Al-Qadisiyah Arts Magazine

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Abstract:
We conclude from the foregoing that ugliness constitutes a pattern opposite to everything that is beautiful in drama and life in general. But at the level of the arts, such as theatrical discourse, it serves as the objective equivalent as a means of expressing ideas, attitudes, and events according to abstract artistic formulas, based on the fact that ugly has negative values, but it has aesthetic returns when it is treated according to different innovative visions, while the beautiful represents the sublime rank related to the concepts of right and good. Harmony and enjoyment after it are a creative value, and that the aesthetic of ugliness depends on the nature of the approaches searching for the generators of beauty, if we realize that ugliness is an aesthetic saying because of the artistic motives it contains that multiply the expressive and aesthetic patterns in theatrical discourse. As long as ugliness was employed in drama of all kinds, it was part of its structural and aesthetic structure, with our knowledge that the theater director does not carry ugliness, or so he assumes, but rather takes from it an expressive material and then adds his feelings and imagination to it to produce a beautiful and amazing work that arouses interest due to its unfamiliarity or strangeness, so the aesthetic response is achieved between the audience and the show. Therefore, we recommend that the faculties of fine arts give more theses and theses related to ugliness and its aesthetic exceptional importance, and that ugliness be studied as an aesthetic pattern in theatrical texts and performances.
Keywords: aesthetic, ugliness, theatrical preformance.

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Abstract:
The liturgy is a religious term with a ritual character based in its form on the practice of celebration, and it is founded according to a human act that is perceived sensually and mentally, and includes in its content a set of ritual forms such as prayers and sacred secrets as a phenomenon experienced by the community. The Syriac theater directed towards employing these religious forms in theatrical performance to the aspect of the actual overlapping of the audio-visual theatrical elements to confirm the semantic formula of the theatrical act, and the purpose of that is to revive those symbols to feed the intellectual and emotional side of the recipient.
In the light of the foregoing, the researchers divided the subject of his research into four chapters, where the first chapter (the methodological framework) included the research problem, which centered on the question: Forms of overlapping performance behavior between the liturgy and the actor in the Syriac theater? Hence the importance of the research and the need for it, then the aim of the research and its limits, then the definition of the terms. As for the second chapter (theoretical framework), the two researchers discussed the first topic: the implications of the liturgy in the performance of the Syriac theatrical actor, and the second topic: the liturgical act, its forms and characteristics, then the theoretical framework indicators, As for the third chapter (research procedures), it included the research community, then the research tool and the research methodology, and the chapter ended with the analysis of the sample, while the fourth chapter included the research results and conclusions, and the two researchers concluded their research by establishing the sources and references.
Keywords: liturgy, performance, actor.

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Abstract:
Materialisms have become an important word in intellectual and cultural discourse today. Despite their differences, these philosophical stances propose that thought can think outside itself, and that reality can be known without its being shaped by and for human comprehension. This position sharply contrasts with the philosophical and cultural view dominant over the last half century, a view that affirms the indispensability of interpretation, discourse, textuality, signification, ideology, and power. Today’s materialisms explicitly challenge many of these now prevalent assumptions of cultural practice and theoretical inquiry. Art actively participates in this challenge and presents works that fall under the term neo-materialism.
New materialism art provides spaces for the emerging and rapidly changing set of ideas, practices, and challenges proposed by contemporary materialisms, reflecting their nascent reworking of art, philosophy, culture, theory, and science, among other fields. Further, art strives to expand the horizons and terms of engagement with matter beyond the primarily philosophical context in which the recent developments have taken place.
The extension of the propositions of agency and intentionality to humans, non-humans, and even inanimate objects posed by the new materialism led to the emergence of Multispecies Art, which would inevitably require a change in the aspects of art criticism and the concept of aesthetics.
This article comes in two parts, the first presents a theoretical framework that briefly explains the concept of new materialism and focuses on proposed concepts related to artistic work such as intra-action, agential realism, agential cut, material immanence, post-humanism entanglement, and material immanence, Then the second part presents a critical analysis according to the diffraction approach of a number of works exhibited in (Intra-action: Multispecies becomings in the Anthropocene Art Exhibition for the Australian Animal Studies Group Conference 2013, University of Sydney).
This article concludes that the matter is vibrant and the artworks may be human, non-human, and product of cooperation between them in a beautiful illustration of how the agency works and moves through the various actors involved in the artistic process.
This requires a reformulation of the concepts of art, the artist, the artwork, intentionality, and aesthetics beyond the human narrative about art. It also requires a shift in art criticism to keep pace with the new concepts of matter in the age of biotechnology that have changed our understanding of life, non-life, and semi-life.
Keywords:New materialism, performative materialism, intra-action, agential realism, agential cut, material immanence, entanglement, post-humanism, diffraction, reflection, multispecies aesthetics, Karen Barad, Rosie Braidotti.

