648\u0646\u0640\u0633<\/td>\u0623.\u062f. \u0633\u0640\u0645\u0640\u064a\u0640\u0631 \u0645\u0640\u0639\u0640\u0644\u0648\u0641 + \u0623.\u062f. \u0639\u0640\u0635\u0640\u0627\u0645 \u0627\u0644\u0643\u0640\u0648\u0633\u0640\u0649<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
27<\/td>\u0623\u0633\u0627\u0644\u064a\u0628 \u0627\u0644\u0627\u0633\u062a\u0641\u0647\u0627\u0645 \u0648\u0645\u0639\u0627\u0646\u064a\u0647\u0627 \u0627\u0644\u0628\u0644\u0627\u063a\u064a\u0651\u064e\u0629 \u0641\u0640\u064a \u0627\u0644\u0645\u0640\u0641\u0640\u0636\u0651\u064e\u0640\u0644\u0640\u064a\u0651\u064e\u0640\u0627\u062a<\/td>The Style of Interrogative and its Rhetorical Connotations in Al-Mufaddhaleyyat<\/td>\u0645\u062d\u0645\u0651\u064e\u062f \u0639\u0628\u062f \u0627\u0644\u0631\u0651\u064e\u062d\u0645\u0646 \u0627\u0644\u0647\u0631\u0628\u0634<\/td>\u0623.\u062f. \u0639\u0640\u0635\u0640\u0627\u0645 \u0627\u0644\u0640\u0643\u0640\u0648\u0633\u0640\u0649<\/td>2022<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
28<\/td>\u0627\u0644\u0623\u064e\u0634\u0652\u0628\u064e\u0627\u0647\u064f \u0648\u0627\u0644\u0646\u0651\u0638\u0627\u0626\u0631\u064f \u0641\u064a \u0627\u0644\u0646\u0651\u062d\u0648 \u0639\u0646\u062f\u064e \u0627\u0644\u0633\u0651\u064a\u0648\u0637\u064a\u0651 -\u062f\u0631\u0627\u0633\u0629 \u0645\u0639\u0631\u0641\u064a\u0651\u0629 \u0641\u064a \u0623\u0635\u0648\u0644\u0650 \u0627\u0644\u062a\u0641\u0643\u064a\u0631\u0650 \u0627\u0644\u0646\u0651\u064e\u062d\u0648\u0650\u064a\u0651\u0650-<\/td>Parallels and Equivalents in Assuyouti,s Syntax : A Cognitive Study of The Principles of Syntactic Theory <\/td>\u0631\u0648\u0639\u0629 \u062e\u0627\u0644\u062f \u0633\u0641\u0651\u0627\u0641<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0633\u0645\u064a\u0631 \u0645\u0639\u0644\u0648\u0641+ \u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629 \u0647\u064a\u0627\u0645 \u0627\u0644\u0639\u0644\u064a<\/td>2023<\/td> \u0627\u0644\u0644\u0651\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
29<\/td>\u0634\u0639\u0631 \u0635\u0627\u0644\u062d \u0647\u0648\u0651\u064e\u0627\u0631\u064a \u0641\u064a \u0636\u0648\u0621 \u0644\u0633\u0627\u0646\u064a\u0651\u064e\u0627\u062a \u0627\u0644\u0646\u0651\u064e\u0635<\/td>The poetry of Saleh Hawwari in the light of Text Linguistics<\/td>\u0645\u0646\u0627\u0644 \u0639\u0628\u062f \u0627\u0644\u0642\u0627\u062f\u0631 \u0633\u0639\u062f \u0627\u0644\u062f\u064a\u0646<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0647\u0627\u064a\u0644 \u0645\u062d\u0645\u062f \u0627\u0644\u0637\u0651\u064e\u0627\u0644\u0628<\/td>2023<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/td> <\/tr>\n
