Fine Arts

The present research aims to recognize how colors are employed in designing children’s toys. The research problem is limited to finding answers to the questions related to the historical stages of using colors in designing children’s toys; their psychological and intellectual effects and patterns of these toys; in addition to the aesthetic dimension of children’s toys. The research is limited to employing colors in children’s toys from the age (3-6) years (early childhood) in Erbil. Then, a number of results are achieved and the most important ones are that the children’s toys are used across generations and they are iconic in the child’s memory because they develop sensorimotor and intellectual skills. The visual side of any child is formed by using sensory experiences with touching, vision, and hearing so learning takes place through these experiences and repeating them in playing. We notice that children who have variable and colorful toys will be more active and they love creativity and innovation. Moreover, colors constitute a priority in designing children’s toys because children prefer toys with colors that are characterized by a high degree of saturation and intensity. The research ends with many conclusions, recommendations, and suggestions. The most important conclusions that are achieved in this research are: The aesthetic value of color in toys is connected to the functional performance aspect. Achieving the required aesthetic value is achieved by employing colors appropriate to the idea of the toy and its aesthetic and cognitive dimensions. Children prefer toys with variable colors more than those which depend on being variable in their shapes. Finally, colors help the child to be more attentive, logically connecting information, and help him or her to learn.

The current research aims to: -
• Identify the impact of cooperative Brean storming in manual work skills for students of Institute of High school - the scond phase.
In order to achieve the goal researcher set null hypothesis:
There is no difference has statistically significant at the level (0.05) between the average scores of students who studied in the light of Brean storming cooperative strategy and the way followed in the handicraft business education in the post-test.Follow the experimental method is the two samples (experimental and control) with a post-test, the number of students ( 60 ) from the Institute of High school, teaching plans have been prepared by. Studied by the researcher and subject groups to post test, used several means, including statistics (T-test), and Pearson correlation coefficient.
The key findings of the research results:

- Outweigh the experimental group which studied Brean stoming cooperative strategy at the control group, who studied according to the method adopted. And it depicts the strategy followed in teaching, which had a positive result in the students' skills in handicrafts.

Developing a person's skills and capacities so that he can deal with and adjust to the consequences of this technological revolution is the role of education. This can be accomplished by focusing on the student, who is the main focus of the educational process, so that he can think scientifically, assess diverse situations, and find information on his own from a variety of sources and use it in his everyday life. Being able to understand a subject is not the only objective of effective education. It involves expanding experience and analyzing it, which does not occur naturally but rather calls for mental thinking and the application of mental processes that stimulate the thinking necessary to obtain and examine information. It also involves the ability to retrieve certain information and carry out some of the procedures included in it.
.1. The scarcity of local and Arab research and studies (to the best of the researcher’s knowledge) that dealt with the strategy of employing the theory of investing creativity in the achievement of second-stage students in the subject of aesthetic education.
2. The importance of experimenting with the theory of investing creativity and its strategies as modern in the educational field, perhaps this will contribute to addressing the shortcomings in academic achievement caused by traditional methods

