Fine Arts

The study of our research entitled: ((The concept of art in Plato’s philosophy)) is summed up in clarifying several topics related to philosophy and art, starting with the definitions of philosophy and art and clarifying the nature of the study of each of them. Although philosophy is abstraction and art is embodiment, this does not prevent the relationship that It links philosophy and art; Which made the question about this relationship a source of controversy and differences in opinions, and several theories emerged to explain the concept of art, including philosophical theories. Each philosopher presents a vision of the essence and nature of art, and through this research we will touch upon the most important Greek philosopher, the philosopher Plato. The interest in beauty and art goes back to Greek philosophy, especially Plato's philosophy, as it indicates a connection between philosophy and art. Beauty and art are linked to the world of truth, so his theory of beauty relates to ideals, because he considered beauty one of the highest ideals.
In addition, Plato seeks, through his Republic, to build an ideal and virtuous city. He identified the groups that live in this Republic, including the scholars, the wise, and the capable. He addressed artists as the group that has the most influence on the individual and society. Therefore, he presents his position on art in a critical manner, so he goes on to expel artists from his city. Because they reflect negative effects on the recipient through their artistic works, and despite his rejection of the artists, at the same time he sets the conditions and rules that he wants from the artists who are present in his virtuous city.

Chapter one 1_ The problem of studying :-ln most fine art institutes and colleges in music departments in Iraq have several problems with their students learning to blog and read music for a subject (Sullivage) Such as old traditional methods or regular and non-developed music curricula, we must try to update these methods with electronic music programs and employ them to teach and train this subject for students of the first and second stages in music departments at least, with tagged research :- (Recruitment of state of the art electronic programs in the teaching of music sulfage to students of fine arts institutes and colleges in Iraq) 2- importance of the study :- lt is an important and serious experience in the use of modern music electronic programs in the teaching and science of music and the effectiveness of these programs. 3_ The objective of the study :- To learn about the results of the use of electronic programs in teaching the subject (Sullivage) of its lyrical and rhythmic types to students of music departments in fine art institutes and colleges. 4_ Limits of Study :-First and Second Grades Students of Fine Arts Institutes and Colleges in Iraq from the 1970s to 2024. 5_ Terms of Study :- First: Employment ،Second: Sullivage .
Chapter II: The two researchers in this chapter selected the first and theoretical research (under the heading "The beginnings and types of sulfage globally and eastward throughout history") and the second (the procedural research), in which (6) selected six stage I exercises that are graded with difficulty and (6) phase II exercises that are also difficult.

The current research is concerned with studying the topic (the intellectual and aesthetic structure in light-kinetic art), as it relies on new mechanisms for reading completed artistic works, given that the structure of thought and beauty is a set of interconnected and integrated relationships in the artistic work. Therefore, the problem of the current research was formulated with the following question. (What is the nature of the intellectual and aesthetic structure in light-kinetic art)? The research was divided into four chapters. The first chapter included introducing the research problem, its importance and the need for it, and the goal of the research, which was summarized as (identifying the intellectual and aesthetic structure in the art of kinetic light). The first chapter also included the objective limits of the research represented by studying the intellectual and aesthetic structure. In the art of kinetic light, the most prominent works of the artist Dan Flavan. As for the spatial boundaries, they included European countries for the time period between 1960-1980. The first chapter also included identifying and defining the most important terms mentioned.
As for the second chapter - the theoretical framework and previous studies for the research, it included several topics, the first of which: the concept of structure between thought and beauty, the second: light and movement and their implications for contemporary arts, and the third: the art of light - movement in the contemporary artistic experience, and the theoretical framework concluded with a set of indicators. To benefit from it in (analyzing the research sample model) and achieving its goal.
The third chapter included the research procedures, represented by the framework of the research community, the research sample of (5), a technical model, the research methodology, the research tool, and the analysis of the research sample model.
While the fourth chapter included the results and conclusions of the research, and among the results reached by the researchers are as follows:
1. The idea is the basic principle in the works of the artist (Dan Flavan), which creates the duality of rationality and irrationality in order to reveal the content.
2. Most of the artworks executed by the artist (Dan Flavan) took ready-made industrial and consumer forms, manufactured and executed using a technique characterized by an aesthetic and utilitarian nature.
Among the most important conclusions reached by the researchers are:
1. The nature of the general trends of artistic productions in the works of artist Dan Flavan works with the intellectual and aesthetic structure in Western society thanks to technical, technological and industrial progress.
2. The art of kinetic light opened the way for new concepts of contemporary sculpture that are completely different from previous traditional sculpture.
After the conclusions comes a number of recommendations and suggestions, followed by references and sources.

The concept of openness and expansion represents an important life dimension that is inherent in the process of human development in any field of human knowledge. Every openness at the level of knowledge, culture and technology is accompanied by the spirit of the age in which man lives. Just as culture has a meaning and value commensurate with place , time and human experience, the natural or spatial distribution is one of The social factors that establish culture on the one hand, and that change the material basis of society on the other hand, because the cultural components take effect in shaping behavior or taking positions and distinguishing human motives and needs that give each region cultural dimensions linked to the special place that constitutes an objective framework .And through the developments that the human mind added to the field of arts through its pivotal stages, especially the era of modernity, which changed the pattern of thinking, theories and mechanisms for their actual application in the aesthetic field differed, leading to the post-modern era, which witnessed a great openness in the structure of plastic production and in theories of understanding and thought that made the art theater open and without borders. There is no specific gender that approaches the concept of the globalization of art and the openness of visual display and the mixing of styles, and the androgyny of achievement and form, while trying to introduce the largest possible number of technologies and means of communication to create pleasure and pleasure in the process of open tasting. Likewise, postmodern arts continue through its mechanisms with new means. To the extent of astonishment and shock, and its attempt to undermine the difference between artistic genres, nothing is forbidden, but everything can be used for any fleeting idea. It can be said that post-modern arts are nothing but a revolution against the structure of the fine art work and its existing traditional formal, color and structural rationalization, and the rejection of everything that is prevalent has led to a major change in the structure of the contemporary fine art work and its texture and other components. From here, the research raises a question about... What did these methods produce? What stylistic and technical systems were formed that worked on the issue of openness of incubating spaces to reverse the equation of artistic production?