30<\/td> \u0627\u0644\u0628\u0646\u064a\u0629 \u0627\u0644\u0623\u0633\u0644\u0648\u0628\u064a\u0629 \u0641\u064a \u0634\u0639\u0631 \u0627\u0644\u0641\u0631\u0633\u0627\u0646 \u0627\u0644\u062c\u0627\u0647\u0644\u064a\u064a\u0646<\/td>Stylistic Construction in the poetry of Jahili Knights<\/td>\u0646\u0636\u0627\u0644 \u0647\u0634\u0627\u0645 \u0639\u0631\u0641\u0629<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0623\u062d\u0645\u062f \u062f\u0647\u0645\u0627\u0646+\u00a0\u0627\u0644\u0623\u0633\u062a\u0627\u0630\u0629 \u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629 \u0633\u0648\u0633\u0646 \u0644\u0628\u0627\u0628\u064a\u062f\u064a<\/td>2023<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629 <\/td>\u00a0\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
31<\/td>\u062c\u0645\u0627\u0644\u064a\u0651\u0627\u062a \u0627\u0644\u062a\u0634\u0643\u064a\u0644 \u0627\u0644\u0641\u0646\u064a\u0651 \u0641\u064a \u0634\u0639\u0631 \u0627\u0628\u0646 \u0633\u064e\u0646\u0627\u0621 \u0627\u0644\u0645\u064f\u0644\u0643 \u062f\u0631\u0627\u0633\u0629 \u0623\u0633\u0644\u0648\u0628\u064a\u0651\u0629 \u0646\u0642\u062f\u064a\u0651\u0629<\/td>\" The Aesthetics of Artistic Formulation in the Poetry of Ibn Sanaa AL-Mulek: A Stylistic and Critical study \"<\/td>\u062e\u0640\u0627\u0644\u0640\u062f \u0645\u0640\u062d\u0640\u0645\u0640\u0651\u062f \u0627\u0644\u0640\u0639\u0640\u0644\u0640\u0652\u0648\u0634<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0623\u062d\u0640\u0645\u0640\u062f \u062f\u0647\u0640\u0645\u0640\u0627\u0646- \u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u0645\u0633\u0627\u0639\u062f \u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629 \u0645\u0640\u0646\u0640\u0627\u0631 \u0627\u0644\u0639\u0640\u064a\u0640\u0633\u0640\u0649 <\/td>2023<\/td>\u0627\u0644\u0640\u0644\u0640\u063a\u0640\u0640\u0640\u0640\u0640\u0640\u0629 \u0627\u0644\u0640\u0639\u0640\u0640\u0631\u0628\u0640\u064a\u0651\u0640\u0640\u0640\u0640\u0640\u0640\u0640\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
32<\/td>\u0627\u0644\u0631\u0651\u0645\u0648\u0632 \u0648\u062a\u062c\u0644\u0651\u064a\u0627\u062a\u0647\u0627 \u0641\u064a \u0627\u0644\u0634\u0651\u0650\u0639\u0631 \u0627\u0644\u0639\u0631\u0628\u064a\u0651 \u0627\u0644\u0645\u0639\u0627\u0635\u0631 \u0641\u064a \u0633\u0648\u0631\u064a\u0629 ( \u0627\u0644\u0631\u0651\u0628\u0639 \u0627\u0644\u0623\u0648\u0651\u0644 \u0645\u0646 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u062d\u0627\u062f\u064a \u0648\u0627\u0644\u0639\u0634\u0631\u064a\u0646 )<\/td>Symbols and their Manifestations in Syrian Arabic Contemporary poetry (First quarter of the 21st century)<\/td>\u063a\u064a\u062f\u0627\u0621 \u062d\u0633\u0646 \u064a\u0648\u0646\u0633<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0651\u0643\u062a\u0648\u0631: \u0645\u062d\u0645\u0651\u062f \u0633\u0644\u0645\u0627\u0646 \u0639\u064a\u0633\u0649<\/td>2023<\/td>\u0627\u0644\u0644\u0651\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