Abstract:
The current article (the educational and instructive dimensions of the visual text in the art of comics) by shedding light on the visual text in the art of comics. The importance of the article comes from the form of comics art from a global artistic phenomenon that occupied space in the map of fine art. The aim of the research is to reveal the pedagogical and educational dimensions of the visual text in the art of comics. In addition to the limits of the research, which was represented by the study of educational dimensions in models of comics art publications in Iraq for the period (1969-2018). The second chapter was concerned with the theoretical framework, and the third chapter included research procedures and analysis of sample models. Among the research results: It appeared that the visual text in the art of comics involves a cognitive aspect represented by the possibility of generating meanings and indications for educational and educational concepts and ideas in the mind of the learner, as well as what it forms from the text as a factor. Enriching the visual and aesthetic experiences of learners. Among the conclusions: The visual narration activates the imagination and mental processes by consolidating the information more in the learner\'s memory. As for the most prominent recommendations: Employing the art of comics in the educational field in formulating and conveying the content of lessons directed to learners.
Keywords: educational and pedagogical dimensions- visual text- comics art

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Abstract
The current article dealt with the study (form and function between Mesopotamian pottery sculptures and contemporary Iraqi ceramic sculptures) and is limited in four chapters. The borders of the article have been searched within the prehistoric and contemporary periods, as well as identifying and defining the most important terms contained therein.
As for the second chapter, it included two sections, the first concerned (function and form in pottery sculptures in the Mesopotamian civilization), while the second chapter included (function and form in contemporary Iraqi ceramic sculptures), while the third chapter included research procedures that included the research community Its sample, research methodology, research tool, and analysis of the research sample of (6) works of art, three works for the prehistoric era and three for the contemporary period.. The research adopted the descriptive approach in analyzing the sample, to reach results in the current research.
As for the fourth chapter, it included the results and conclusions of the research and their discussion, and among the results:
3. As a result of the dialectical connection with the environment and the effectiveness of resemblance magic, the likeness produces the likeness, so it possessed a social resonance associated with the effectiveness of agriculture, and the interest was in the visual function and copying what is visible and visible
While the intellectual dealings gave a new reality to the ceramic sculptures through what was created by the suggestive environment, which performs a communicative action by achieving a communicative function for the recipient.
4. The empirical experience in the preparation and repetition of the finished product resulted in an expressive function that bears a symbolic character, where the impact and sensation of things takes place through suggestion and in order to conduct the balancing process to achieve the phenomenon of reproduction and increase, and in terms of the reality of modern ceramics and its association with abstraction, which has become a basic feature of the forms of sculptures Ceramic, it has undergone a radical transformation by moving away from Details, vulnerability and impact.
function) )،(Form)، carvings، keywords: ceramics

