Journal of Nabu

ABSTRUCT:
The current research studies (the simplicity and complexity of the plastic patterns in Assyrian sculpture), which is divided into four chapters: The first chapter included a presentation of the research problem, which is defined by the following question: (What is the simplicity and complexity of the plastic patterns in Assyrian sculpture), while the goal of the study lies in (identifying the simplicity and complexity of the patterns). Fine art in Assyrian sculpture), and the research was limited to studying the sculptural works completed in Assyrian sculpture and within the specified time period between (2000-612 BC), and the chapter also included defining the most important terms included in the research. As for the second chapter: it included the theoretical framework and previous studies, which contained two sections: the first section was concerned with studying simplification and complexity in art, while the second section was focused on Study: Assyrian sculpture. The theoretical framework concluded with a set of indicators and previous studies, while the third chapter dealt with the research procedures, which included defining the research community, the nature of the methodology in it, its sample, and the tool. The research then analyzed the research sample models, and the fourth chapter dealt with the results and conclusions reached by the research, and the most important results are:

1- Art in the advanced periods of ancient Iraq’s civilization was distinguished by the abundance of its artistic productions. It took many forms and diverse topics, as the artist chose the language of reality in forming the vocabulary and scenes, and was keen to monitor the smallest details through the method of treating people’s movements and positions, with attention to anatomical details. The subtleties of the human and animal body and amplifying them, and paying attention to the decoration of the clothes and jewelry that people wear and moving them towards the ideal.
2- Art became a means of showing military and political power. Kings were depicted in heroic situations with precise details about their clothes and weapons, which reflects the importance of this power in politics and social thought. Art was also used as a media tool for documentation by depicting kings as they fought wars and achieved victories. Which highlights the development of the political and social content in art.
The research conclusions include:
1. Art can be considered as a mirror that reflects the plastic patterns of a certain time, which means that studying works of art helps us understand how human thought develops over time.
2. The formal patterns related to simplification and complexity in ancient Assyrian art are considered a reflection of the development of social, religious, and political thought in the ancient civilizations of Iraq. In the beginning, art was characterized by simplicity and a focus on symbolism. With the passage of time, it developed to include complexity in details, to reflect changes in various Ages. The fourth chapter also included a set of recommendations and proposals, and the study concluded with a list of sources.

Research Abstract

The study dealt with a comparison between the educational discourse of metaphors of mythology in children's theater between East and West through a comparison between the Iraqi children's theater and the American children's theater, so the research objective was to reveal the features of the educational discourse of mythology in children's theater between them. The problem was identified by: What are the most prominent features of the educational discourse in employing mythology between East and West in children's theater? Aiming to reveal the features of that educational discourse of mythology within the limits represented by (the educational discourse of mythology for two theatrical performances from East and West 2015_2016, the second chapter focused on mythology and types of mythology and the relationship between mythology and theater first and the educational discourse of children's theater secondly, and the research adopted the descriptive analytical approach, as for the sample, it was the play (Alice in Wonderland) directed by (Hussein Ali Saleh) and the play (Disneys Aladdin) directed by (Wilsie Yvonne), to show the most prominent results, including: (Most of the types of educational discourse employed in mythology in the Iraqi and Western performances were inclined towards dialogue with a strong presence being a feature of children's theater. As well as the alternation of the power of the presence of contemplative and directed discourse in the Western show equally.