33<\/td>\u0627\u0644\u062a\u0651\u0648\u0644\u064a\u0641 \u0641\u064a \u0634\u0639\u0631 \u0627\u0644\u0635\u0651\u0639\u0627\u0644\u064a\u0643 \u0645\u0646 \u0627\u0644\u062c\u0627\u0647\u0644\u064a\u0651\u0629 \u062d\u062a\u0651\u0649 \u0646\u0647\u0627\u064a\u0629 \u0627\u0644\u0639\u0635\u0631 \u0627\u0644\u0623\u0645\u0648\u064a\u0651<\/td> Integration in the Poetry of Saaliks in Al-Jahilia up to the End of Ummayad Era<\/td> \u062e\u0627\u0644\u062f \u0647\u0627\u0634\u0645 \u0627\u0644\u0633\u0651\u064f\u0648\u0642\u064a\u0651<\/td>.\u062f. \u0623\u062d\u0645\u062f \u0639\u0644\u064a \u062f\u0647\u0645\u0627\u0646-\u0623.\u062f. \u0633\u0645\u0631 \u062c\u0648\u0631\u062c \u0627\u0644\u062f\u064a\u0648\u0628<\/td>2024<\/td>\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
34<\/td>\u0627\u0644\u0638\u0651\u0648\u0627\u0647\u0631 \u0627\u0644\u0646\u0651\u062d\u0648\u064a\u0629 \u0627\u0644\u0645\u0634\u062a\u0631\u0643\u0629 \u0628\u064a\u0646 \u0627\u0644\u0644\u0651\u063a\u062a\u064a\u0646 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629 \u0648\u0627\u0644\u0639\u0628\u0631\u064a\u0651\u0629 \"\u0646\u0645\u0627\u0630\u062c \u0645\u062e\u062a\u0627\u0631\u0629\"<\/td>Common Grammatical Issues in Arabic and Hebrew: \"Selected Samples\"<\/td>\u0639\u062f\u064a \u0645\u062d\u0645\u0651\u062f \u0627\u0644\u0639\u0642\u062f\u0647<\/td>\u0623. \u062f. \u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649 - \u0623. \u062f. \u0648\u062d\u064a\u062f \u0635\u0641\u064a\u0629 <\/td>2024<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
35<\/td>\u0627\u0644\u0634\u0651\u0639\u0631 \u0641\u064a \u0643\u062a\u0628 \u0627\u0644\u062a\u0651\u064e\u0627\u0631\u064a\u062e (\u0627\u0644\u0637\u0651\u064e\u0628\u0631\u064a\u0651- \u0627\u0644\u0645\u0633\u0639\u0648\u062f\u064a\u0651- \u0627\u0628\u0646 \u0627\u0644\u0623\u062b\u064a\u0631 \u2013 \u0627\u0628\u0646 \u0643\u062b\u064a\u0631) \u062f\u0631\u0627\u0633\u0629 \u0648\u0638\u064a\u0641\u064a\u0651\u064e\u0629 \u0641\u0646\u0651\u064a\u0651\u064e\u0629<\/td> Poetry in History Books( Al-Tabari, Al-masudi, Ibn Al-Athir, and Ibn Kathir ) A Metaphorical Functional Study.<\/td> \u062b\u0627\u0626\u0631 \u062e\u0627\u0644\u062f \u0627\u0644\u062d\u0633\u064a\u0646<\/td>\u0623. \u062f. \u0633\u0648\u0633\u0646 \u0644\u0628\u0627\u0628\u064a\u062f\u064a\u0651-\u062f. \u0647\u064a\u0641\u0627\u0621 \u0627\u0644\u062d\u0645\u0635\u064a\u0651<\/td>2024<\/td>\u0627\u0644\u0644\u0651\u063a\u0629\u0650 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
36<\/td>\/ \u0625\u0633\u0647\u0627\u0645\u0627\u062a \u0639\u0644\u0645\u0627\u0621 \u0627\u0644\u0639\u0635\u0631 \u0627\u0644\u0645\u0645\u0644\u0648\u0643\u064a \u0641\u064a \u0639\u0644\u0645\u064a \u0627\u0644\u0631\u064a\u0627\u0636\u064a\u0627\u062a \u0648\u0627\u0644\u0641\u0644\u0643 648_ 923\u0647\/ 1250_ 1517\u0645 \u0627\u0628\u0646 \u0627\u0644\u0634\u0627\u0637\u0631 \u0623\u0646\u0645\u0648\u0630\u062c\u0627\u064b \/<\/td> \/ Contributions of the Scholars of the Mamluk Era to the Two Sciences of Mathematics and Astronomy (648-923 AH , 1250-1517 AD): Ibn Al-Shatir as an Example <\/td>\u0639\u0645\u0627\u062f \u062d\u0646\u0651\u064e\u0627 \u062f\u064a\u0628<\/td> \u0623.\u062f. \u062e\u0644\u064a\u0644 \u0627\u0644\u062d\u0633\u064a\u0646<\/td>2024<\/td>\u0627\u0644\u062a\u0627\u0631\u064a\u062e<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
