It is quite common that the non-authentic frameworks where foreign language teachers could find themselves faced by manufactured pedagogical materials in foreign language classrooms, may seem artificial and unrealistic to both teachers and students, questioning whether learners are being prepared appropriately for communicative real life contexts in the modern time societies. The present study, then, represents a small-scale attempt to explore teachers and students’ attitudes and dispositions towards the use of authentic materials in the Algerian University. To this end, 87 first year LMD students as well as 06 EFL teachers from the English Department at Blida 2 University took part in the study. The findings from semi-structured interviews, surveys, and class observation, showed that nearly most participant teachers and students welcomed the idea of using less contrived and more realistic materials in the foreign language classes. In addition, both EFL teachers and students hold positive attitudes towards the valuable language opportunities that authentic materials could offer to meet the realness of the real world outside the foreign language class, which would positively affect the students’ foreign language skill

In this paper, the formation of verbs of color in Algerian Arabic is analyzed morphologically, phonologically, syntactically, and semantically. Seven Algerian Arabic verbs of color were analyzed in terms of their verbal forms: ḥamira حمر ‘o be red; zariga زرق’to be blue’; safiraسفر ‘ to be yellow’; xaḍira خضر ‘to be green’ kahilaكحل ‘to be black’ bayiḍaبيض ‘to be white’ sawidaسود ‘to be dark’. The verbs and the color idioms were collected by the authors themselves. The analysis shows that only three forms out of the ten verb forms in Arabic can be derived from this verb class; Forms II, IV, and IX. Each of these three forms has two patterns: one for the perfect tense and one for the imperfect. The study also shows that the root-based approach is most adequate in analysing such verb classification because Form I does not semantically exist in the language and so cannot be used as an input for the derivation of the other forms. The study also scrutinizes the use of this verb class in idiomatic expressions and the data shows that color verbs are incorporated in two metaphorical keys: feeling is color and abstract concept metaphors. These metaphorical keys are culture-bound.

ABSTRACT: Innovative entrepreneurship is not limited to the simple creation of startups, but also involves the construction of an entrepreneurial ecosystem based on shared values. Like comic-book “superheroes”, the contemporary entrepreneur has a superpower: building mobilizing narratives around his or her vision, without “superhuman” skills. This study aims to dissect the success stories of two sucess stories, Yassir and Safe Sahara, in different speaking contexts, through the prism of discourse analysis. This study analyzes the success narratives of two innovative projects, Yassir and Safe Sahara, in a variety of speaking contexts, using discourse analysis. The article explores how superhero narratives enrich start-up pitches by mobilizing shared values and following a narrative framework: storytelling, which consists in structuring and telling stories. Its aim is to develop an analytical grid for evaluating this narrative, identifying recurring narrative processes and archetypes with which the entrepreneur should identify, in order to create a common narrative reinforcing the effectiveness of pitches. RÉSUMÉ : L'entrepreneuriat innovant ne se limite pas à la simple création de start-ups, mais implique également la construction d'un écosystème entrepreneurial fondé sur des valeurs partagées. À l’image des « super-héros » des comics, l’entrepreneur contemporain dispose d’un super pouvoir : bâtir des récits mobilisateurs autour de sa vision, sans compétences « surhumaines ». Cette étude décortique les récits de succès de deux projets innovants, Yassir et Safe Sahara, dans des contextes de prise de parole variés, à travers le prisme de l’analyse du discours. L'article explore comment les récits de super-héros enrichissent les pitchs des start-ups en mobilisant des valeurs communes et en suivant une trame narrative : le storytelling, qui consiste à structurer et raconter des histoires. Son objectif est de développer une grille d'analyse pour évaluer cette narration, en identifiant les procédés narratifs récurrents et les archétypes auxquels l’entrepreneur doit s’identifier, afin de créer un récit commun renforçant l'efficacité des pitchs

ABSTRACT: The present research aims at gathering the main verses of Al Quran that relate invocations and its merits in Islam, by translating them to Spanish language, for the Hispanic community readers, essentially by highlighting the importance of Duaa and invocating Allah among Muslims. The recompilation was taken from the book of Nasir Eddine Alalbany, and the translation of the verses taken from el coran y sus sentidos traducido por Abdelghani Melara Navio, it shows difficulties in understanding the religious meanings, especially by Tafsir, and transferring those meaning to Spanish readers is a challenge both to keep the right meaning and reflecting islam religion. RESUMEN: La presente investigación tiene como objetivo recopilar los principales versos del Coran que tratan las invocaciones y sus méritos en el Islam, traduciéndolos al idioma español, para los lectores de la comunidad hispana, fundamentalmente destacando la importancia de Duaa e invocando a Allah entre los musulmanes. La compilación fue tomada del libro de Nasir Eddine Alalbany, y la traducción de los versos tomados del Corán y sus sentidos traducidos por Abdelghani Melara Navio, muestra dificultades para comprender los significados religiosos, especialmente por Tafsir, y trasladar esos significados a los lectores españoles queda un desafío tanto para mantener el significado correcto como para reflejar la religión del Islam.