Research Summary :
The study of the disorder in contemporary Arab sculpture is of great importance in delivering the transformations and intellectual and historical influences, as well as the cognitive diversity that the art of sculpture has undergone around the world, as well as the diversity of methods and techniques used by the artist, which made it affect the aesthetic values of works of art and how to make them uneven between works, according to the impact obtained, the research deals with the study of the disorder in contemporary Arab sculpture, on works of art that were affected by techniques, diversity, difference and development. The direct result, and the lack of the art library for such a study, which includes four chapters. The first chapter contains the problem of research, which crystallized by questioning the disorder in contemporary Arab sculpture. And the importance of research, as it aims to reveal the disorder in contemporary Arab sculpture.
The second chapter / the theoretical framework of the research included two sections: the first section / the concept of non-order philosophically. The second topic / the role of disorder in sculptural work. The researcher dealt with the philosophical foundations of the system and its role in the intellectual and technical impact and contribute to the creation of irregular works of art. The third chapter / included the procedures of research, description and analysis of the work of the research sample of (4) models. The fourth chapter contains the results of the research and conclusions, followed by a set of recommendations and proposals.
Among the most important results of the search are:
1. The sculptor adopted multiple philosophical foundations by undermining the system of formal formats of sculptural works through the elements of the formation of sculptural work and striking the rolling system in traditional patterns, and creating new forms that were not previously tracked as in the model (3,2,1,4).
2. The system allowed freedom for the sculptor to introduce non-traditional materials and raw materials without being restricted to one material and how to deal with them technically in particular, to achieve interaction between the material and the recipient and stay away from the traditional technical aspect, as a result of scientific intellectual development that allowed sculptors to know how to deal with the material used as in the model (1, 2, 3, 4).
Keywords: Disorder _ contemporary Arab sculpture

APSTRACT
The researcher tackled the research title (Aesthetic Transformations in European Art from Mannerism to Impressionism) and the research was divided into four chapters. In the first chapter (the methodological framework), the researcher presented the research problem, which was represented by the following question: What are the aesthetic transformations in European art from Mannerism to Impressionism? Then the researcher explained the importance of the research and the aim of the research, which is to identify the aesthetic transformations in European art from Mannerism to Impressionism. He set its boundaries: the objective boundary was: aesthetic transformations in European art (Mannerism, Realism, Impressionism), the spatial boundary was: Europe, and the temporal boundary was: the period from 1520 to 1890. Then he defined its terminology. As for the second chapter (the theoretical framework), the researcher dealt with two topics. In the first topic, he addressed the concept of aesthetics in philosophy and art, and in the second topic, he addressed the systems of transformation in European art. Then the theoretical framework concluded by setting indicators. In Chapter Three (Procedural Framework), the researcher defined the research methodology, research community, sample, and tool. He then analyzed the research samples. In Chapter Four, the researcher presented a set of results, reached a set of conclusions, and formulated recommendations and proposals. Among the results the researcher arrived at were:
1. The narratives of the works are crowded with historical events, pressures, political and social conflicts, and folk tales that may be compatible with time and place in the visual text.
2. Relying on the model in conveying reality according to sociological, social and artistic structures in pictorial visual texts
Keywords: transformation, aesthetics, mannerism, impressionism

The works of British sculptor Henry Moore represent a unique artistic model in expressing existential and symbolic issues within an innovative visual framework. Moore succeeded in redefining the relationship between mass and void, and between material and meaning, within the context of modern art. The importance of this research lies in its focus on the aesthetic and intellectual dimensions rooted in Moore's sculptures, particularly in light of the lack of comprehensive Arabic studies that address the symbolism in his works through philosophical and visual analysis. The study’s distinction stems from its analytical approach to sculptural composition as a meditative tool that transcends decoration to express human consciousness and contemporary identity.
The research aims to deconstruct the symbolic and aesthetic dimensions in Moore’s artworks through an in-depth analysis of a selected sample of his sculptures, and to interpret his use of void and form within a philosophical framework. Additionally, it explores the relationship he establishes between humanity and nature. To achieve this, the study adopts a descriptive-analytical methodology, supported by various critical approaches, including visual art analysis, semiotic interpretation of symbols and signs, and a historical method to understand the cultural and philosophical context in which Moore’s art emerged and evolved.
The analysis was conducted on five prominent sculptural models that varied between organic abstraction and symbolic composition, using different materials. The results revealed that Moore’s works are not isolated visual forms but rather visual discourses that express profound concerns related to existence, identity, and society. It was also found that void in his sculptures is not a negative space but a semantic component equal in significance to mass in terms of expression and meaning.
Two primary conclusions were drawn from the study: first, that Henry Moore redefined the function of sculpture from being a visual form to a philosophical medium for existential reflection and expression. Second, that the symbolism in his works is based on a creative interaction between form, material, and cultural context, making his art open to multiple interpretations with a universal human character.
Keywords
Henry Moore, modern sculpture, symbolism, aesthetics, organic abstraction, sculptural void, existential philosophy, contemporary art.