37<\/td> \u0627\u0644\u062d\u062f\u0648\u062f \u0627\u0644\u0646\u062d\u0648\u064a\u0629 \u0641\u064a \u0643\u0627\u0641\u064a\u0629 \u0627\u0628\u0646 \u0627\u0644\u062d\u0627\u062c\u0628 (646\u0647\u0640 ) \u0648\u0623\u062b\u0631\u0647\u0627 \u0641\u064a \u0627\u0644\u062f\u0631\u0633 \u0627\u0644\u0646\u062d\u0648\u064a \u0645\u0639 \u062a\u062d\u0642\u064a\u0642 \u0643\u062a\u0627 \"\u0627\u0644\u062a\u0642\u0631\u064a\u0628\"\u0644\u064a\u062d\u064a\u0649 \u0628\u0646 \u0625\u0628\u0631\u0627\u0647\u064a\u0645 \u0627\u0644\u062c\u062d\u0651\u0627\u0641\u064a (\u062a 1103\u0647\u0640)<\/td> The Grammatical Boundaries in Kafiya Ibn ALHajib (646H) and their Effect Upon the Grammatical Study with the Investigation of the Book of Attakribe by Ibrahim bin Yahya Al-juhafi (1103H)<\/td>\u0645\u0646\u0627\u062d \u0627\u0644\u062e\u0648\u0631\u064a \u062d\u0646\u0627<\/td>\u0623\u200c.\u062f. \u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649<\/td>2024<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
38<\/td> \u0627\u0644\u0642\u0648\u0627\u0639\u062f\u064f \u0627\u0644\u0644\u0651\u064f\u063a\u0648\u064a\u0651\u064e\u0629\u064f \u0627\u0644\u0643\u0644\u0651\u0650\u064a\u0651\u064e\u0629\u064f \u0641\u064a \u062a\u0648\u062c\u064a\u0647\u0650 \u0627\u0644\u0642\u0631\u0627\u0621\u0627\u062a\u0650 \u0627\u0644\u0642\u0631\u0622\u0646\u064a\u0651\u064e\u0629\u0650<\/td> PRIMARY LINGUISTIC RULES IN THE DIFFERENT RECITATIONS OF THE HOLY QURAN<\/td>\u0639\u064f\u0645\u064e\u0631 \u0645\u062d\u0645\u0651\u064e\u062f \u0632\u0643\u0631\u064a\u0651\u064e\u0627 \u0645\u064e\u0640\u0646\u0652\u062f\u0648<\/td>\u0623.\u062f. \u0639\u0635\u0627\u0645 \u0627\u0644\u0643\u0648\u0633\u0649 - \u0623.\u062f.\u0645. \u0623\u064a\u0645\u0646 \u0627\u0644\u0634\u0651\u064e\u0648\u0651\u064e\u0627 <\/td>2024<\/td>\u0627\u0644\u0644\u0651\u064f\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u064e\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
39<\/td>\"\u0627\u0644\u0646\u0634\u0627\u0637 \u0627\u0644\u0628\u062d\u0631\u064a \u0641\u064a \u0627\u0644\u063a\u0631\u0628 \u0627\u0644\u0639\u0631\u0628\u064a \u0627\u0644\u0625\u0633\u0644\u0627\u0645\u064a\"<\/td>Maritime activity in the Islamic Arabic West\" (138 AH\/ 756 AD) (422 AH\/1031 AD)<\/td>\u0639\u0644\u064a \u0645\u0648\u0633\u0649 \u0637\u0627\u0644\u0628<\/td>\u0623. \u062f. \u0628\u0633\u0640\u0640\u0640\u0640\u0627\u0645 \u0627\u0644\u0640\u0639\u0644\u0640\u0640\u0648\u0634<\/td>2024<\/td> \u0627\u0644\u062a\u0627\u0631\u064a\u062e <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
