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A comparative reading of the social and political satire in the works of Abu al-Fadl Zrui Nasrabad and Ahmad Rajab (The tadhk: خوانش تطبیقی طنز اجتماعی – سیاسی در آثار ابوالفضل زرویی نصرآباد و احمد رجب(مورد مطالعه: تذکرة المقامات زرویی و نصف كلمة احمد رجب)
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           Satire is genre of the literary arts that has always been the source of human interest. Because  it is difficult to accept direct criticism, Satire appears as a literary tool in which vices, follies, abuses and shortcomings are held up to ridicule, with the intent of shaming individuals, corporations, government, or society itself into improvement. A satirical critic usually employs irony to attain this goal. Although satire is usually meant to be humorous, its greater purpose is often profitable social criticism, using wit to draw attention to both particular and broader issues in society .In such cases, humor is not an entertainment, but a means through which a problem is being exposed in a rather indirect way. Abu al-Fadl Zrui Nasrabad and Ahmad Rajab are two of the famous satirists in Iran and Egypt who have used satire to expose the follies, immoralities and the defects of their societies. The present study discusses The tadhkirat Al- Maqamat of Abu al-Fadl Zrui Nasrabad and Half a Word for Ahmad Rajab in an analytical and descriptive manner and deals with the arts and styles of the two satirists. The conclusion sums up that satire is one of the most distinguished features of the two writers in their prose, and by using the language of satire, they are also able to criticize ,in a large way, the issues and problems that exist in Iranian and Egyptian society indirectly.

چکیده

طنز یکی از فنون ادبی است که همواره مورد توجه انسان بوده است. در بسیاری اوقات، اوضاع و شرایط حاکم بر جامعه به گونه‌ای است که جامعه، ظرفیت تحمل و شنیدن صریح انتقادات را ندارد و به ناچار، باید از ابزاری دیگر برای نمایاندن مشکلات و کمبودها بهره برد. در چنین مواردی، طنز به میدان می‌آید و هنرمند طنزپرداز با استفاده از شگرد سخریه و طنزپردازی، این هدف را به انجام می‌رساند. خنده‌ای که در اثر طنز بروز می‌کند، خنده‌ای از سر شادی نیست، بلکه چون در طنز، مشکلات موجود که قابلیت بیان صریح آن نیست به صورتی غیر مستقیم بیان می‌شود این خنده، ظاهری است و در باطن، مخاطب می‌گرید و به فکر فرو‌می‌رود. ابوالفضل زرویی نصرآباد و احمد رجب از نویسندگان سرشناس طنز در ایران و مصر در آثارشان توانسته‌اند با استفاده از شگردهای مختلف طنزپردازی، اوضاع و شرایط حاکم در کشورهای خود را به خوبی منعکس کنند. پژوهش حاضر، با روش تحلیلی-توصیفی و با تکیه بر تذکرة المقامات زرویی و نصف كلمة احمد رجب، این تکنیک‌ها را مورد بررسی قرار داده و به این نتیجه رسیده است که تهکم، بیشترین بسامد در نثر این دو نویسنده را به خود اختصاص داده است، همچنین این دو با استفاده از زبان طنز، توانسته‌اند تا حد زیادی مسائل و مشکلات موجود در جامعة ایران و مصر را به صورتی غیر مستقیم بیان و نسبت به آن انتقاد کنند.

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US Policy Image Regarding the Middle East Region as Reported by the Iraqi Newspapers (An Analytical Study of the Public Opinion in Editorials: Al-Sabah, Al-Mashriq and Tariq Al-Shaab Papers Over the Period from 1st of July to 30th of September 2013)
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The present study is an attempt to throw light on the nature of the US policy regarding the Middle East region as portrayed by AI-Sabah, Al-Mashriq and Tariq Al-Shaab papers over a period of three months from 1st of July to 30th of September 2013.

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Some Methodological Notes on Ibn Al-Jezri Book: Ghayat Al-Nihaya (The Aim of the End): Some Methodological Notes on Ibn Al-Jezri Book: Ghayat Al-Nihaya (The Aim of the End)
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Abstract
Dame Ngaio Edith Marsh (1899-1982), a writer of detective fiction, was born
at Christchurch, New Zealand. Her hero, Chief Detective Inspector Roderick Alleyn,
appears in her first novel, A Man Lay Dead (1934), and in subsequent novels
including Death and the Dancing Footman (1942). She wrote twenty detective novels.
The Dancing Footman, Thomas, listening to a playful song from the smokingroom's
radio where William lay dead after being killed by his brother, Nicholas,
provides the most suspected guest at Highfold with badly needed alibi. The murderer,
Nicholas, plans an almost perfect crime, but the dance of this footman spoils his
scheme. When Alleyn and his group of policemen stage a show in which the

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