Research Summary:
The current research aims to study the topic (the concept of cognitive style and its relationship to the productions of design department students in the subject of color applications). The research included four chapters, the first of which dealt with: the research problem (what is the relationship of cognitive style to the productions of design department students in the subject of color applications?). The importance of the research, in addition to the two objectives of the research: First: revealing the nature of the cognitive style (independence-dependence) on the field by sorting independent students from dependent students. Second: finding the relationship between the style (independence-dependence) on the field and the productions of second-year design department students in the subject of (color applications). The limits of the research, and defining the terms. The second chapter was divided into two sections: the first: cognitive style between concept and application, and the second: color applications (Classification and applications). The third chapter included the research sample, which included the outputs of students (second stage) in the Design Department / College of Fine Arts / University of Babylon / for the academic year (2024-2025). The total sample amounted to (62) male and female students, with (27) independent students and (35) dependent students. The research required two tools: a tool to measure the cognitive style (independence - dependence) on the field, and a tool to analyze the students' output. The fourth chapter included a set of results, conclusions, and recommendations. The most prominent results are:
1. Students in the second stage of the Design Department enjoy a cognitive style that is dependent on the field.
2. The research results showed a relationship between the cognitive style of independence and dependence on the field and the outputs of students in the second stage of the Design Department in the subject of color applications.
Keywords (concept, cognitive style)

Research Summary
The current research is summarized
The first chapter includes the research problem, the importance of the research, the need for it, its objectives, its limits, and definition of terminology.
The second chapter / includes the theoretical framework that included the first section. The first chapter may include the emergence and development of Arabic calligraphy and also includes the types and types of Arabic calligraphy, including Kufic, Thuluth, Naskh, Commentary, and other scripts.
The second chapter includes the theoretical framework that includes the study of employing the Arabic letter in Jordanian ceramics.
The third chapter includes the research procedures, the research community, and the research sample.
The fourth chapter includes results, conclusions, recommendations, and proposals.
One of the most important findings reached by the researcher is:
- 1-The Jordanian potter sought to employ the Arabic letter within his ceramic products through multiple implementation methods that relied on different sculpting techniques.
-2-The nature of the line in terms of whether it is sharp, straight, flexible, or curved is linked to the nature of the material
-3-The color blue and its shades appeared as a kind of manifestation of divine powers
4-The aesthetics of employing the Arabic letter appeared in the spherical formation of potter Mahmoud Taha
Conclusions
1-Inspiring ideas from the cultural heritage and bringing out the aesthetic values that were employed in the spirit of the potter Mahmoud Taha
-2-The study showed the Jordanian potter who employed the Arabic letter in his ceramic works in a clear and intentional manner.
Sources and references.

Abstract
Man did not know any language at the beginning of his life except for the language of signs, movement and symbols, and through his body he communicates all ideas and meanings. Dance and the signs and symbols it carries in the dancer's body and revealing these codes through the body. The movement of the body gains great importance, as semiotics in dance helps add depth and meaning to the performance and the audience's understanding of the artistic content. The symbols in dance refer to the message or idea that the dancers are trying to convey through their movements and bodily expressions. Semiotics can be an expression of certain feelings, a story, an idea, or even an abstract concept. To enhance communication with the audience and convey a certain message or feeling clearly and effectively. Therefore, the body has importance in life, and therefore the dancing body has importance in the theatrical performance as a means of conveying the idea to the recipient. The research was divided into four chapters. The first chapter included (the methodological framework) for the research and the research problem represented by the following question (semiotics of dance in the Iraqi theatrical performance?) While the researcher identified the importance of the research and the need for it, and thus shed light on the appearance of dance in the theatrical performance, as for the need to shed light on the formation of the body, and the scientific research aims to identify the semiotics of dance in the Iraqi theatrical performance. The limits of the research were determined between the period (2013-2023), and then the first chapter was concluded by defining the terms and the procedural definition.
As for the second chapter (the theoretical framework) for the research, it included two topics, the first was semiotics and its divisions, while the second topic was dance and its types and dance in the world theater, and concluded with previous studies and indicators.
As for the third chapter (research procedures), it included the research community, which amounted to (15) theatrical performances The research sample chosen by the researcher in an intentional manner included three shows, which are (Ahriman - Israfil's Trumpet - Mercy Shot). As for the research tool, the researcher relied on the indicators of the theoretical framework. As for the research method, if the chapter was concluded with it, the researcher relied on the descriptive (analytical) method. The research was concluded with the results, conclusions, recommendations, suggestions, and finally the sources.