The current study is concerned with searching for images of the discursive functions of social reform through a number of motivating symbols shared with the functions of holiness, to indicate their importance and social standing, and their position within the work, and to convey their declared message to the recipient after verifying the validity of the proposition. Thus, a number of declared and hidden functions appeared with formal symbolic images or linguistic discourses, some of which supported the other and helped to present them with the most meaningful images. Accordingly, a study plan was drawn up (the discursive participatory functions of social reformism in the art of Mesopotamian civilization, the Akkadian seals as an example) and presented through four chapters: The first chapter included: the research problem, the importance of the research and the need for it, the research objectives, the temporal, spatial and objective limits of the research, and definition of terminology. The second chapter was the theoretical framework and included three sections: The first section studied (the motives for social reform), the second section studied (the functions of discursive participation), and the third section dealt with (the seals of the Mesopotamian school). The third section included the research procedures, as well as the applied aspect of the study. The fourth chapter includes the following topics: The results, the conclusion, and the most important of them are in the discursive participation of the sacred structural signs of the deities with the rest of humanity, basing this on the creative and reformative contribution they made. From it and through it, reformist visions seemed to be borrowed by the Mesopotamian artist, supported by symbolic complements that may be texts or parts of the plastic work that confirm and enhance the validity of the proposition as well. The fourth chapter of the study included recommendations and proposals.

the effectiveness of a training program to develop the perception of visual plastic skills among primary school students in the General Directorate of Education in Babylon (academic year 2023-2024 AD), which aims to: - (know how to develop the awareness of visual plastic skills) and to achieve the goal of the research. A sample of 40 students, in the fifth stage of primary school, was selected and they were divided randomly into two groups, control and experimental (by split-half method), relying on the two-group experimental approach. Two tests (pre- and post-) were conducted for each group, and the test tool was applied in this study to develop Realizing visual plastic skills, and it was designed by the researcher). After collecting, tabulating, and processing the data and using the necessary statistical methods, the researcher reached the following results:
There are fundamental differences between the experimental group and the control group in the visual perception skills of primary school students in favor of the experimental group, which learned the strategy of the visual training program for developing visual perception skills. Therefore, the alternative hypothesis is rejected, which states: - (There are no statistically significant differences at the level of Statistical significance (5 0,0) between the average grades of primary school students (the control group) that learned in the usual way, and the experimental group that learned using the visual training program strategy for developing visual perception skills .

Street theater is one of the types of theatrical performances that present vital content that the audience intended for the performance is concerned with by going to where people are densely present (in the streets and public squares). This approach has imposed unique characteristics in the show’s mechanisms, its performing/directing techniques, and the nature of reception.
The research consisted of four chapters. The first chapter included: The research problem that was crystallized in the following question: What are the characteristics of transmission and reception in street theatre? The need for research is evident in shedding light on street theater performances that have increased and diversified over the last ten years, to benefit artists and technicians. And institutions interested in street theatre.
The second chapter dealt with - the first topic: the components of street theater and the nature of the space. The second topic: the sender and the recipient, their role, and the interactive relationship between them in street theatre. The chapter ended with indicators of the theoretical framework, including:
1- Transmission in street theatre is based on a dramatic idea and scenario, and the performers work to interact positively with it through improvisation and reaction to what the recipient can do and/or say.
2- The recipient is the one who happens to be in the performance space, and the performers are able to capture his interest in their skills and attract him to communicate with them through their objective proposals and raising questions.

The research revolves around the dialectic of the relationship between the foundations that determine the standard of design in its general form, which we touch in our lives in general and in its smallest details, which came in accordance with what is established according to the human standard of proportions in which designed things are related according to their function, while their aesthetic form is subject to the designer’s abilities to innovate based on that Everything that is designed comes as a solution to an existing problem in our lives and its goal is to facilitate our work, but design is in the theater and it is It is subject to a system that is more complex in its foundations and controls than what we talked about, and despite its reliance on the same foundations in traditional design, it is the field in which the designer finds a very wide space to invent shapes without logically contradicting the human mind. On the contrary, it derives its strength from its violation of what is traditional to interfere in The space of symbolic expression that reaches the point where design is an alternative speaking language for dialogue and expresses the main idea with great force.
The research consisted of four chapters. The first chapter (methodological framework) included: The research problem and the need for it, which was crystallized in the following question: Is design in theater capable of producing a form or scenic image that the recipient becomes familiar with despite its departure from what is familiar in reality?
The need for research is evident in shedding light on the dialectic of the relationship in the design of theater between the traditional foundations of design and the production of what is outside of them without affecting the logical comprehension of the form.
Then the researcher reviewed the most important terms mentioned in the title
The second chapter dealt with (the theoretical framework), in its first section: design between the idea and traditional foundations, while the second section dealt with: design in theater between the idea and departure from the traditional, and the chapter ended with indicators of the theoretical framework, including:
1/ The general form of the design product is based on traditional foundations that cannot be dispensed with, and it fulfills functions that come to find solutions to problems experienced by the individual.
2/ Design in theater, according to which the general form of the scene is established, depends on the freedom to innovate and produce forms that allow the recipient to indulge in interpretation and interpretation according to his cultural and social references without logical conflict with the form, despite its departure from the familiar.