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Abstract:
The application of the geometric form in modern sculpture was one of the topics covered in the present article, which is divided into four chapters. The article problem, its significance, the aim for it, and the study purpose are all explained in the first chapter. The first topic, what is the geometric figure? and the second topic were covered in the second chapter (the theoretical foundation), which included two sections. The research methods were covered in the third chapter of the study, \"Contemporary Sculptural Discourse,\" while the research findings and conclusions were covered in the fourth chapter. The most important results are:
6. The employment of the geometric form represented in postmodern sculptures comes from formulations and plastic structures that have a distinct visual specificity in the contemporary sculptural discourse.
7. The employment of the geometric shape in the (contemporary) sculptural achievement is based on how to creatively deal with the nature of the material it is carried on and its ability to form. It has fixed features and the sculptor has dedicated it through the sculptural achievement.
8. The act of abstraction contributed to enriching the employment of the geometric form in the (post-word) works, because it allowed the recipient to multiply the readings of the sculptural achievement away from the requirements of realistic representation and simulation of reality.
Conclusions:
1. The tendency to abstraction and reductionism in most contemporary sculptural works gives an intrinsic beauty to the geometric form in a way that is consistent with the function and pace of contemporary life.
2. By modifying the available geometric shape\'s visual system and the displacements occupied by it, the compositions of (postmodernism) helped to enhance the sculptural visual scene.
Keywords: embodiment, Geometric shape. Contemporary sculpture

Abstract:
Contrast is directly related to the silent pantomime formations to create consistency and organization of the movement of the groups and their dances and the method of their distribution and to create a formal and aesthetic balance in the scenographic image. And its importance and the aim of the research and its limits, which were represented in the theatrical performance tagged that was presented at the National Theater hall, and then included the definition of terms (artistic contrast). The indicators reached by the research and the procedures in the third chapter that analyze the play to end the research with the most important sources and references specified in the fourth chapter.
3. The composition of the idea of the play relied on fantasy and realism in its various themes by depicting the multiple ways of death, accidents, and the process of continuous rejection by these characters.
4. In the first scene, the light and illumination in this scene gave the place its identity with the help of music, costumes, and the movement of the actor, as we find that there is a discrepancy in the formation, organization, and hierarchy of this image from one element to another, as we find the contrast between the element of music and the movement of the actor, and we find the rhythm of the music is an upward rhythm that contradicts Or it contrasts with the actor\'s slow movement and its instantaneous automatic actions, as well as the contrast between the red lighting and between the actor\'s movement and the lighting of the tools they use.
Keywords:1. Technical contrast 2. Performance lineups 3. Pantomime theatre.

Abstract:
The current article examines, by reviewing and analyzing, radical practices and their productivity of formal equations in the plastic field. The article included four chapters, the first of which included the methodological framework. It included the research problem, which concluded with the following questions: How did radicalism exercise its effectiveness in contemporary plastic arts? What are the most important foundations adopted by radicalism in contemporary plastic arts? To determine the aim of the research by revealing: To reveal the radical practice in contemporary plastic works. Then the article tackles the importance of the research, which was determined as an epistemological reading in the concept of radicalism as one of the strategies of contemporary politics, which allows for a broader understanding of art productions. The second chapter has two sections, the first is defined by (radical- conceptual approaches), while the second (radical practice in the visual field- historical reading), then the third chapter, which is represented by the research procedures according to the method used, the research community, the research sample, the tool, and the analysis of the sample (3) Models and finally the fourth chapter, which included the results and conclusions. The research reached a number of results, the most important of which are:
4. One of the most important concepts of radicalism in contemporary plastic arts was represented by the achievement of social justice, to stand at undermining distinctions and hierarchies and abolishing them, such as the classification of races and bodies, taking a different stance directed towards celebrating difference and attracting the marginalized.
5. The rise of the idea of ​​resisting the authority and criticizing it by exposing its policies and practices. Contemporary plastic arts took a radical stance rejecting the fake political practices through sarcastic and absurd speeches addressed to the most important national and political symbols.
6. Contemporary plastic arts have taken a radical stance, represented by supporting the economy, industrial institutions, and consumer culture as one of the tools for reviving and developing contemporary societies through the celebration of consumer goods.
Keywords:Radicalism,Democracy,Liberalism,plasticArt,Contemporary.