Abstract:
This study addresses innovative advertising campaigns and their effectiveness in influencing the audience and the reality of advertising campaigns that involve the audience in interacting with their visual messages. The first chapter of this study addressed the research problem, which was represented by the following question: What is the effectiveness of the design of innovative interactive advertising campaigns? While the research objective was to highlight and explain the effective means of designing innovative interactive advertising campaigns.
In its theoretical aspect, this study addressed two topics that dealt with the conceptual framework for designing unconventional advertising campaigns and interactive advertisements in graphic design, as well as a set of theoretical indicators that the theoretical framework yielded. The third chapter determined the research community, its sample, and its tools for analysis, while the fourth chapter addressed the results and conclusions of the research. Among these results was that (the use of technological tools to create interactive awareness advertising campaigns has become an urgent necessity, as technology contributes to enhancing audience interaction with graphic messages and increasing their participation in them.), as well as recommendations related to the subject of the study.

Abstract:
Different differences appear from artistic expression that interact with reality and imagination in one way, as it expresses the social and intellectual issues of man through its various artistic elements. In this context, selectivity emerges as a basic concept in building the theatrical show, as it represents a weak choice of elements that contribute to shaping this show, including dance with art and the intellectual thought of the director. Selectivity is not mistaken for a mere choice of a patent, but rather it is a pivotal tool in presenting philosophical learning and studies with general cultural contexts. Iraqi selective theater contributes to communication between traditionalism and modernity, as elements are chosen that are considered the pride of Algerian cultural identity in its social and political conference.

Abstract

The current research dealt with (the aesthetics of the artistic style in the drawings of the plastic artist Mahmoud Saeed, through studying the artistic style in the drawings of the plastic artist Mahmoud Saeed. Therefore, the researcher sought in the first chapter to clarify the research problem, which was determined by answering the following question: “What are the aesthetics of the artistic style in the drawings of the plastic artist Mahmoud Saeed?” Hence the importance of the research and the need for it, in addition to the research objective which is represented by the following: “To identify the aesthetics of artistic style in the drawings of the plastic artist Mahmoud Saeed.” Then the researcher concluded the aforementioned chapter by defining the terms that are directly related to the title of the research and its objectives. As for the second chapter, it included a presentation of the theoretical framework and indicators, and it came consisting of two sections. The first section established the style as a concept. As for the second section, it dealt with the artistic features of the drawings of the artist (Mahmoud Saeed) (1897-1964 AD). The third chapter was devoted to monitoring the research community and the tool that included collecting information. A sample of it was adopted intentionally, and it amounted to (5) works that covered the limits of the research by adopting the descriptive analytical method for the purpose of analyzing them according to the axes of the analysis tool that the researcher adopted. As for the fourth chapter, it included the research results, which included: 1- Most of the artist Mahmoud Saeed’s works, with their various themes, carried the Egyptian popular spirit, which was a reflection of his culture and the environment in which he grew up, in addition to his influence by the popular heritage and his connection to the customs and traditions of his society in a clear and direct manner, which became a stylistic feature that distinguished him. 1- The artistic vision of the artist Mahmoud Saeed varied in the structural treatments of the various topics that moved between the realistic, the abstract, the reductive, the expressive, the monstrous, the impressionistic and the futuristic, and it had a great impact on his artistic style, and this indicates the development of the performance style and its strength for the artist.