It is quite customary that the longing for learning new languages with which one can communicate and be integrated with has enormously invaded everybody’s sphere of cravings. Notwithstanding, multiculturalism does inevitably permit the presence of a manifest interaction between cultures of the people of divergent parts. There are sundry ways to learn a language; the recent one is through videos from the Net. It is practical albeit very ineffective concerning cross-cultural dialogue (and implied meaning). Thus, it seems excessively trite. The aim of this work is to elucidate the idea that a language of a particular parish represents its culture. Therefore, it is vital to know its culture. This paper highlights the fact that the arenas of teaching foreign languages, translation and business have to be acquainted with the pivotal correlation between language and culture. One needs to possess a relatively real vivid image about the county’s backdrop. This cannot be present unless teaching a foreign language fosters the deepened study of the cultural side of the area. The new foreign language teaching tendencies in schools lack the cultural touch. That is why some learners learn the words of the language but they do not know what they connote.

ABSTRACT: Linguistic friction is a characteristic of all multilingualsocieties, leading to mutual influence betweenlanguages. The friction betweenArabic and Amazigh led to thismutual influence betweenthem. However, the influence of the Arabic language on Tamazight has causedseveral changes that are manifestedatdifferentlevelsespecially the structure of words. This iswhatwewilldiscuss in this article "Amazigh Place Names in Arabic Colloquial in Lakhdaria". Although the inhabitants of this area use colloquial Arabic, the influence of the Amazigh languageremained in many areas, includingtoponymy. The villages and towns of thisregion, dividedinto six municipalities, have preservedmany of the names of places called Amazigh, but some of thesenames have changedtheir structure. Throughoutthis article, wewilladdress the issue of Amazigh place namescirculating in colloquial Arabic in the daira of Lakhdaria, in order to show the existence of the Amazigh pillar in colloquial Arabicwhilehighlighting the changes that have occurred in the structure of thesenames. In order to reach the desired goal, we have adoptedseveralapproaches, mostnotably the descriptive approach, whichwasadopted in identifying the most important theoretical concepts on which the article wasbased, while on the practicalside, weadopted the historicalapproach, whereweproved the Amazigh origin of the places’ namescirculating in colloquial Arabic, and wealsoadopted the comparative approach, whereweanalyzed the structure of Amazigh namescirculating in colloquial Arabic and comparedthemwiththeir original structure circulating in Amazigh as well as clarifying the changes occurring to them. AGZUL: Anermis gar taɛrabt d tmaziɣt yegla-d s umyezrer gar-asent, meḥsub yal yiwet tzerrer ɣef tayeḍ. Maca azerrer n taɛrabt ɣef tmaziɣt yegla-d s waṭas n yibeddilen i d-yettbinen deg waṭas n yiswiren ladɣa talɣa n wawalen. Ӷas tamnaḍt n Lexḍariyya tesseqdac taɛrabt, maca yeqqim-d deg-s later n tmaziɣt deg waṭas n taɣulin ladɣa tismidegt. Tamnaḍt-a, deg-s aṭas n yismidgen i yettusemman s tmaziɣt, maca kra deg-sen tbeddel talɣa-nsen. Di leqdic-a, ad d-nawi awal ɣef yismidgen n tmaziɣt i yettuseqdacen sɣur yimsiwal n taɛrabt ddarǧa n temnaḍt n Lexḍariyya. Yes-s (s leqdic-a), nra ad d-nesken tilin n later n tmaziɣt di taɛrabt ddarǧa n temnaḍt-a, yerna ad nezrew ibeddilen i d-yettḥazen talɣa n yismidgen-nni. Iwakken ad naweḍ ɣer yiswi i d-nebder, nezwar-d s yiferdisen n teẓri iɣef yebna leqdic-a, syin akin nɛedda ɣer uglam n talɣa n yismidgen s userwes-nsen ɣer talɣiwin tinasliyin yellan di tmaziɣt akken ad d-binen yibeddilen i d-yellan fell-asen.

