Basrah Arts Journal

The current research entitled (Semiotic Discourse in Contemporary Iraqi plastic Art) deals with this study, which is based on the semiotic discourse directed by the contemporary Iraqi artist and what is the intended discourse that broadcasts a message that contains social, artistic, religious and other aspects to the recipient through a set of coded symbols and signs that are like codes that need to be decoded by identifying these signs rooted in ancient and contemporary Iraqi culture as well .
This study consists of four chapters, the first of which is the methodological framework of the research and includes the research problem, which was summarized by the following question: What is the semiotic discourse in contemporary Iraqi plastic art? As for the importance, it monitored the semiotic discourse and its importance in supporting libraries, then the research objective and its objective, temporal and spatial limits, then defining the terms, and with regard to the second chapter, the theoretical framework that included three topics and indicators, the first is semiotics: its dimensions and concepts, the second is the conceptual discourse, and the third is the semiotic discourse in contemporary plastic art, while the third chapter included society, the sample, the tool, the method, and the method of analyzing sample models, while the fourth
chapter included the results, conclusions, recommendations and proposals, and the most
prominent results and conclusions are the following :
1- The symbols and signs found in the Iraqi models have their own specificity in the artist\'s self-expression
in terms of their features that indicate what the artist intends in his declared discourse.
2- The Iraqi plastic artist relied on the composition of formal images, organization and contexts that indicate meaning.
3- Iraqi artists share a semiological discourse other than expressing meaning between (technological discourse, the end of the world, the destruction of the earth, religious discourse) in expressing their objective contents.
4- The Iraqi artist was able, through his paintings, to adhere to the rules that determine the relationship between the message and the subject, relying on authentic references that are characterized by objectivity and through which he highlights a semiotic discourse.
5- The Iraqi artistic productions were dominated by the semiological character that provided the opportunity to study them and know their motives and meanings that indicate the discourse directed to the recipient.

The study of mythological influences in ancient pottery formation, corresponding to the models of what is known as (the mother who produces offspring), is of clear importance, in terms of investigating the sufficient mythological ideas in the pottery formation models, as it occupied an important place in the course of ancient global ceramic formation, given that it has a strong relationship with social thought, with all its historical, environmental, mythological, and ideological specificities, taking into consideration the nature of the pottery formations, representing the model of (the mother who produces offspring), and what it carries of expressive and suggestive connotations related to mythology, which gave it a special character, as it enjoyed the specificity of the formal composition, in addition to the techniques of display in the ancient process of pride and coloring .
Pottery formations have relied on mythological frameworks with a socially dimensional goal, and in this research we stand on their formative and structural features, inherited from them, or those that relied on mythological characteristics that aim to show their contents and contribute to clarifying them, as the importance of the research comes in providing another reading of those models in the field of ancient pottery formation.
The research was divided into several chapters. The first chapter was methodological, in which I presented the research problem, which I concluded with the question: Were the pottery formations able to show and express mythology in the models of the mother who produces offspring? The importance of the research was summarized in the researcher’s attempt to build bridges between the past and the present, and to return to the roots of human heritage. The aim of the research was to reveal the mythological influence on the ancient female pottery formations representing the model of the mother goddess who produces offspring. The boundaries of the research were the Central Andes region, and thetemporal boundary: the pre-documentation stage (from about 4000 BC – the emergence of writing). The objective limit: A group of pottery sculptures of the mother who produces offspring, and I defined the most important terms in the research, which are the terms influence and mythology. As for the second chapter within the theoretical framework, I divided it into two sections, the first section: Mythology - philosophical interpretation and meaning,
and the second section: The mythology of the mother goddess who produces offspring. In the third chapter within the procedural framework of the research, I discussed the research methodology, the research community, the research tool, and the research sample. Then I analyzed the sample through the models chosen for analysis. As for the fourth chapter, in which I extracted the results, the most prominent of which was that the artist in his artistic performance is a researcher of the tangible and encrypted aesthetic truth behind the phenomena and manifestations of the artwork, the pottery formations of the mythology of the mother goddess who produces offspring carried formal interpretations that confirm its mythological nature, and it represented a metaphor from nature that included the system of form, as it is like a mythological instinct to face the challenges of food shortages and births. Then I recorded the sources.

