Parallelism is one of the most conspicuous stylistic techniques that are marked by the receiver's ear, and it also has an excellent musical rhythm. Al-Ahwas 1 thoroughly familiarizes readers with an entire host of parallelistic arrangements in his poetry, which makes the semantic units a rich material for the aesthetic study. The present study presents the most beautiful uses of all varieties of parallelism in a corpus of Al-Ahwas's poetry, as the reader of his poetry would never miss observing the many images of parallelism based on semantic concordance, as well as the parallelism that appears in one line, or in a stanza, based on structural concordance, in addition to the parallelism formed by the morphological rhythm which is based on the repetition of a morphological derivative formulae. Al-Ahwas did not suffice himself with the similar morphological formulae to achieve rhythm, but he also aimed at the parallelism achieved by repetition, which falls into several patterns. They can be included in one verse line, or within a number lines conforming to one idea, but with different contexts. The second pattern of repetition in terms of rhythm and structure is Epanaphora, or Epanalepsis: which is a repetitive structure based on inserting a word at the beginning of the speech and then repeating the same word at the end of the speech. Al-Ahwas achieved a high rhythmical harmony using parallelism besides a semantic goal by deliberately intensifying parallel words and functioning units in a network revolving around the dominant idea. This study hopes to pave the way for future avenues of studies in poetry under the category of stylistics.

In western translation theories, Lawrence Venuti and Eugene Nida appear to be standing at too opposing poles regarding the equivalence theory, and are notable for their prominent disagreement on the issue. Their theories diverge in their responses to equivalence, and disagree, essentially, on the functions of translation as well as the aspects of an acceptable translation. This disagreement unfolded itself clearly during a conference at Binghamton University in 1991. In this essay, I intend to juxtapose the exceptionally different theoretical approaches of these two prominent translation scholars. I also intend to show how Venuti’s views on translation in practice challenges Nida’s theoretical approaches to translation, and surprisingly enough his own theories particularly speaking, foreignizing and domesticating translations in which he has been extensively engaged. Finally I intend to show how Venuti’s practice of translation challenges his earlier attack on Nida’s conceptions of the “dynamic equivalence,” “naturalness of expression” (Nida 1964: 159) and the notion of “the equivalent effect” (de Waard & Nida 1986: 9).

Abstract-A multi-dimensional process, writing demands that the writer coordinate several dimensions at a time, including grammar. Particularly in dealing with tenses, a good number of English-major EFL learners find it challenging to maintain a consistent tense during a writing task. They are usually unaware of the fact that tense shifts are necessary in some contexts but unnecessary in others. Students need to know that when they cast an essay in one tense, they need to remain consistent throughout. The researchers developed and administrated a grammatical error detection and correction test to 270 Jordanian English-major undergraduates with the aim of assessing their ability to detect and correct unmotivated tense shifts. Descriptive (percentage, mean, and standard deviation) and inferential statistics (t test and One-Way ANOVA) were used for data analysis using SPSS 20. The results revealed that the easiest tense type to identify was the simple past while the most difficult was the simple present. As for correction, the easiest was the simple past whereas the most difficult was the present perfect. The results also showed significant differences associated with students' GPA, academic level and perceived grammatical knowledge.

On the Basis of a single essay on poetry translation theory, originally intended as a preface to a Baudelaire translation, Walter Benjamin has become influential within the Western tradition of translation theories. In this powerful essay titled "the Task of the Translator," Benjamin strikingly conceptualizes poetry translation through a striking set of metaphors and imagery veering away from all essentialist ideals on poetry translation. A poetic element overwhelms the essay brilliantly making it truly romantic yet revolutionary in intent. This paper is a retrospective attempt to trace the beautiful secrets of the essay's poetic brilliance. It is an attempt to analyze the extremely important role of those metaphors in relaying and interpreting the revolutionary views of Benjamin on poetry translation. Further, it explores how Benjamin's insightful essay bravely challenged the existing translation theories of his time that only preached precision, exactness and fidelity to the letter imparting much inspiration and power to devotees of poetry translation.

In their feminist and postmodern readings of Angela Carter's fiction, critics have often eclipsed the presence of nature in her writings and the significance of non-human forms of life. This article addresses this critical gap, focusing on Carter's employment of birds and the greenwood in her story The Erl-King as a metaphor for gender roles and power relations. Hence, the alliance between her ecopoetics and feminist vision forms a case of "ecofeminism." In her defense of "minor" and oppressed forms of life, Carter makes her caged birds emblems of women imprisoned by patriarchy. Their liberation by the female narrator at the end of the story is not only a sign of resistance but also an indication of the essential harmony and mutual strength of women and nature. Surprisingly though, and before this unexpected end in which the narrator strangles the Erl-King with his own hair, nature is made complicit in the oppression of women rather than simply liberating. This can be explained through Carter's ambivalent brand of postmodern feminist poetics that rejects fixities and conventional binaries, unsettling the patriarchal myth that women are merely close to nature. Thus, Carter subverts feminist logic by exposing how women and nature are not only closely allied or opposed to patriarchy but also complicit in their own oppression. Moreover, she subverts the woman/nature dichotomy by making the Erl-King the epitome of a harmonious life in nature rather than plainly defending women as expected in feminist texts. Carter deconstructs established myths and conventional gender roles, accounting for subtle female desire in the process of articulating feminist poetics via nature.