The term exoticism includes everything that is irregular, unnatural and unfamiliar. The term exoticism falls within the philosophical classifications of beauty, especially since it contradicts cultural and traditional production. It can be said that exoticism rejects focusing on literary frameworks, theatrical arts and rigid philosophy, as it carries within it aesthetic potentials that make the theatrical performance appear in a dialectical state based on interactions of cultural media. Exoticism is characterized as a phenomenon that has swept through some theatrical performance techniques, as it appears in the heart of the theatrical scenes, specifically with the work of the actor, whose presence is clear alongside other technical elements to show everything that is strange, contradictory and unfamiliar in the technical elements of the theatrical performance presented. It is possible for the vocabulary of exoticism to be embodied in the theatrical scene by presenting a visual image with new, transformed and contradictory connotations in the form of an unfamiliar scenic painting in the theatrical performance. Therefore, the designer must achieve harmony between the scenographic elements in order to obtain a visual image of the presented play that works to destroy the traditional methods of the formulation designs of the visual image and give it a dimension. Contrastingly, the director/designer can create a harmonious relationship with an aesthetic vision between the theatrical elements in an exotic language. We are faced with a theatrical scenographic image that carries an unusual focal dimension based on the reciprocal relationship between the director, designer, actor, and scenographic elements. Perhaps the theatrical show is able to achieve exoticism and undermine visual standards and distortion in the design of theatrical techniques, which expresses the contradictions that it causes between the visual elements and the acting performance, especially since the spread of the term exoticism in contemporary theatrical shows is due to its inclusion of the aesthetic image that carries a readable visual text, as well as its acquisition of digital elements that contributed to formulating the visual image of the scene presented in the theatrical show. The term exoticism may take on wide dimensions that enter into many of the technical elements of the theatrical show and live them within the theatrical space to produce a diverse and expressive semantic image that the designer invests in the integration of the theatrical image presented and influenced by all the new and successive moods and experiences with the global designs of the theatrical shows presented and within mechanisms that differ from one show to another while maintaining the continuity of the elements’ communication. The scenography with each other and not canceling or disrupting any scenographic element in order to obtain a fruit with an aesthetic vision similar to a painting with familiar strangeness to be an integrated theatrical show that is open to interpretation and has readable visual systems, considering that the theatrical show is a visual system that the recipient can dismantle and interpret semantically and aesthetically based on consolidating its basic role in the meaning that the designer seeks to convey within multiple aesthetic and visual frameworks. Therefore, the term strangeness works to show astonishment and dazzle through the fragmented and unfamiliar visual transformations in the theatrical show, and perhaps the scenographic designer works to achieve the unfamiliar in order to obtain a visual formulation of the scenographic elements, and the designer must present an integrated show with multiple visual transformations with aesthetic visions and far from reality in the Grotsky style in presenting the theatrical scene and preparing a visual space in a harmonious environment in which the scenographic elements harmonize according to a standardized strategy with the scenic image of the play, and presenting a theatrical image The familiar image of the scene is shattered within the theatrical space and a visual space with a contrasting dimension is given. Therefore, the designer must adopt the strangeness as a displacement transformation of the visual system between the scenographic elements with linguistic visions with a visual format readable in the presented theatrical performance. Based on that, the current research dealt with four chapters. The first chapter included the research problem that centered on the following question:
- What are the Features of Ambiguity in Appearances in the Scenography of the Contemporary Iraqi Stage Show

The recitations of the Quran and the use of various musical modesin its recitation vary significantly across the Islamic world. This diversity is attributed to the cultural influences that distinguish each society, leading to differences in recitation styles that enhance the religious experience for Muslim listeners. This variation reflects a dynamic interaction between religious texts and cultural heritage, contributing to a deeper sense of devotion and spirituality, and fostering a greater understanding of cultural diversity within the Islamic world. This study aims to clarify the role of this art form in preserving cultural heritage through the use of Iraqi maqamat in Quranic recitation and passing it on to future generations. The research focuses on how Iraqi maqamat are employed in Quranic recitation, with an emphasis on the traditional Baghdadi style. The study includes an introduction, followed by Chapter One, which addresses the research problem, objectives, significance, limitations, and terminology. Chapter Two consists of Section One: The History and Development of Iraqi Maqam, and Section Two: The Application of Musical Modes in Quranic Recitation and Their Various Styles – using the Baghdadi Method as a Model, followed by the findings of the theoretical framework , Chapter Three discusses the research methodology, research community, sample, tools and requirements, validity and reliability of the instrument, and sample analysisChapter Four presents the research results, conclusions, recommendations, and suggestions, concluding with the bibliography.

The process of theatrical production requires the employment of all material and artistic elements and means, technical and digital innovations, and from this point of view the director (show maker) tries to employ (hologram) technology to develop and upgrade the show by adding new insights and ideas, and aesthetic richness and dazzling to the recipient.
The research includes four chapters, the first chapter contains / the research question / what are the possibilities and possibilities of employing the hologram in the contemporary theatrical presentation? And its importance lies in the creation of three-dimensional stereoscopic images and keeping pace with the development in contemporary theater, and the aim of the research came: to identify the possibilities and possibilities of employing the hologram in the contemporary theatrical presentation, and the limits of the research were time in 2017 and spatially, the United Kingdom, and objectively the storm play.
In the second chapter it contains two topics: the first: the concept of the hologram, the second: the use of the hologram in theatrical performance. And in the third chapter: Research Procedures, which includes the descriptive and analytical research methodology, research tools and research sample analysis, the storm play directed by Gregory Doran. The fourth chapter contains the results, conclusions, recommendations, a list of Arab and foreign sources and an appendix with pictures.