Carpets emerged throughout Eastern societies as one of the most prominent manifestations of prosperity and bliss that adorned palaces and courts. Mastery of their design and production required discreet expertise that a person might obtain as a result of hard work over decades
A wide group of merchants were involved in selling carpets, including the owners of luxury shops, as well as the wanderers who roamed the streets of the common people’s neighborhoods. The respondents were Orientalists, researchers and artists who lived in this situation, taken by the beauty of this wonderful art, so it was necessary to acquire some of it and transport it to the West. Among the goals of these people, while the artists among them were busy drawing pieces of carpets that were shown to them during their wanderings, or in the palaces that they had the opportunity to enter... they monitored everything related to carpets, so they left us with extremely wonderful paintings that indicate their fascination with this authentic oriental art, which Their art created a documented history of some aspects of carpets, without intending to do so
Egypt will be a model for our study because it is the country that received the attention of Orientalist artists more than others, which made the possibility of studying Orientalist artists’ fascination with its carpets easier and easier

The language of physical communication represented a milestone for man since his existence on this earth. He attempted to form a visual rhetorical language capable of sustaining his exchange with life and nature, through his physical tools, which enabled him to express human values and feelings as concrete movements carrying communicative linguistic dimensions. The person/artist has benefited from this physical language to convey meaning and ideas at various creative levels, especially the visual arts. Theater was considered one of the most important means of intellectual and aesthetic expression, as it contains a creative system capable of delivering visual messages that address the recipient through the actor’s body to express the events taking place in reality outside the stage, through physical formations that carry within them those same dimensions. The connotations and meanings that link the recipient to these values and concepts at the artistic, intellectual and aesthetic levels of this art, and their relationship to current events in the daily arena. Many actors even tried to take advantage of this language and to adapt the body to create various symbolic connotations that would enable him to reduce the dominance of the word in his acting performance on stage, as it is a universal human language that transcends geographical borders. It is a language circulated and conceptually among a large spectrum of societies. It has the capabilities that qualify it to go beyond the symbolism of the word, as it may be deficient in this language in revealing and declaring these meanings and connotations and giving a multi-reading interpretation of the lived reality and with a creative artistic vision

The concept of multiculturalism has been linked to contemporary issues that have occupied increasing controversy and interest with the rise of colonial studies and cultural identity, preparing the epistemological ground for pitfalls that called for the undermining of centralizations and the celebration of difference as a response to meta-thought, which assimilated the marginalized as part of the cognitive component, which justifies the characterization of multiculturalism as a political concept in the first place that came to overturn equations. western logos, Since the feminist discourse is one of the marginalized discourses, the feminist movement in multiculturalism has found a way to dismantle the cultural centralism that has a well-established significance in terms of it being a white, Western male culture, allowing for openness to the other on the biological and cultural level, so that the United States of America provides a clear model for the thought of multiculturalism as an incubator. For many nationalities, Among the most important practices that responded to this thought were American ethnic minority artists by presenting formal equations that called for a dual practice that included, on the one hand, the active presence of the female self, and on the other hand, the rooting of cultural identity. This practice came in response to double oppression, given that the female, according to multiracial feminist theory, has been subjected to To suppress the first twofold of her biological makeup and the second of her ethnic affiliation, the subject of the research must be included Four chapters, the first included (the methodological framework for the research, while the second chapter discussed the theoretical framework, the first included the intellectual institutions of cultural pluralism, while the second section came under the title of cultural pluralism in contemporary feminist thought and its applications in art, while the third chapter specialized in research procedures, and finally included Chapter Four: Results and Conclusions

Music is characterized by continuous development, especially in its applied field, and therefore there must be a relationship linking the theoretical side to the practical side, to avoid a gap between them. The lesson on musical appreciation includes different types of musical activity and skills, and the student must move between skills, including singing, playing, and listening to songs. Purposeful and expands the student’s experiences because these songs contain rich melodies, rhythm, and musical phrases with creative wording.
Frequent listening to these songs, especially Iraqi ones, by singers who have a great importance in musical production, such as Nazim al-Ghazali, for example, can be received, analyzed, and benefited from in audio educational application, and the possibility of extracting musical maqams, scales, rhythmic patterns, vocal spaces, and distinguishing the sound color of musical instruments, by making use of introductions. The musical interludes are composed of the melodies of these songs and used in the practical aspect of musical appreciation, provided that these songs are audible and easy to tune and suit the sense of hearing of both the receiving student and the sending teacher.
The current research aims to identify the shortcomings that some students face in the Arabic music appreciation lesson, which is represented in identifying the musical maqam, musical scale, rhythmic forms, vocal space, and vocal color of the musical instruments involved in the lyrical production, and trying to overcome that by making use of listening to the music of introductions and musical interludes for examples of... The songs of Nazim Al-Ghazali and their use in the lesson on musical appreciation, because these songs include instrumental music in the introductions and breaks, as well as their distinction in the diversity of maqams, rhythmic patterns, distribution of solo instruments, and multiple vocal layers.