Abstract:
The ceremonial theater represents one of the theatrical trends, as it is based on folklore and the marriage between everything that is authentic and contemporary. The playwright (Abdel-Karim Bersheed), who is one of his pioneers, describes it as the Arab theatrical form, which is a live and direct meeting based on dialogue and participation in movement, dance and singing. The festive theater is based on popular heritage. The acting groups are complementary to the ceremonial show and one of the elements of the theatrical show, as they contribute to the formulation of the theatrical plot. The research was formulated by the researcher with the following question: what are characteristics of the performance of the acting groups in the festive theater? It also contained the importance of the research, the aim of the research, the limits of the research, and terminology. While the theoretical framework dealt with two sections, the first section included the titles: first: (the origins of the ceremonial theater and its pioneers) and the second (the Arab ceremonial theater (the first appearance), and the third (the roots of the ceremonial theater in Iraq), while the second section bore two titles: the first (acting in the theater The ceremonial) and the second (the aesthetics of the performance of the representative groups). Then the theoretical framework indicators. The researcher chose the play (Sons of the Ambassador) as a sample for the research. The research included the results and conclusions, from which I mention the following conclusion: Celebration The search also includes a list of sources..
Keywords: festive theatre, representative groups, the performance

Abstract:
The educational connotations of anthropology contribute to transformations in the structure of society from education, learning and culture to a different intellectual and social orientation with relational articulations in analyzing reality on the basis of societal awareness of human existence in search of knowledge and truth according to the foundations of the individual\'s relationship with his society linked to human perception to direct the learner\'s behavior through his sensory and realistic perceptions on the basis of The evolutionary relationship between man and his aesthetic needs, as the first chapter dealt with the definition of terms, while the second chapter dealt with the educational implications of anthropology, the concept and meaning, and the role of anthropology in aesthetic culture, and previous studies. 3 \"An artistic model in an intentional manner. The fourth chapter included the results of the research and conclusions, including the artist\'s body, vital symbols that have an active role in the natural existence, which was represented through the human relationship with him since ancient times in his reliance on cognitive thinking that contributes to the formation of a sense of beauty, as in models 1, 2 Recommendations, proposals, sources, and a summary of the English language.
Keywords: anthropology, education, culture, beauty.

Abstract:
The current article entitled (Mythological discourse in the scenes of ancient Egyptian art) means the role of mythical thought in the development of the image of God in ancient Egyptian art, and it consists of four chapters:
The research problem dealt with the impact of the mythological discourse on the ancient Egyptian art and how two types of phenomena were governed in the life of the ancient Egyptian: mythical and religious, as they are among the first social phenomena to emerge in ancient history, as they represent a basic position and an original demand in his life and existence throughout the ages. And how myths had a role in running the affairs of the country, and sometimes the pharaoh (the king) had the right to represent God within a social concept, and the images of cosmic myths in Egypt, as well as the worship of deified animals, took wide ranges in the ancient Egyptian religion. The problem of the current research emerged based on these ideas, crystallized in the following question: the role of mythological discourse in ancient Egyptian art?
The researcher found that there is a necessary need for this study, represented in the fact that the subject was not addressed and studied in this detailed way, which formed a knowledge vacuum in this field. The discourse research has a specific goal, which is to identify the role of mythical thought in the development of mythological discourse in ancient Egyptian art. The importance of the research was evident in the fact that it represents an investigation of intellectual and artistic knowledge, within the space of ancient Egyptian art, that allows students and connoisseurs of art and history to see the mythological discourse in the scenes of ancient Egyptian art in ancient Egypt and its connection to mythical thought. It also provides our public and specialized libraries with academic scientific and artistic effort, and establishes studies in ancient art about myths and their images and the development of their intellectual and artistic structure in ancient civilizations. Concerning the limits of the research, it was determined by the study of the mythological discourse in the scenes of ancient Egyptian art through (sculpture and photography) for the period from the era of the Old Kingdom (2780) to the end of the New Kingdom (1080), which is found in illustrated books, magazines and specialized literature. The most important terms included in the research were also reviewed and identified, which are discourse, scenes, and mythology.
As for the second chapter, it contained the theoretical framework and previous studies, the most important terms, and it included two sections. The first concerned me with studying the religious and mythological beliefs of God in ancient Egyptian thought. The second topic was concerned with the study of (mythological discourse in ancient Egyptian art) by reviewing this topic in the art of the Old, Middle and Modern Kingdoms.
As for the third chapter, it concerned the research procedures (the research community, research samples, research tool, research method, mathematical and statistical methods, then sample analysis, and the fourth chapter included: results, conclusions, recommendations and proposals.
Keywords: discourse, mythology, scenes, ancient art