This research aims to analyze the impact of cultural traditions on character development in contemporary Arab theater, focusing on how the cultural identity of Arab communities is reflected through these characters. The study addresses the various dimensions of these influences and relies on a descriptive analytical approach that aligns with the research objectives. The theoretical framework indicators were used as an analytical tool, with a focus on the play "MatarSayf" as a model for studying the impact of cultural traditions on characters. Through this analysis, the research seeks to understand how cultural traditions shape individual and collective identity within the theatrical context. The research findings indicate that cultural traditions lead to the restriction of individual identity, as characters are assigned roles that conform to social norms, creating internal and external conflicts due to the tension between old traditions and the desire for change. The characters reflect feelings of frustration resulting from their inability to achieve self-actualization under these constraints, leading to a sense of helplessness. They strive to recall memories associated with traditions, reflecting their desire to maintain familial and social bonds. Traditional social roles play a significant role in shaping character behavior, limiting their choices. Female characters often suffer from these constraints, making them symbols of suffering. The characters also exhibit intergenerational conflicts, where the new generation seeks to break traditional constraints while the older generation clings to traditions. These dynamics reflect prevailing societal values, highlighting the challenges characters face in their quest for self-fulfillment. These results demonstrate how cultural traditions shape characters in contemporary Arab theater, reflecting the challenges and conflicts they encounter in their pursuit of self-actualization and adaptation to changes. Understanding these dynamics can contribute to enhancing cultural and social understanding in Arab communities, opening new avenues for research and study in this field.

This study deals with the strategies and mechanisms associated with persuasion processes and their role in influencing the recipient. This study dealt in its first chapter with the research problem, which was represented by the following question: What is the effectiveness of persuasion strategies in graphic design? The research aimed to shed light on the importance of persuasion strategies in graphic design, as well as exploring the concept of the subconscious and the subconscious mind and how to employ them to achieve a positive impact on the recipient unconsciously through graphic design.
This study dealt in its theoretical aspect with three topics that addressed the topics (the nature of persuasion - the subconscious mind and graphic design - persuasion strategies) in addition to a set of theoretical indicators. The third chapter identified the research community, its research sample and its tools for the purpose of analysis, while the fourth chapter dealt with the results and conclusions of the research. Among these results were: The employment of persuasion strategies that target the subconscious and subconscious mind of the recipient significantly enhances the positive impact on his behavior. In addition to recommendations related to the subject of the study.

The theatre is bound by Aristotelian laws, despite passing through several stages, during each of which theatrical work was characterised by several features that distinguished it from the stages that preceded it, until it reached its modern stages, in which theatre pioneers began to become fed up with the limitations of this theatre, which they called “traditional”, as it is traditional in expressing the suffering of the human soul and comprehending its secrets. Many experiments appeared, the most important of which were the efforts of (Piscator and Brecht), who believed that the traditional dramatic form does not have the ability to provoke the viewer and give him an effective role in changing his false social reality. The German writer (Bertolt Brecht) (1898-1956) presented his theatrical performances in a way that narrates the events directly to the audience, such that the viewer realizes that what is presented is nothing but acting, and in this way he breaks the state of illusion. Which has always been used in traditional theatre, Brecht wanted to make the viewer play an active role in the theatrical performance and take a critical stance on what he sees and hears, meaning that the viewer must think and not sympathise. This relationship between the viewer and the theatre is what inspired the term (epic theatre) to distinguish it from traditional theatre The influence of Brecht on the Iraqi theatre began to become clear through the theatrical works that were presented during the fifties and after. Among the prominent pioneers who transferred the theory of epic theatre and applied it according to the foundations and contents of our Iraqi society and our Iraqi culture is Ibrahim Jalal, whose style sparked controversy among critics and researchers in the field of theatre, specifically the play (Al-Mutanabbi), which was directed and the scenography was designed by Kazem Haider. Therefore, this research was presented to discuss the impact of the epic theatre, whose contents were conveyed by the Iraqi director (Ibrahim Jalal) and he tried to apply it in the play (Al-Mutanabbi). The importance of the research lies in serving those working in the field of theatre directing. In the research, the terms (epic theatre and refraction) were defined, then procedural definitions were determined for them Therefore, this research was presented to discuss the impact of the epic theatre, whose contents were conveyed by the Iraqi director (Ibrahim Jalal) and he tried to apply it in the play (Al-Mutanabbi). The importance of the research lies in serving those working in the field of theatre directing. In the research, the terms (epic theatre and refraction) were defined, then procedural definitions were determined for themThrough it, the researcher reached a set of results in the fourth chapter. The researcher reached, through the indicators of the theoretical framework and the results of the sample analysis, the researcher reached conclusions, including that the director (Ibrahim Jalal) tried to apply the contents of the epic theatre, but through the requirements of the Arab and Iraqi society and according to its religious, cultural and social concepts and references. He was able to reach a style that combines the (Berkhtian) style and the Arab theatre Popular festive that depends on shadow play, storytelling, chants, verbal disputes, boasting between the characters of the play, debate between the narrators, the method of comparison between the character of Al-Mutanabbi and the narrator (the poet Al-Ma’arri), and some other rituals ....