The manifestations of contemporary human existence have been characterized by an urgent familiarity, the cornerstones of which centered between man and cyber and digital technology, which appealed not only to his need but also to his conscience to immerse himself in its atmosphere and vast virtual spaces, until it became an important and even vital part of his way or style of life, and intertwined at the core of his sociological and psychological aspects. To take a clear place or space within his existential map, the rational being took those unrealistic concepts and through his attachment to them to give them human qualities when he made some of their products a vital part that helped him live as a human being beyond humanity, and from those conceptual and physical relationships, the artist’s perceptions regarding this hybrid interpenetration varied what Between man and machine to create works from them with the help of computer devices, he produced images and artistic forms of that hybrid being (the cyborg) with the difference in the way of presentation and appearance that his imagination was able to achieve, and at the same time that same machine was able to strip him of even his simplest artistic data to replace him with its intelligence that He created it for her, in creating other forms of these complex beings and as required by need, whether in their social, psychological, or aesthetic aspects.

The structural aspect of any artwork represents a set of laws and structural relations that establish its construction and the type of style and pattern that decides the way in which the elements must be distributed and organized according to the events of the impact of the attention of the recipient, and these elements form the material basis due to the relationships formed between them, the functional or aesthetic aspect, so that the completion of the artwork is established according to So. Therefore, this research was concerned with studying (patterns of visual attraction in contemporary American ceramics), which falls into four chapters:
The first chapter included a presentation of the research problem, which is defined by the following question: Are there structural patterns of visual attraction in contemporary American ceramics? How is visual attraction achieved in ceramic artwork? The importance of the research and the need for it came in terms of shedding light on the most important components of the visual patterns on the technical and formative levels, and for the benefit of the students of primary and higher studies in explaining the importance of attraction and its concept in artistic work. The aim of the study is to: (know the patterns of visual attraction in the formation of contemporary ceramics.
The research was determined by studying the products of contemporary ceramics in the United States of America, and within the specified time period between (2005 – 2010)
As for the second chapter, it included the theoretical framework and previous studies, which contained two sections: the first topic was about me with the concept of visual attraction, and the second topic was about me: patterns of shape structure in American ceramics (design and technology.
As for the third chapter, it dealt with the research procedures that included defining the research community, selecting the research sample amounting to (5) ceramic work, and describing and analyzing the sample.
While the fourth chapter included the results and conclusions of the research, as well as recommendations and suggestions, and among the results reached by the researcher are:
1. The inner space had an active role in achieving the optical attraction of the ceramic piece, as it absorbs from the weight of the mass visually, as are all samples.

In the midst of technological development and the wide range of human inventions, cinema appears as an art capable of absorbing these developments, and even paving the way for them and stating what the scientific machine aspires to. The process and what man has reached in the quest for life alternatives and the meanings that give his life in facing epidemics and prolonging man’s survival on the planet, and the emergence of a superhuman who is able to compensate for what he loses from his body, so the cyborg was like a hybrid between man and machine, as well as inspired by rhyming propositions and changes that occurred at the intellectual and technological leveWe do not find anything better than cinematic art in representing these ideas due to their superior ability to narrate, visual sequence, manipulate time, the persuasive ability that they possess, and the great influence they possess on the recipient. Due to the importance of the topic, the research is divided into four chapters, the first chapter, the methodological framework that included the research problem, the importance of the research, and the objectives of the research. The fourth chapter covers practical applications of the concept of the cyborg in the film medium. Then results and conclusions, and I conclude the research with a list of sourcesl .

(Creative panic) is one of the cultural studies that emerged with great effectiveness in the early 1970s, through the theories of the English sociologist (Stanley Cohen), in which he pointed to the disorderly disintegration and fragmentation in the youth movement in England initially. Then this term became involved in the theory of intellectual deviation, including This is sometimes related to the individual, and sometimes to structural cultures.
The first chapter included the research problem, which centered on the following question: (What is moral panic and what are its conceptual dimensions in the performance of the contemporary Iraqi theatrical actor?). The importance of research has addressed this term from an intellectual, psychological and social perspective because of the discourse it causes that is characterized by panic and moral dismay through systematic behavioral excess characterized by ambiguity and deviation from societal customs and traditions, and the construction of false ideas and images that subcultures take as a means for them to justify their deviant thoughts and behaviors, through child rape, harassment and addiction. On drugs, and striking institutions with complete chaos, sabotage, and systematic destruction. The aim of the research sought to: identify moral panic and its conceptual dimensions in the performance of the contemporary Iraqi theatrical actor. The temporal limits of the research were determined: (2014 - 2024), and the spatial limits: Iraq - Baghdad, and the limits of the topic: the study of moral panic and its conceptual dimensions in the performance of the contemporary Iraqi theatrical actor, in addition to defining the terms mentioned in the title of the research.

The research addresses the study of the impact of metaphysics on enrichment Metaphysics and the aesthetics of the symbolism of the decorative unit in the Iraqi theatrical show by studying a play (The seventh-inning play), Thus, knowing one of the most important sources from which the artist (director/decorator) drew his material, in addition to the importance that this research can provide in developing the aesthetic and cognitive awareness of art students, artists, and those interested in it. It also contributes to understanding the broad lines in the art of decorating design and the various methods that contributed to enriching the decorative vocabulary in the Iraqi theatrical performance. The first chapter presents the problem of research on the metaphysical view of things and their penetration into human thought.

