الدوريات والمجلات الأكاديمية
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Item مشكلات الهمزة: من تمثيل الصوت إلى مرسوم الخط(مجلة اللسانيات التطبيقية- كلية اللغة العربية وأدابها- جامعة الجزائر 02- أبو القاسم سعد الله, 2024-06-30) ياقوت, بشيرنحاول من خلال هذا البحث تقديم مقاربة لسانية لمشكلة الهمزة العربية من تدوينها في الخط إلى تمثيلها في الحاسوب، في إطار تمثيل الألفباء العربي ومعالجته آليا. وهي مشكلة تتأرجح بين النظام الإملائي خاصة، ونظام الكتابة العربية عموما. فإملاء الهمزة يقوم على مبدأ صوتي، ولذلك اتسم رسمها بتنوع الصور وقواعدها بالتعدد. وأما نظام الكتابة، فقد تخلى عن تدوين الحركات القصيرة التي تعد من أهم الأسس التي بنيت عليه منظومة تلك القواعد. وشكَل كل ذلك مصدرا للكثير من الأخطاء في مستوى الإنجاز الخطي وصعوبات في مستوى الطباعة. وفي ضوء ما سبق، ننطلق في هذه الدراسة من قواعد تدوين الهمزة والأساس الذي بنيت عليه مع تتضمنه من مشكلات لنناقشها في مستوى تمثيلها في الحاسوب. Through this research, we attempt to provide a linguistic approach to the issue of Arabic hamza, from its graphic transcription to its representation in computer systems, within the framework of Arabic alphabet representation and automated processing. This is a problem that oscillates between the spelling system, particularly, and the Arabic writing system in general. The spelling of hamza is based on a phonetic principle, hence its transcription is characterized by a variety of forms and its rules by plurality. As for the writing system, it has abandoned the notation of short vowels, which are among the most important bases upon which that system of rules was built. All of this has been a source of many errors in handwriting and difficulties in printing. In light of the foregoing, we embark on this study from the rules of hamza transcription and the foundation upon which it was built, including the problems it entails, to be discussed in terms of its automatic representation.Item المصحف الموقوف على الجامع الكبير بمدينة الجزائر والمحفوظ بالمتحف العمومي الوطني للآثار القديمة والفن الإسلامي(2023-06-30) نايم, فيصلThe Holy Mus'haf is considered one of the most important manuscripts that attracted the attention of the Muslim artist thanks to its diversity in artistic aspects, ranging from the art of binding to the art of coloring and gilding, in addition to the art of Arabic calligraphy, which witnessed a new phase, especially with regard to the codification of the Mus'haf. Therefore, it can be considered a witness of extensive development as Muslims wanted to draw closer to God Almighty and show love for the Book of God, especially in the Ottoman period. The Mushaf, which was endowed on the Great Mosque, is considered one of the artistic masterpieces represented in the rare manuscripts preserved in the National Public Museum of Ancient Antiquities and Islamic Art. Given its historical importance and its artistic, archaeological and symbolic value, because it was endowed by Abdi Pasha on the Great Mosque, according to what was stated in the endowment text entry, the Museum Foundation displays it sometimes in scientific and cultural events, the latest of which was Tlemcen the capital of Islamic culture, and Constantine the capital of Arab culture. Our study aims to address the aspects of the arts on the Mushaf endowed at the Great Mosque, represented in binding, gilding, drawing, decoration and Arabic calligraphy, many facts related to these arts emerged with the conclusion of many technical and codicological terms related to the archaeology of Mushaf in the Ottoman era, where the artist excelled in decorating the Mushaf, whether this was on the cover or on the papers with the use of one of the most beautiful types of Thuluth calligraphy, commonly used during this era.