The research discusses two important elements in theatrical work: (narrative text) and (performing text) as two concepts that raise controversy, since each one of them carries its own elements that distinguish it from the other. The (narrative text) gives us the basic data that the actor needs to formulate his role from describing the characters and events, as it is a text that directs the actor to the flow of events and the development of characters, while the (performance text) has its own style of dealing with physical and expressive performance.Non-verbal to create a link with the audience without the need for conversational language, relying only on expressive and gestural movements that enhance the communication and understanding of sensory and intellectual data by the audience. The two texts (narrative and performance) are based on an interactive relationship between them. They exchange roles to enrich the artistic experience to achieve a balance between narrative and performance in how to transform the written story.To a physical performance, which contributes to creating a visual dialogue instead of words, so that the (narrative text) remains present as an intellectual background that carries dramatic and aesthetic contents that are translated into a visual performance.
This was made clear through the research chapters, represented by the first chapter (methodological framework) and the second chapter, which consisted of the first chapter (narrative and performance dualism in theatrical discourse) and the second chapter (the effectiveness of silent performance in world theater experiences) leading to the third chapter (research procedures).
Which included an analysis of the play (Yes Codo) and the fourth chapter (results and conclusions), and we mention some of them:
1- The ability to combine performing arts and innovative techniques (mime, physical movement, rhythm...etc.) to convey meanings without using dialogue.
2- The ability of (performative text) to employ unconventional techniques by relying on physical and kinetic expression.

Poetry and interior design are two techniques that use their own language and tools to convey a meaningful message. Both create a kind of space with their tools that the recipient can read. Poetry is rhythmic, rhyming speech that the poet formulates to show the generative aesthetics of words in a qualitative way and how to carry meaningful messages. Likewise, the designer gives the design its poetic image by conveying its messages directly and indirectly, through which he harnesses the components of the interior environment to communicate with the user with his unspoken but tangible and understandable design discourse, by improving the meaning and employing it in a way that adds a side of privacy and influence to achieve an emotional response towards the design. Therefore, the research problem crystallized with the question "What does the concept of the poetic image mean in interior design and what are the values that it reflects in it, and what are the features that give the interior space its poetic image, and what is the extent of its formation levels in the Kuwaiti elements of the contemporary interior space?" The aim of the research was to "reveal the concept of the poetic image and the features of its formation in the design of interior spaces." The theoretical framework included two topics, the first of which dealt with the concept of poetic image in interior design, and the second with the characteristics of poetic image formation and its levels in interior space. The research community was limited to the interior designs of (Architectural Treasures of Spain) which were selected after a competition conducted by Antena 3 Television Company in (2007). The research adopted the case study approach to reach a set of results and conclusions, including:
1. The interior design reflects its poetic language with the emotional values it
carries that achieve a sensory response, connection and communication with the place, through formal formulations that inspire astonishment, wonder, innovation and design boldness, which raise questions and search for answers to know its moral essence, and through loading the design with the values of continuity between the past and the present and connecting the user with his memories to incite feelings of nostalgia and achieve emotional responses to the place.
2. The poetics of interior design lie in the formal formulations with deep structures and meanings, which are suggestive and implicit and do not appear directly, thus opening up a dialogue of thinking, contemplation and interpretation to understand the meaning. It is not satisfied with the apparent form, but rather with the design acquiring the performative, utilitarian, symbolic, value-based, emotional and semiotic meaning.