40<\/td>\u0633\u064a\u0645\u064a\u0648\u0644\u0648\u062c\u064a\u0627 \u0627\u0644\u062b\u0642\u0627\u0641\u0629 \u0641\u064a \u0627\u0644\u0631\u0648\u0627\u064a\u0629 \u0627\u0644\u0633\u0648\u0631\u064a\u0629 \u0641\u064a \u0627\u0644\u0646\u0635\u0641 \u0627\u0644\u062b\u0627\u0646\u064a \u0645\u0646 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064a\u0646<\/td>Culture Semiology Of the Syrian Novel in Second Half Of the Twentieth Century<\/td>\u0631\u064a\u0627\u0636 \u062d\u0633\u0646 \u062e\u0644\u0641<\/td>\u0627\u0644\u0623\u0633\u062a\u0627\u0630 \u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0645\u062d\u0645\u062f \u0633\u0644\u0645\u0627\u0646 \u0639\u064a\u0633\u0649<\/td>2024<\/td>\u0627\u0644\u062f\u0631\u0627\u0633\u0627\u062a \u0627\u0644\u0646\u0642\u062f\u064a\u0629 \u0648\u0627\u0644\u0628\u0644\u0627\u063a\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
41<\/td>\u062d\u0648\u0627\u0631 \u0627\u0644\u062e\u0637\u0627\u0628\u0627\u062a \u0641\u064a \u0623\u062e\u0628\u0627\u0631 \u0635\u062f\u0631 \u0627\u0644\u0625\u0633\u0644\u0627\u0645 \u0648\u0639\u0635\u0631 \u0628\u0646\u064a \u0623\u0645\u064a\u064e\u0651\u0629<\/td>\"The Dialogue of Discourses\" in The Tales of the Early Islamic and Omayad Eras<\/td>\u0631\u0646\u0627 \u0634\u0627\u0647\u064a\u0646<\/td>\u0623.\u062f \u0633\u0645\u0631 \u0627\u0644\u062f\u064a\u0648\u0628 <\/td>2025<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u064e\u0651\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
42<\/td>\u062c\u0645\u0627\u0644\u064a\u0627\u062a \u0627\u0644\u0645\u0639\u0646\u0649 \u0627\u0644\u0634\u0639\u0631\u064a \u0641\u064a \u0627\u0644\u062a\u0631\u0627\u062b \u0627\u0644\u0646\u0642\u062f\u064a \u0648\u0627\u0644\u0628\u0644\u0627\u063a\u064a \u0641\u064a \u0627\u0644\u0642\u0631\u0646\u064a\u0646 \u0627\u0644\u062b\u0627\u0644\u062b \u0648\u0627\u0644\u0631\u0627\u0628\u0639 \u0627\u0644\u0647\u062c\u0631\u064a\u064a\u0646 <\/td> The Aesthetics of Poetic Meaning in Rhetorical and Critical Heritage in The 3rd and 4th Centuries AH<\/td>\u0645\u062d\u0645\u062f \u062d\u0633\u0646 \u0627\u0644\u0634\u0639\u064a\u0631<\/td>\u062f.\u0631\u0626\u064a\u0641\u0629 \u0627\u0644\u0633\u0644\u0648\u0645\u064a-\u062f.\u0623\u062d\u0645\u062f \u0639\u0644\u064a \u062f\u0647\u0645\u0627\u0646<\/td>2025<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
43<\/td>\u0627\u0644\u062a\u0641\u0643\u064a\u0631 \u0627\u0644\u0646\u062d\u0648\u064a \u0639\u0646\u062f \u0635\u062f\u0631 \u0627\u0644\u0623\u0641\u0627\u0636\u0644 \u0627\u0644\u062e\u0648\u0627\u0631\u0632\u0645\u064a \u0641\u064a \u0643\u062a\u0627\u0628\u0647 (\u0627\u0644\u062a\u062e\u0645\u064a\u0631).<\/td>The grammatical thinking of Sader Alafadel Alkhawarizimi in his book (Attakhmeer;).<\/td>\u0623\u062d\u0645\u062f \u0645\u062d\u0645\u0648\u062f \u0627\u0644\u062d\u0644\u0627\u0642<\/td>\u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629: \u0648\u0635\u0627\u0644 \u0627\u0644\u062d\u0645\u064a\u062f<\/td>2025<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/td> <\/tr>\n