ABSTRACT: The issue of immigration represents a phenomenon of great importance. Although there was tourism, and the arrival of individuals with different objectives; tourist, economic and labour motives, it has created a new social dimension. Cinema is one of the artistic media that has responded to this change by developing the immigration movement through moving stories (use of photographic images) depicting characters in the context of immigration, thus often referred to as "immigration" or "immigrant" cinema. In this cinematic environment, the aim of filmmakers and directors is to allude to social themes and content such as immigration. Therefore, this article aims to address the issue of migration from a cinematographic point of view; by studying how different migratory actions and situations are represented through the art of the screen. Through the social issues dealt with in Flowers from another world, we intend to discover how the phenomenon of migration is presented within its cinematographic context, the latter being a cultural product that partly reflects aspects of society. RESUMEN: El tema de la migración representa un fenómeno de gran importancia. Aunque existía el turismo, y la llegada de individuos con objetivos distintos; motivos turísticos, económicos y laborales, este ha creado una nueva dimensión social. El cine es uno de los medios artísticos que ha respondido a este cambio desarrollando el movimiento de la inmigración a través de historias en movimiento (uso de imágenes fotografiadas) representado a personajes en el contexto de la inmigración, por ello suele denominar ese tipo de cine “cine de inmigración” o “de inmigrantes”. En este ambiente cinematográfico, la finalidad de los cineastas y directores reside en aludir a temas y contenidos sociales tal como la inmigración. Pues, el presente artículo pretende abordar el tema de la migración desde un punto de vista cinematográfico; estudiando cómo se representan las diferentes acciones y situaciones migratorias a través del arte de la pantalla. A través de las cuestiones sociales tratadas en Flores de otro mundo pretendemos descubrir cómo se plantea el fenómeno de migración dentro de su contexto cinematográfico, siendo este último es un producto cultural que refleja en parte aspectos de la sociedad.

ABSTRACT: Writing the mystery is a stylistic exercise that characterizes the short tale “The Sphinx without a secret” by Oscar Wilde. This article offers a study of the different stylistic processes and techniques adopted in the inscription of the mystery which singularizes the romantic adventure of an elusive woman, Lady Alroy and a reasonable man, Lord Murchison. Wilde's use of several language tools and the mise en abyme in the narration is the factor behind the intrusion of this mystery which not only arouses the curiosity of the hero and the reader because of the fabulous image of this woman, but it also touches on the language adopted by Wilde in the particular quest to decipher fiction from mystery. RÉSUMÉ : L’écriture du mystère est un exercice de style qui caractérise le conte bref Le Sphinx qui n’a pas de secret d’Oscar Wilde. Cet article propose une étude des différents procédés de style et des techniques adoptées dans l’inscription du mystère qui singularise l’aventure amoureuse d’une femme insaisissable, lady Alroy et d’un homme raisonnable, lord Murchison. Le recours de Wilde à plusieurs outils langagiers et à la mise en abyme dans la narration, est le facteur de l’intrusion de ce mystère qui ne suscite pas seulement la curiosité du héros et du lecteur à cause de l’image fabuleuse de cette femme, mais il touche également le langage adopté par Wilde à la quête particulière du déchiffrement de la fiction du mystère.

This study aims to, first, track the origin of multilingualism phenomenon in Algeria, to identify its nature and status to the target audience. Second, it explores the flexibility of transcreation as a sophisticated technique of translation, to provide a baseline understanding of the transcreational act in translation field. In all, the study point uncovers the structural dimensions of translation via transcreation of the hybrid expression. In the theoretical section, the research collects scientific records of transcreation and projects them on the processing of the hybrid expression of multilingual nature by following the qualitative approach. In the practical section, the present study examines the transcreation of advertisements figures where code-mixing and code-switching practices are manifested to express hybrid multilingualism in the Algerian Daridja, as forms of content creation, concretised from the source-idea and the target expression poly-system. The results highlight the importance of understanding the mechanism of the target expression for its impact on the target audience and its capacity of generating content as forms of translation. The creation feature within transcreation technique helps building original contents with maximum flexibility. This study aims to cover the gap of ‘very little is known’ concerning the hybrid multilingualism nature and reality in Algeria, in order to enrich the literature regarding the identifiers of a society that seems somehow undiscovered to Academia folk. Moreover, the study contributes in the stability and the recognition of transcreation as a term and as an operating technique in translation academic studies and practices.

The present paper explores the potency of the spatio-topical system of Joe Sacco’s Footnotes in Gaza in (re)tracing the historical events that happened and still happen in the war zone of Gaza without being reductive to the importance of the testimonial culture that is based on listening to and engaging with the different recounts of the Gazan survivors from the 1956 Khan Younis and Rafah killings and the present horrible moments of destruction, dispersion and oppression. For this purpose, this paper embraces Thierry Groensteen’s concept of ‘spatio-topia’ that denotes the systematic distribution of the space on the graphic page in order to give the graphic aesthetic, the driving force of reading. Therefore, graphic spatio-topia configures the conceptual form of the story world that allows the reader to participate spatially and sensationally in Sacco’s journalistic investigations through its different tools like the panel and its frame with their spatio-topical parameters of the form, the seize and its site. The systematic operativity of the graphic spatio-topical elements of Footnotes in Gaza promotes a flexible and a meaningful flow of the graphic narrative and transports the reader to the graphic space where he develops a spatialized history and a dense web of sensations like belief and pain.