Research Summary
This research tagged under the title (aesthetic enrichment to dismantle and synthesize the image in contemporary Iraqi painting) through the works of the Iraqi artist in showing the manifestations of aesthetic enrichment in the elements of artworks through dismantling and installation to find out the most important joints of those contemporary and historical formations, which came in their artworks that include a process of examination and scrutiny of the aspects related to the process of aesthetic enrichment in the artistic image according to the composition of the image, as the research consists of four chapters The first chapter was represented by the general framework The importance of the research comes as it sheds light on the structure and relationships between the concepts of deconstruction and installation in the artistic image (artwork) and the mechanism of its completion in the contemporary Iraqi formation. The second chapter, represented by the theoretical framework, dealt with three sections, the first section is aesthetic enrichment between the tangible and the application, and the second section is the basic entrances to the concepts of deconstruction and installation between philosophy and art schools, and the third section dealt with Iraqi painting and the mechanisms of its operation, and the third chapter (research procedures) has contained the research community and the research sample and its tool, and the descriptive approach was used in the analysis of four models chosen intentionally from the drawings of Iraqi artists, and the fourth chapter included the most important results: The aesthetic enrichment of the formal composition in contemporary Iraqi painting rises according to a diverse harmonious kinetic context with a tactile context that supports the artistic image, as in the model (1, 2, 3, 4), resulting from the tactile harmonization between the surface of the painting, the added material and color, or between the components of the same plastic work of the same material. Some artists neglected the principles of anatomy in the artistic image associated with academic performance to create freedom of aesthetic expression, non-restriction in performance as a sign of deconstruction in the artwork and freedom to reconstruct the subject of the painting, as in the model (2). Conclusions include: The artistic image of most Iraqi artists was founded on the basis of the pressing narrative event according to ideological, social and psychological influences, while the research ended with recommendations, proposals, margins, sources and references. Keywords: aesthetic enrichment, deconstruction and installation, artistic image, contemporary Iraqi painting.

Abstract:
This research deals with the concept of apparent contradiction in theatrical performance, based on the theatrical roots and forms that established this trend since its early emergence in the theater, through its development and crystallization at the global level in the modern era, reaching its manifestations in the Iraqi theatrical performance, where its growth, development and most prominent artistic manifestations are studied. Based on this vision, the title of the research came: (Apparent contradiction and its manifestations in the Iraqi theatrical performance). It included four chapters. The first chapter dealt with (the methodological framework): starting with the research problem that revolved around the following question: (What is apparent contradiction, and how was it manifested in the Iraqi theatrical performance?), and the importance of the research that stemmed from the fact that this study is the first in the academic field. The aim of the research lies in identifying: (apparent contradiction and its manifestations in the Iraqi theatrical performance), and the limits of the research: Temporal: (2014 AD), spatial: Iraq, and thematic: studying (apparent contradiction and its manifestations in the Iraqi theatrical performance), in addition to defining the terms and procedural definitions. The second chapter (the theoretical framework) included two sections: The first section dealt with: (the apparent contradiction, the concept of references), while the second section dealt with: (the manifestations of the apparent contradiction in the theatrical performance), in addition to mentioning the indicators that resulted from the theoretical framework. The researcher devoted the third chapter to the research procedures, as the research sample was identified and chosen intentionally to be a model for analysis, and it was represented by the play (Cartoon Dreams) written by (Karim Shagdel) and directed by (Kazem Nassar). The researcher adopted the (descriptive) method in analyzing the sample, according to what the nature of the current research dictates. At the end of this research, the researcher concluded by mentioning the results that emerged from the analysis of the research sample, the most important of which are: (The acting performance of (the cleric) was based on a cold mind through his monitoring of himself in the most extreme states of anger, excitement or unbridled revolution, while he himself remained cold and devoid of influence, if his dialogues were shocking, and they all appeared from the tongue of one type, which is the character of the strict religious person). The researcher also reached some conclusions in addition to suggestions and recommendations, then a list of sources..