The researcher dealt with the study, (Manifestations of self-isolation in the works of the artist Latif Al-Samhan). The researcher studied the topic of self-isolation psychologically and philosophically, and revealed the sources of this duality throughout the history of fine art, specifically drawing, as it contained four chapters. The first chapter dealt with (the methodological framework of the research) if it included the research problem. Which the researcher summarized by asking what were the (manifestations of self-isolation), as the problem included research into the artistic style followed by the artist, painter Latif Al-Samhan, and the extent of its influence, and then the importance of the research and the need for a research goal, the limits of the research, and the definition of terms, as well as the procedural definitions that agreed with the researcher’s point of view. The second chapter: which represents the theoretical framework, as it contains two sections, the first section Which represents the theoretical framework, he had discussed, firstly: the concept of self-isolation, secondly: Socrates’ theory, and thirdly: isolation according to (Feuerbach). Fourth: The ego, isolation, and the social spirit. Fifth: (Freud’s theory). The second section: Isolation and its impact on plastic art. First: Isolation in European art. The second chapter concluded by reviewing the indicators of the theoretical framework to benefit from here in terms of building the research tool, analyzing its sample, and presenting and discussing previous studies. In the third chapter, it is devoted to research procedures, in which it reviews the definition of the “research community,” selecting samples from the community as a sample, and determining the methodology used in the research. The fourth chapter: research results, conclusions, recommendations and proposals.

The actor's focus takes a large part of the kinetic performance and scenic formation after it is a performance technique capable of organizing the space of the theatrical performance, as the focus of the actor takes a means that supports the performance and appears in an acceptable way from the recipient's point of view. In light of the above, the researcher divided his research topic into four chapters. The first chapter (the methodological framework) included the research problem represented by the following question: What is the role of focus techniques in the kinetic formation of the actor's performance in the Iraqi theatrical performance? Then access to the importance of the research and the need for it and the research objective which was determined as follows: Identifying the role of concentration techniques in the movement formation of the actor's performance in the Iraqi theatrical show, in addition to determining the time and place of the research sample and mentioning the terms mentioned in the title text, and the second chapter included two topics, the first: Concentration, its concept, types and tasks, and the second topic was determined under the title: Concentration in the movement actor. Then addressing the paragraph of what the theoretical framework resulted in. The third chapter included the research community and its sample, then determining the methodology that the researcher will follow, represented by the descriptive analytical method, then the research tool that will enable him to analyze the sample, as for the fourth chapter, it was determined by the most important
results that the researcher reached through the analysis of the sample, then the conclusions related
to the axis of the study, in addition to addressing some recommendations and suggestions to conclude
his study with the most important references that he relied on in the facts of the research entitled Concentration techniques in the movement formation of the actor's performance. Keywords: Focusing techniques, kinetic formation, actor performance

This study examines the technological advancements over the past decades and their role in enhancing the visual and aesthetic experience of contemporary television works. The research focuses on analyzing the various effects of cinematographic techniques such as camera movement, frame composition, lighting, and color, and how these elements are utilized to achieve narrative and artistic goals and aesthetic values. The study aims to explore the changes in these techniques due to digital transformations and technological advancements, and how they are employed to improve image quality and the dramatic depth of television scenes. The research is based on a detailed analysis of recent television series that have demonstrated innovations in using cinematographic techniques to create a unique visual experience. It also discusses how these techniques have contributed to enhancing the interaction between the viewer and the television work by creating dynamic visual environments that heighten scene tension or portray characters' emotions more deeply. Additionally, the study presents examples of television works that, thanks to these cinematic techniques, have achieved both popular and critical success, pointing out that the intelligent use of these techniques has become an integral part of contemporary television production, serving as a fundamental pillar in crafting a distinctive visual identity for each series.