Media and its applications in theatre, emerged as an intellectual and technical trend in the late twentieth century, as theater is one of the cultural effects that shape the awareness of societies after it simulates the individual’s feelings, emotions, and convictions. Media has taken on an activity for itself that is completely different from what Derrida spoke about, as he sees: That theater is dominated by speech, and that it is very appropriate to flood the recipient with words to achieve a state of fluidity, perhaps meaning flow in understanding for the viewer, and this statement is inaccurate, and it was necessary to examine those media mechanisms that include elements other than those included or The director achieves it,Also, to find out whether the technique of the representative actors who realize the idea of the artist/creator or author will develop the metaphorical image, as they are able to reinterpret the text when the director, under the media, does not have his creative freedom, as the media presentation flows with signifiers, and the body for the actor has been stolen from him.
The research included four chapters, as the researcher begins by presenting the research problem and the need for it within the first chapter, in which he also clarifies the goal and importance of the research, then the limits of the research. Defining the terms that appeared within the title of the research was of great importance in defining the cognitive paths of the research, which led him to specify definitions. Procedural.
As for the second chapter, it includes three sections, the first in which the researcher discussed the concept of media, while the second section dealt with media and theater, and the third section was devoted to identifying the relationship of media to the actor’s technique.

The this research (the duality of style and technique in decorating the imagined directorial image of the artist Robert Rauschenberg) is summed up in studying the method of directing the imagined image through both style and technique. The research included four chapters: The first chapter is concerned with the problem of the research, its importance and the need for it, and its goal is to extend... Learn about the style and technique of decorating the imagined directorial image in the works of artist Robert Rauschenberg in addition to its limitations. The first chapter ended with the most important terms that belong to the research. The second chapter included the theoretical framework and previous studies The second chapter included two topics, for example the theoretical framework. The first topic was the dialectics of style, technique, and plastic technique. The second topic was the imagined image and its manifestation in postmodern arts, with the most important indicators that the research reached, as well as previous studies. The research also included the third chapter related to research procedures, and the fourth chapter included the results and conclusions of the research, as well as its recommendations, proposals, and the sources that were used in it.

The research includes four chapters. The first chapter deals with the research problem defined by the following question: - How is the concept of justice represented in Greek drama? The importance of the research and the need for it was to shed light on the importance of justice as a positive factor for the benefit of the human being to build his personality, and it can change from one society to another and depending on the human being’s affiliation to that society. In addition to giving it moral and social value to the individual in order to preserve his rights and dignity and then reform society. The aim of the research is to know the concept of justice and its representations in Greek drama. The research is limited to studying the concept of justice and its representations in Greek drama. The limits of the research included the fifth century BC. The chapter concluded with a definition of terms
The second chapter (the theoretical framework) included two sections, the first section (the emergence of justice in Greek civilization) and the second section (the development of the concept of justice in the Greek theatrical text). The chapter concluded with the indicators that resulted from the theoretical framework and previous studies. As for the third chapter, the research community included and sampled the play (Hecabeus) by Euripides, which the researcher chose intentionally because it was compatible with the research topic, problem, and objectives. As for the research methodology, the researcher relied on the indicators of the theoretical framework in the tool. The fourth chapter contained the results, including
1-The concept of justice varied in Greek drama and differed from one writer to another, depending on their intellectual, political and ideological orientations
2- The heroic view and the strength that the warrior possesses were linked to the concept of justice among the Greeks This chapter also contains conclusions, recommendations, and proposals, then a list of sources and references

Space is considered one of the most important elements of artistic formation because it contains the elements, absorbs them, and contributes to defining their features. In the art of sculpture and architecture, space constitutes the first element, the basis, and the actor in completing the artistic image of any sculptural work, especially in the contemporary plastic arts. Rather, it is an element that is difficult to clarify except in the case of the presence of something with three dimensions, and it is not possible to perceive form without a sense of space. Interior design, architecture, and sculpture move in one three-dimensional direction, but with a difference in scale, interior space and architecture are created for habitation, while sculpture may move away from this concept. Architecture is the result of an internal space that meets the individual's functional and aesthetic requirements, while the sculptor satisfies the individual's sensory and aesthetic requirements more than they are functional. The process of merging architecture and sculpture carries within it directives related to the directives of the contemporary sculptor, and thus pours into the interior space to be part of the overall composition of that architecture. Integration between the interior space and the sculptural architecture is considered the goal of the designer. This integration occurs either at the level of the whole, which is the goal of the designer, or at the level of the part. Thus, the design has achieved part of the integration, not the whole. Just as designs have risen to complete integration, they have risen to successful designs, whether in form or The content or both. The current research contains four chapters. The first chapter includes the research problem, its importance, and the need for it. The research problem lies in answering the following questions: 1- What is the mechanism of the design process that must be under the pressure of the conflict between the relationship between space in interior design and contemporary architecture? 2- What is the importance of the hidden relationship between two basic effective structures in interior design, which are the functional structure and the aesthetic structure. The goal of the research was determined by shedding light on revealing the nature of the relationship between the aesthetics of interior space and contemporary architecture. As for the limits of the research: it included studying the aesthetics of space in interior design and contemporary architecture. With the time period from (1956-2005 AD), it included contemporary architectural projects implemented in Italy, the Czech Republic, Spain, and the United States of America. The terms mentioned in the title of the current research were also defined. The second chapter/theoretical framework included two sections. The first section dealt with space and its relationship to contemporary interior design. The second section dealt with space in modern European formation (architecture - sculpture). The second section concluded with indicators of the theoretical framework. While the third chapter included the research procedures, which included the research community, which is architectural projects for contemporary sculptural architecture implemented in Italy, the Czech Republic, Spain, and the United States of America. It is a purposive sample of (5) models, and the research methodology is the descriptive analytical method. As for the fourth chapter, it includes the results, conclusions, recommendations, and proposals. The most important results reached by the researcher are: 1- The beauty of space for interior design in contemporary architecture is achieved as a result of a series of visual perceptions, and all perceptions of space depend on a connection between the perceiver and the perceived points, as in all research models. 2- The image of space is represented by the rigor of expression in the interior design of contemporary architecture, and that this revolution has a mechanism for advancing knowledge in design thought, which reflects the stages of the changing debate for functional structure within this context. As in Model (1,2,3,5). As for the conclusions that were reached To the researcher: The scientific (engineering, technical, and digital) and artistic intersection of contemporary architecture has accomplished enormous, great, and astonishing works that would not have been achieved without this synergy between these sciences and arts. Based on the results and conclusions that emerged, the researcher recommends the following: - 1- The artistic designs must be prepared in the form of different patterns, shapes and colors that derive their value from society and aesthetics that are compatible with the nature of contemporary arts. The researcher suggests conducting the following studies: 1- The duality of the aesthetic and the functional in contemporary sculpture and architecture (a comparative study). The research ended with the most important sources in Arabic and English.