Abstract:
At the beginning, this research is concerned with the study of (retrospective transformations in modern European painting). 1953, which is the era that witnessed the most important elements of modern art, which was represented by a wide and rich production, and the chapter ended with defining the terms.
As for the second chapter, it included two sections, the first of which dealt with retrospective conceptually, while the second chapter dealt with the controversy of retrospective in the methods of modern European art.
As for the research procedures, it started from collecting works of art that represent the different art schools and ending with what was analyzed as a sample. The third chapter was devoted to it, which resulted in results and conclusions that answered the research objective. It was presented with recommendations in the fourth chapter of the research, which are summarized as follows: -
8. The artist's realistic environment affected his sensory and mental perception. Therefore, reality represented a major reference for the artist in capturing and preserving impressive images in memory.
9. The painter's mental memory represented an imaginary storehouse, through which the artist retrieves any image he wishes to be present. The creative artist is the one who can retrieve images and adapt them according to his personal vision; And employing them within what is in line with the current moment in which the artist lives.
10. The characteristic of innovation and creativity was one of the qualities inherent in the modern European painter. Because innovation relies on the constantly empirical aspect of experience and its own self-awareness.
Based on the results reached by the researcher, we find a set of conclusions as follows: -
11. The theme of the unconscious, or blind intuition, and Sufi inspiration are all verbal names that do not exist on the ground of reality and human experience. Therefore, every artistic achievement is the product of sensory knowledge and mental perception of man, and this therefore falls under one name and direction, which is called retrospective.
12. Attention and sensitivity to the important visual effects in reality depends mainly on the artist's personal side, that is, the effects stimulate the artist to the extent that his personality is full of independent meanings and a high perceptual vision that enables him to take care of taking from the important visual events and situations and leaving the rest of the unimportant images.
keywords: retrospective, Transformations, modern, Style, dialectic

The futility of Samuel Beckett\'s famous play \"Waiting for Godot\" is the subject of this study. One of the best examples of absurdist writing is \"Waiting for Godot\" by Samuel Beckett. Everything in this play is viewed through the lens of nothingness, including the title, the setting, the structure, the topic, the characters, the conversation, and the actions. The absurdist aspects in this play are exciting and appealing. Beckett\'s \"Waiting for Godot\" centers on the absurdity of human existence. This play concentrates only on modern man\'s futility in the face of perpetual concern. Absurdists believe life is senseless. Men are everywhere, but nobody is. This play argues that the modern world is meaningless and that people\'s yearning for order makes them disregard objective reality. This essay intends to demonstrate that \"Waiting for Godot\" is a completely absurd drama.
Keywords: Waiting for Godot, Samuel Beckett, absurdist literature, Godot, nothingness

ABSTRACT​
This academic article examines the figure of Juana Francés, her significance and contribution to the international Informalist Art movement. Francés work has been analyzed to highlight her importance in the context of the 20th-century artistic avant-garde. This study explores her distinctive style and influences which has received and impacted on the development of international Informalist Art. This article is based on my doctoral dissertation which is about the artist in under study. The dissertation was published in 2010 by the University of Alicante.
Keywords: Juana Francés, Informalist Art, gensture, experimentation

Abstract
The current article uses \"Animal Farm\" as a case study to illustrate the detrimental effects of social and political hypocrisy in George Orwell\'s writings. This essay aims to demonstrate the political and social hypocrisy in the book and to depict them as negative forces that break down interpersonal connections. In addition to warning his audience not to remain silent and pleading with them to speak up against the scandals of totalitarianism, the author urges the next generation to do the same. His mission is to expose the distortion of power when exercised by obnoxious politicians as carried out by hypocrites. The researcher employed a descriptive approach to carry out the study\'s main purpose and discover concrete justifications that went beyond Orwell\'s theory. The main source of data collecting is Animal Farm. The secondary data of the data collection comes to the conclusion that hypocrisy is a disease that frustrates people and strengthens tyrants.
Key words: George Orwell, Totalitarianism, Animal Farm, and Politicians