Dialogue is a bridge of communication between us through Swedish for emotional responses and social sympathy through discovering who travels to ensure building responsive relationships between them through the highest topic of social relations, understanding, human relations and respect, so in drama, dialogue is employed in a required way and we have a goal that is not abstract as is the case in public life, and it does not include Arabic metaphors and carriages to reach the level of sophistication of following the events of the worker that constitute a culture and community dialogue by breaking the barriers of time and place, and the research came to shed light on the role of dramatic dialogue in conveying social values and agreement between the past and the present by defining it and its dramatic goals and its effective role in influencing and affecting the society presented, but the dramatic works that produce community issues, and accordingly the research includes in the following chapters: -
- Chapter One: Research methodology, which included the research problem represented by the question (What is the social role of dialogue in cinematic and television dramas between the past and the present) - research objectives - importance of the research - defining the most important terms mentioned in the research title.
- Chapter Two: The theoretical framework and includes the following topics:
The first topic (dramatic dialogue and its development in cinema and television)
The second topic (dialogue and dramatic diversity - tragedy and comedy)
The third topic (verbal syndromes - jokes and their impact on social texts)
The indicators that resulted from the theoretical framework
- Chapter Three: It includes the research procedures and includes the analysis of samples, results and conclusions that the research extracted

There is no doubt that there has been a coexistence between man and nature since the beginning of creation and that each has an influence on the other, and that man is in a constant struggle to form a harmonious environment surrounding him in a way that is compatible with his needs and way of life and his ability to create changes in it with means and capabilities that have increased in their effectiveness and his development has increased and with methods of knowledge and methods of science and life and it has become inevitable for him to adapt himself, his home and his system of living with nature.

The current research aims to know the effect of the strategy (What is the question) in developing achievement and cognitive openness among students of the Institute of Fine Arts in the subject of art history?
In order to achieve the research objectives, the researcher formulated two null hypotheses, defining the research population as students from the Institute of Fine Arts for Boys/first stage. The research sample amounted to (42) students who were divided into two groups, in accordance with the experimental research design with two samples (experimental and control) that the researcher followed in his research procedures.
The researcher prepared an achievement test for the history of art subject, consisting of (25) multiple-answer items with four alternatives, with the construction of a scale to measure cognitive openness.
The results of the study showed that applying the strategies (what is the question) contributed to enhancing students’ cognitive abilities and increased their cognitive openness because the strategy played an effective role in stimulating students’ ideas.

The concept of producing mental images in its applied form took dimensions that reached the stage of dismantling the realistic image and reformulating it mentally and then reproducing it according to the new formulation, and took a wide field in showing a real meaning, retaining the characteristics of its qualities to make those experiences have their aesthetic dimensions that are reflected in their formal and intellectual contents on the mental image, so the researcher dealt with the topic (The visual transformation of mental images in contemporary Iraqi painting) and may consist of four chapters, the first chapter included the methodological framework presenting the research problem that The question was the following: What are mental images and their transformation into the visible in contemporary Iraqi painting?
Then the researcher mentioned the importance of the research and the goal of the research, which is to identify mental images and their transformation into the visible in contemporary Iraqi painting. The researcher then set the objective, spatial and temporal limits of the research. The first chapter then ended with the definition of terms.
The second chapter, the theoretical framework, is divided into three sections:
The first topic / the formation of mental images intellectually and physiologically.
The second topic / transformations of mental images from the abstract to the visible
The third topic / the manifestation of mental images in contemporary Iraqi painting
Then the researcher came up with the indicators of the theoretical framework
In the third chapter, the procedural framework, the researcher determined the research methodology, which is the descriptive analytical approach, and determined the research community, the researcher's sample and the research tool, and then the researcher conducted the analysis of the research samples.
In the fourth chapter, the researcher reached a set of results and conclusions and put some proposals and recommendations, then the research ended with documenting the sources. The most important findings of the researcher were:
1- The Iraqi artist was able to create a sensory visual experience through his metaphors that mix reality and imagination, based on generating a vague mental image that defies the usual logic and evokes reflection and a sense of reflection and integration with the work.
2-The symbolism of forms (such as extended hands) stimulates imagination and mental image and suggests the idea of communication and the search for meaning in the struggle of life.