The concepts of acculturation and their practical procedures have been employed in many humanitarian fields, including plastic art, by describing formation as a field for artistic/human discourse based on processes of communication, interaction, influence, and influence between nations and cultures, and between the self and the other, on the basis of implicit partnership, aiming to produce topical knowledge that depends on the presence of intellectual elements. Artistic, intentionally directed from (the self) to (the other), as it is not possible to imagine a plastic presentation that does not belong in its performative process to the processes of acculturation with the other, which carry in themselves intentional motives in order to influence the other to whom the plastic discourse is addressed, and therefore this study It aspires to monitor the concepts of acculturation and the mechanisms of its operation, including the manifestations it presents in which acculturation appears in multiple cognitive discourses (historical, plastic, literary, and artistic), including artistic discourse, especially in the plastic arts, to open doors to efforts and experiences in which cultural dialogue, knowledge exchange, and communicative interaction stem from acculturation as an act. Culturally, it is based on interaction and communication between different cultures, which means that plastic art is based on plastic acculturation with others, which is essentially determined by the presence of plastic tributaries from different cultures, which calls for the presence of plastic acculturation haunted by an obsession with identity and an attempt to root the plastic phenomenon in Iraqi, Arab, and international plastic art. From this problem, the researcher begins to establish the topic of his research entitled (Culture and its representations in the contemporary global formation

The current research means studying the features of the representational performance in the theater of the absurd by addressing the problematic of how to distinguish this style from the unreasonable and the extent to which this style is affected by the philosophy of the absurd. To the theater, and accordingly, the research was divided into four axes, the first included an introduction, the research problem, its importance and the objectives of the research, represented in identifying the characteristics of the actor’s performance in the theater performances of the absurd. The representative in the theater of the absurd, as for the third axis, it involved the research procedures represented in how to determine the research methodology and performance used and the analysis of the research sample model, while the fourth axis was the results and their discussion, then the sources and references.

Theater plays an important role in constructing the nature of artistic works related to life, directly or indirectly, through the intellectual and objective systems and generation that it forms and constitutes for the presentation system.
In general, the treatments and works that constitute it take on specificity in terms of construction, treatments, and propositions, and among those topics that are most worked and generated on stage are the political topics with all their details, outward, and hidden. Indeed, all the shifts and works have been heading for a long time in political directions linked to the formations generated at The individual and society have a direct, indirect or subconscious feeling in the political activities in the life of societies in terms of presenting human problems and their various references that move, consciously or subconsciously, towards politics.
As the broadest and most important method for generating immediate life at the level of living or analyzing history at the level of monitoring experiences and their work in the development of societies and trying to overcome crises in their entirety and quality by working on motivators, stimuli, and social intellectual references in their entirety, economic, artistic, literary, ideological, and ethnic. Whether it is at the level of a single home, a group of homes, or a community, or internationalizing the experience to a broader global scale in an attempt to record the maximum cases of feeling of satisfaction, rejection, change, or transformation in the style and pattern of life that politics has entered into today, with all its details and aspects, private and public.

Theatrical performance is an overlapping system linked to public cultural life and at the same time it is an independent system even from its reference or pillar (theatrical text) to varying degrees, depending on the difference in literary doctrines and intellectual/aesthetic trends, knowing that the written theatrical text takes its natural position only when it is presented to the audience of the recipients using directive, acting and scenographic methods and techniques, the essence of which is formed through codes.

Nature itself is a complete and enchanting artistic painting, with the utmost beauty, creativity, sensation, and feeling of comfort and tranquility. Rather, it is a masterpiece of the Creator’s creations that God Almighty has entrusted to it. It is like a trust for man, so it must be preserved. Nature drawing is one of the most important visual expressive arts since ancient times because it has a great impact in stimulating the artist’s sensory feelings and the aesthetic and psychological concepts it contains and is a source of energy and inspiration for him to simulate the issues of nature to give us a feeling of the beauty of the place that contributes to spreading awareness among people and its importance and preservation.