44<\/td>\u0627\u0644\u0646\u0633\u0642 \u0627\u0644\u0646\u0651\u0633\u0648\u064a\u0651 \u0641\u064a \u0631\u0648\u0627\u064a\u0627\u062a \u0648\u0627\u0633\u064a\u0646\u064a \u0627\u0644\u0623\u0639\u0631\u062c (1980-2019\u0645)<\/td>The Feminist pattern in Wasini Al-Araj's Novels (1980-2019)<\/td>\u0648\u0644\u0627\u0621 \u0645\u062d\u0645\u062f \u0634\u0627\u0643\u0631<\/td>\u062f. \u0631\u0634\u0627 \u0646\u0627\u0635\u0631 \u0627\u0644\u0639\u0644\u064a \u0648\u062f. \u0648\u0641\u0627\u0621 \u0627\u0644\u0627\u0633\u062a\u0627\u0646\u0628\u0648\u0644\u064a<\/td>2025<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
45<\/td>\u0627\u0644\u0648\u0639\u064a \u0627\u0644\u0645\u0647\u064a\u0645\u0646 \u0648\u0627\u0644\u0648\u0639\u064a \u0627\u0644\u0645\u0648\u0627\u062c\u0647 \u0641\u064a \u0623\u0639\u0645\u0627\u0644 \u0627\u0644\u0631\u0648\u0627\u0626\u064a\u0651\u0627\u062a \u0627\u0644\u0633\u0648\u0631\u064a\u0627\u062a (\u0645\u0646 2001 \u2013 \u0625\u0644\u0649 2010)<\/td>Dominant Consciousness and Confronting Consciousness in the Works of Syrian Female Novelists \t(From 2001 To 2010<\/td>\u0645\u062d\u0645\u0640\u0648\u062f \u0645\u0640\u0627\u062c\u0640\u062f \u0627\u0644\u062e\u0636\u0640\u0631<\/td>\u0627\u0644\u062f\u0643\u062a\u0648\u0631\u0629 \u0631\u0634\u0627 \u0646\u0627\u0635\u0631 \u0627\u0644\u0639\u0644\u064a -\u0627\u0644\u062f\u0643\u062a\u0648\u0631 \u0623\u062d\u0645\u062f \u0645\u0635\u0637\u0641\u0649 \u0633\u064a\u0641 \u0627\u0644\u062f\u064a\u0646<\/td>2025<\/td>\u0627\u0644\u0644\u0651\u064f\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0651\u064e\u0629 <\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n
46<\/td>\u0627\u0644\u062a\u0634\u0643\u064a\u0644 \u0627\u0644\u0623\u0633\u0637\u0648\u0631\u064a\u0651 \u0641\u064a \u0634\u0639\u0631 \u0634\u0627\u0643\u0631 \u0645\u0637\u0644\u0642<\/td>Legendary formation in the poetry of Shaker Motlak<\/td>\u0645\u0646\u064a\u0631 \u0645\u0648\u0631\u064a\u0633 \u0633\u0648\u064a\u062f<\/td>\u0623 \u0645 \u062f: \u0631\u0634\u0627 \u0627\u0644\u0639\u0644\u064a \u0639\u064a\u0633\u0649- \u0623 \u062f : \u0645\u062d\u0645\u062f \u0633\u0644\u0645\u0627\u0646<\/td>2025<\/td>\u0627\u0644\u0644\u063a\u0629 \u0627\u0644\u0639\u0631\u0628\u064a\u0629<\/td>\u0627\u0644\u0645\u0632\u064a\u062f<\/a><\/td> <\/tr>\n <\/tbody>\n <\/table>\n \n \n \n<\/div>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3298","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/pages\/3298","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/comments?post=3298"}],"version-history":[{"count":1,"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/pages\/3298\/revisions"}],"predecessor-version":[{"id":3299,"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/pages\/3298\/revisions\/3299"}],"wp:attachment":[{"href":"https:\/\/homs-univ.edu.sy\/rags\/wp-json\/wp\/v2\/media?parent=3298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}