As long as the plastic arts, including sculpture, went through several formal transformations through which the form was modified and placed in a new system, where the tearing and distortion of the form had a role in reproducing the contemporary sculptural form to create semantics.
As long as the plastic arts, including the art of sculpture, passed through several formal transformations through which the form was modified and placed in a new system, where the tearing and distortion of the form had a role in the reproduction of the contemporary sculptural form to create semantics, and the dependency that borrowed some of it as a mechanism that developed semantic concepts in the middle of the symbolic and the space of the reducer, which made the sculptural achievement valuable and aesthetic displacements characterized by this reduced and imperfect, which raises surprise and question in the dismantling of the form and its openness to reading, which was placed in the place of An aesthetic question in the problem of the current research, which included his study in four chapters as follows: The first chapter contained the general framework of the research, which included the research problem, which became clear through the question of how the contemporary sculptor presented his sculptural work according to the formulations semantics of dependency? It also included the importance of research, which emphasized highlighting the experiences of contemporary sculptors in revealing the role of subordination and the mechanisms of its work by producing semantics in their sculptural works, while the need for research lies in the possibility of researchers in the field of arts to benefit from clarifying this new meaning they have, as well as the statement of privacy and advantage of the semantics of subordination as a phenomenon in sculpture as aesthetic manifestations resulting from recognizable transformations among primary and graduate students, and the goal of the research was to reveal The consequential functions and what they produce in contemporary sculpture, the limits of the research included the objective boundaries that were represented by the connotations of subordination within the contemporary sculptural achievement, and temporal limits (2010 AD - 2017 AD), while the spatial boundaries represented Europe - America, and some of the terms contained in the title of the research were discussed, and the second chapter was addressed to the theoretical framework and previous studies, which included two sections, the first section (the significance of subordination in the concept (structural - semiotic), either the second section (the semantic structure of subordination), and the conclusion of the second chapter The indicators that resulted from the theoretical framework, either the third chapter included research procedures starting from the research community and the research sample, which was (3) sculptural models within the limits of the research, the fourth chapter reached the researcher to a number of results, conclusions, recommendations and proposals, and those results include: - The value of subordination appeared in contemporary sculpture as an aesthetic discourse in the form of symbolic connotations.
- Subordination is essentially an aesthetic displacement manifested in the iconic non-reality and non-conformity.
- Subordination in contemporary sculpture is a semantic style and structure that deconstructs form and meaning and puts it into question which confirms its reading openness.

The current research is concerned with studying the aesthetics of the ethnographic transformation in relational art. 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 question: What are the aesthetics of the ethnographic transformation in relational art?The goal of the research is (to know the aesthetics of the ethnographic transformation in relational art), within the objective limits that included studying the aesthetics of the ethnographic transformation in the products of relational art, executed with different materials and materials and various display techniques, and the temporal boundaries that were confined between (1992 AD - 2020 AD) The spatial boundaries were limited to the works carried out in the United States of America and Europe, and the first chapter ended by defining the terms specific to the current study. The second chapter included the theoretical framework, and included two sections. The first section dealt with aesthetics and its cognitive and intellectual transformations, and the concept of ethnography in art.The second section included the structural and intellectual characteristics of relational art, and the most important indicators produced by the theoretical framework were reviewed. While the third chapter included research procedures, where the researchers collected the framework of their research community, consisting of (80) artistic works, through what was published on the Internet,The research sample, which numbered (4), was chosen intentionally, and the researchers adopted the indicators of the theoretical framework as criteria for analyzing the sample, and adopted the descriptive approach using the content analysis method in the current study. The fourth chapter included results and conclusions, and the fourth chapter ended by establishing the sources and references.