Talking about the message of Imam Hussein (peace be upon him) is one of the important issues that concerns the world in general and Muslims in particular in terms of its content and the sublimity, elevation, and humanity that it carries within it. To this day, we still return to it and try to apply even part of that sacred message that he brought in order to illuminate. Our minds and frees us from reactionary and wrong ideas that have nothing to do with Islam and are embodied in the spirit of humanity, and here we address the historical aspect of the Arba’een visit, as it is here the identity of the Muslim embodied in real action through positive interaction embodied in his formal history through the artist and his brush, as the Arbaeen incident became not an identity for the Muslim and the Iraqi only, but rather it became a stage. My pictures are embodied in his stance on all aspects, and despite the digital technological development that our current world is full of, the Arbaeen message is distinct in its contents, the sublimity of its purpose, and its immortality throughout history, throughout the ages and generations. Media and technology also have an impact in conveying that event to people, and from it the artist also repeats the idea transferred from Reality and reformulating it in a modern educational way that is in harmony with the methods of contemporary plastic art to express this humanitarian issue that occupied the minds of many of those interested in the immortal Arbaeen message, where every artist from within the State of Iraq expressed it in a technical style mastered in embodying the Arbaeen incident and image of Imam Hussein (peace be upon him), reflective. In that embodiment, the intellectual and psychological impression of that influence in that immortal message is embodied in a visual achievement that addresses others and reminds them of this message in a modern style that keeps pace with the current reality .

The theatrical image has represented a major and major importance in theatrical work since the emergence of drama in Greece and its many transformations from an image that mimics reality and mythology to an image that mimics the buried insides of man, and expresses his thoughts and aspirations to imitate the renewed human world with all its complexities and changes.
For the purpose of monitoring this difference in the mechanisms of image operation, and due to the importance of the topic, the researcher chose the title of his research entitled (Aesthetics of the image in the performances of the College of Fine Arts, the play Hell on Earth as an example). The researcher was divided into four chapters, the first chapter included: Methodological framework. Research problem: The researcher crystallized the research problem in the following title: (Image aesthetics in the performances of the College of Fine Arts, the play Hell on Earth as an example). Hence the importance of the research and its objectives. The chapter ends by defining the terms. The second chapter, like the theoretical framework, consists of two sections, as follows: The first section: The concept of the image and its origins in theatre. The second section: The aesthetics of visual composition in directorial visions. As for the third chapter, it dealt with the research procedures: It consisted of defining the special procedures for the research according to what is done in academia. The results were discussed in the fourth chapter, and we mention the most important of them:
1. The show Hell on Earth (research sample) was characterized by thematic unity in establishing the aesthetic values of the theatrical image within the theatrical work, as all means of image formation were employed, including lighting, decoration, and costumes, as well as modern techniques.

Language is one of the most important means by which we can achieve effective communication to transfer ideas between the sender and the receiver , as there can be no linguistic communication if there is no axis that brings them together. The concept of reporting is to reveal the information and ideas contained in the linguistic text, consequently it achieves the language of communication , creating a relationship between the broadcaster and the recipient , to produce information value that the researcher tries to communicate. Also , that aims to build a quantity of organized information to be received and contained by the recipient in his own inventory. The researcher attempts here to throw light on the concept of reporting in the Iraqi theatrical text. The research included four chapters :
The first chapter deals with the methodological framework, that treated the research problem , its importance , needing it, the aim of the research which is characterizing the concept of reporting in the Iraqi theatrical text , in addition to the limits of the research, and defining used terminology.
The second chapter consisted of two sections, the first: Reporting , establishing the concept , and the second : Reporting in the theatrical text , thus the chapter ends up with of the theoretical framework indicators.

Chapter three covered the research procedures by determining the research community, as the researcher relied on the theoretical framework indicators in the process of analyzing the sample ( that was chosen intentionally ) .The fourth chapter enclosed results and conclusions of the research , as well as the sources and references.

Symbolism is a means of expression that humans have used since ancient times, when they did not find a way to express their thoughts, feelings, and feelings except through symbols. It is the first means of expression and communication between humans. Through the development taking place in human life and the progress of his intellectual development and sensory perceptions, the symbol has become an integral part of human life in general and art in particular, as it has become clear that the symbolic process carried out by man includes various aspects of human activity, including art, dream, myth, myth, and religious and metaphysical rituals. With the development of human consciousness, symbols took on more extensive functions until they became complex in meaning and dimensions. They no longer had a fixed meaning, but rather their dimensions became dependent on the person who created them, as well as the context in which they appear. This phenomenon was evident in the field of contemporary Iraqi art in general and sculpture in particular, and since the sculptor has... The ability to create symbols that act as a direct signifier between him and the material world. Therefore, the symbols were used in his works by imitating his themes required by the stage he was in. Through this, the sculptor found in his replacement of symbols and their connotations the best means of expressing his thoughts and feelings, which is what Iraqi sculptors employed in their works. In general, and the sculptural works of the artist (Muhammad Al-Zubaidi) in particular, therefore this study came to shed light on the symbolic connotations in the sculptures of Muhammad Al-Zubaidi. This study was built on four chapters: Chapter One: The methodological framework. It included the research problem, which was represented by the question: What are the symbolic connotations that appeared in the works of the sculptor Muhammad Al-Zubaidi? As for the importance of the research and the need for it, as the research contributes to shedding light on the symbolic connotations in the works of the sculptor Muhammad Al-Zubaidi. The artistic significance of the sculptor, Muhammad Al-Zubaidi, in terms of its importance, including the intellectual contents it carries, embodied by the sculptor Muhammad Al-Zubaidi in his works. The goal of the research is to reveal the symbolic connotations in Muhammad Al-Zubaidi’s sculptures, then the limits of the research and the identification and definition of terms. As for the second chapter: it was devoted to the theoretical framework and previous studies, and it contained two sections. The first was entitled The Concept of Symbol and the second was entitled Symbol in Fine Art. The researcher concluded the second chapter by presenting previous studies and their relationship to the current study, then the indicators that resulted from the theoretical framework.
As for the third chapter: it included research procedures, in which the researcher identified his research community with (32) sculptural works from which the researcher chose samples for her research, which were limited to (5) sculptural works in an intentional manner. She adopted the descriptive analytical method in her analysis using three tools: observation, interview, and indicators. Theoretical framework .
The fourth chapter included a presentation and discussion of the results, followed by conclusions and recommendations, then proposals, sources, and appendices

The transformations that contemporary art is witnessing in constructing the artistic work intellectually and culturally and in terms of the methods of its presentation and its circulation formats due to the dominance of science and technology and their active presence in daily life, have become a source of its intellectual and cultural enrichment and a driver of its innovations, not on the technical level of employing its various means and media in its formations, compositions and manifestations. Rather, it is in the diversity of the methods of presenting it, presenting concepts and ideas, and receiving them through them, which led to the innovation of new mechanisms for creating performance spaces adapted to the technical heterogeneity of contemporary arts. In light of this, the research began with the first chapter, which included the methodological framework for the research, which included the research problem that resulted from the study and ended with the following two questions (What is exhibitionism in the contemporary global formation? And does it constitute an effective and strong presence in the contemporary global formation?), and the goal of the research (to define exhibitionism in the contemporary global formation) within the objective limits that included studying the concept of exhibitionism in the products of contemporary plastic arts, executed with different materials, materials, and various display techniques, and the temporal limits that were limited to (2003 AD - 2021 AD), as well as the spatial limits that were limited to the works executed in the United States of America and Europe. The first chapter ended with the definition of terms specific to the study in question.
The second chapter included the theoretical framework, and included two sections. The first section contained two axes: exhibitionism, the concept and meaning, and the second, the intellectual and cultural foundations of contemporary art, to learn about the concept of exhibitionism and the intellectual and cultural foundations of contemporary art. The second section included an axis, dealing with exhibitionism in plastic art, and it was reviewed. The most important indicators produced by the theoretical framework.
While the third chapter included research procedures, where the researcher collected the framework of his research community, consisting of (60) artistic works, through what was published on the Internet, and the models of the research sample, which numbered (4), were chosen intentionally, and the researcher adopted Indicators of the theoretical framework as criteria in analyzing the sample. The descriptive approach was adopted using the content analysis method in the current study. The fourth chapter included the results and conclusions. The fourth chapter ended, and the research ended by establishing the sources and references.

The theatrical space plays a significant role in the global theatrical scene, dating back to ancient Greek theater. Their performances, presented at annual festivals, stood out as they took place in open spaces surrounded by mountains, providing a sense of pleasure and beauty. Over time, theatrical performances evolved from open spaces to enclosed spaces within auditoriums, reflecting the diversity of theater development worldwide.
The diversity of the theatrical space and its functions vary based on the experiences of theatrical directors who determine its utilization and the positioning of the theatrical performance within its presumed space. Sometimes it may be in the "Italian box," other times in the street, and yet another time in a factory or innovative spaces, according to the distinctive visions of directors. Those multiple variations in the play space give rise to aesthetic values, as well as a distinct type of theatrical performance carried out by the theatrical actor, as the performance is related to the spatial dimension allowed in that play space. It is essential for the performance to be adaptable with each play space in which the dramatic action takes place, according to the vision. Therefore, the researcher found that the play space constitutes an artistic and aesthetic factor whose directorial intricacies can be studied to yield results.
Based on this, the current section included the first chapter: the methodological framework, which addresses the research problem, its significance, and the research objective, focusing on understanding the interactive relationship between the actor and the theatrical space and the impact of this relationship on the actor's performance. The chapter also outlines the research boundaries and defines the terms, with the researcher defining the theatrical space as the spatial setting where dramatic events unfold, with the theatrical actor as the player and main performer, supported by elements such as set design, costumes, lighting, and sound effects.
The second chapter, the theoretical framework, comprises two sections. The first section discusses the interactive relationship between the actor and the theatrical space in ancient theater, while the second section explores the interactive relationship between the theatrical space and the actor's performance in modern theatrical schools. The researcher identified indicators used as a standard for analyzing the research sample.

Cinematic art is linked to all issues of human society in general. Literature and science. Therefore، cinematic productions varied and contain various stories and topics، including psychological topics. Which has been associated with cinematic art since its early beginnings. Many directors specialized in the psychological topic through cinematic story or directorial treatment، including Mexican director Alejandro Gonzalez. This is what caught the researcher's attention after watching all of the director's films. Accordingly، the research topic was determined according to the following title: (The directorial treatment of the psychological topic in the films of Alejandro Gonzalez. The film Bird Man as a model). The researcher divided his research chapters as follows:
Methodological framework: Research problem: The question was formulated as follows: What are the directorial treatments of the psychological subject in Alejandro’s films? The importance of the research، as well as the objectives of the research، in addition to the limits of the research، and defining terminology.

The theatrical performance space is established from several crucial and basic components that begin with the text - whatever it is - whether written or unwritten, meaning that the director prepares it through theatrical presentation exercises, which depends on the elements of presentation, decoration, music, makeup, light, color, mass, and size. , line, and space, to the other audio-visual components of the show, which constitute the space of scenography and the speech of the show, as well as the tools and materials used in those elements, which have made the theatrical show today a more brilliant, beautiful, and dazzling show, and it comes from the space of technology to the space of the theatrical show through Optimum investment by theater workers to form a theatrical performance space that is more aesthetic, more influential, and more enjoyable for the recipient