Theater is one of the arts that possesses a communicative style known to humankind, and its voice continues to resonate to this day. It serves as an intellectual foundation and a profound focal point manifested in theorization and formation, making it the primary candidate for generating meaning. This productivity is completed by the presence of adjacent structures that intertwine with it to achieve its objectives through stylistic and structural proximities with other literary genres. These interactions contribute, in one way or another, to enhancing human thought and expanding intellectual horizons regarding lived reality, based on the mechanisms of creative artistic composition and formation between literature and theater, relying on techniques of creative adaptation.
Since theater is one of the earliest communication tools known to humans, the intersection between narrative and theater has drawn attention for interpretation, analysis, criticism, and study. This intersection enriches the theatrical process by generating new meanings within the dramatic text at both the semantic and structural levels. It also leads to the emergence of new terms, such as "theatricalization," which this research will discuss, along with the mechanisms of transforming a literary genre into a dramatic one and how a novel is adapted and transformed into a theatrical text. The study is titled "Theatricalization of the Novel and Its Dramatic Transformation."
The research is divided into four chapters:
Chapter One: Covers the research problem, significance, objectives, scope, and definition of key terms.
Chapter Two (Theoretical Framework): Consists of two sections:
The first section, "The Concept of Theatricalization," explores the origins of theatricalization, from Aristotelian beginnings to its true emergence at the hands of Evreinov.
The second section, "Mechanisms of the Novel’s Dramatic Transformation," examines the process of transforming a novel into a dramatic work by relying on artistic elements and their application in theater, along with the vision of the playwright in this process. The chapter also includes theoretical framework indicators and a review of previous studies.
Chapter Three (Research Methodology): Discusses the research community, sample, methodology, research tools, and sample analysis. The researcher selected the play Mawlid Al-Nisyan by Dr. Qasim Mounis, which was adapted from the novel of the same name (Mawlid Al-Nisyan) by the novelist Mahmoud Al-Messaadi, as this sample aligns with the research objectives.
Chapter Four: Presents the findings, conclusions, recommendations, and suggestions.
Finally, the study includes a list of references and sources, along with a summary in English

The phenomenon of montage is not limited to cinematic art alone, but it is present in stories, novels, plays, and poetry. We should not ignore its presence in the heavenly books, and the best evidence of this is the story in the Holy Quran, and this is what some studies have indicated. What concerns us in this research is the mechanisms of intellectual montage in children's plays. By intellectual or expressive montage, we mean the synthesis that is based on the composition of two shots with the aim of obtaining a direct and effective effect from this juxtaposition. In other words, the juxtaposition of two different shots generates a new intellectual meaning for the recipient. Through the following question: What are the mechanisms of intellectual cinematic montage in children's plays filmed for television? The importance of the research lies in that it benefits students of cinema and television arts departments in introducing them to how to extract the artistic and rhetorical image from the dialogue in the novel or play and how to employ it in the scenario. The aim of this study was to identify the mechanisms of intellectual cinematic montage in children's plays filmed for television. The theoretical framework included theatrical dialogue and cinematic language: as well as analyzing samples of two samples. After the analysis process, the researcher reviewed the results, conclusions, recommendations and a list of sources.

The implicit compositions of hands, which are not difficult to control, from revealing secrets, take refuge within beautiful systems in search of meaning and significance. This is what happens in drawing hand gestures, the subject of the current research consisting of four chapters: The first chapter consisted of the research problem, which was: What is the cultural system of hand gestures in contemporary Western drawing? The aim of the research is: To identify the cultural system of hand gestures in contemporary Western drawing, and the time limits were: between (1997-2017) AD. The second chapter: It was divided into two sections: The first section: The cultural system of the gesture, its nature and types, and the second: Hand drawing in its pictorial history. The researcher summarized what the previous sections revealed with indicators for the theoretical framework, and then the previous studies. The researcher did not find any study similar from far or near to the current study. As for the third chapter: Due to the difficulty of statistically limiting the works of contemporary art for hand drawing, the researcher decided to choose the research sample randomly in a way that achieves the research goal. The current research sample was chosen with (four) models, and the models of the sample were analyzed descriptively and formally to extract the results to achieve the desired research goal and with a descriptive research method to analyze the content. As for the fourth chapter: It included the results, conclusions, recommendations and suggestions, and the results were:
1-All research samples are characterized by being extreme expressive cases in conveying specific societal suffering, continuing to the point of personal and societal denial as a very detailed drawing, which is conveying the image of a society or the culture of a society through the brush of the contemporary Western artist.
2- The hand is by universal nature in all cultures and contexts the second gateway to the body after the face from a store of expressive emotions, and a support for local contents that crystallized within a special cultural system, as in all sample models (1, 2, 3, 4)).
3-The contemporary Western societal cultural system appeared when artists embodied the elements of movement and time when drawing hands, which is an extension of the Futurist school with contemporary touches, as is the case in all sample models (1, 2, 3, 4). Among the conclusions: Contemporary works oscillate between the concepts of existentialism and alert conscience, and a tonal background with intuitive formations, as it is said "the first interpretive filter for tangible reality".