Abstract:
This research focuses on the study of "Technical Approaches in Abstract Expressionism" and is divided into four chapters. The first chapter addresses the research problem, which revolves around the following question: What are the technical approaches in abstract expressionism? It also discusses the importance of the research and the need for it. The research aims to understand the technical approaches in abstract expressionism. The chapter further includes the research boundaries, which are limited to the United States from 1949 to 1978, and defines the relevant terms
As for the second chapter, it contains the theoretical framework, which is divided into two sections. The first section discusses the concept and application of technique, while the second section focuses on the study of technical diversity in abstract expressionism. The sections concluded with some indicators derived from the theoretical framework. The third chapter outlines the research procedures, including the research method, research community, and sample. Due to the broad scope of the research community, a purposive sample of four models was selected. The fourth chapter presents research findings, conclusions, recommendations, and suggestions
The most prominent results that the researcher reached include:
1_ Abstract expressionism relied on a variety of techniques that allowed artists to freely express their emotions and personal views. Spontaneous and automatic drawing was used, abandoning prior planning in favor of free expression. Bold colors became a primary means of expressing internal emotions. Additionally, free lines and abstract forms were employed to create artistic intersections that reflected the artist's personal experience . 2_ The techniques were not limited to painting alone; non-traditional materials such as metals and wood were incorporated, giving the works a tangible character. Artists also used composite techniques that combined painting and sculpture, thus transcending traditional boundaries between visual arts. Abstract expressionism became an artistic and technical revolution that contributed to changing art concepts and artistic expression methods
The most prominent conclusions drawn by the researcher include: 1_ Abstract expressionist artists employed available materials according to specific building mechanisms that included techniques such as splattering, spilling, dripping, collecting, gluing, and others. These techniques provided vitality in creating abstract, formless images that allowed the viewer to interpret and analyze the color spots and spaces, which were not organized in any specific form or framework. The interpretation of these visual "texts" remains open to numerous readings based on the viewer's perspective and artistic culture

Abstract:
Suspense in its general concept is feelings mixed with fear, anxiety and tension about a certain thing that the recipient is unable to intervene to prevent its occurrence. Suspense is one of the means of anticipation that leaves a person in doubt about a certain thing whose outcome he can expect or not. The feeling of tension aroused by emotion as a result of a situation that results in a certain thing or a special point of view that surpasses the events presented to the recipient. In drama, suspense is used as a hidden driver for dramatic events in the hierarchy of a movie or television series. Therefore, events that are largely dominated by suspense are exciting and thus lead to emotionally attracting the recipient's attention in following the events. He may be aware or the result of the events may be the opposite of what he expects. Hence, suspense is a mixture of anticipation and uncertainty in dealing with the ambiguity of the events performed by the dramatic characters. In terms of narrative expectations, it may contradict curiosity mixed with ambiguity that leads to the paradox and surprise experienced by the recipient and the dramatic character alike.
The method of their treatment of the work varies according to the dramatic type. The author of the comedic works, which are the subject of our research, is responsible for creating suspense in addition to formulating comedic situations that take the recipient to ridicule the situations, fun and venting his feelings. This is of course not easy for the author of these works. We decided to research the creation of dramatic suspense in cinematic comedic works by answering the question posed in the research problem: What are the mechanisms followed in creating dramatic suspense in cinematic and comedic films? The research included the following chapters: -
- Chapter One: Research Methodology and included - Research Problem - Importance of Research - Research Objectives and identifying the most important terms mentioned in the research and the research sample.
- Chapter Two / Theoretical Framework and within the following topics: -
The first topic: The emergence of comedy
The second topic: Dramatic structure in comedy
The third topic: Suspense and dramatic structure
Theoretical framework indicators
Results and conclusions

Abstract
The current research dealt with (Destructive works in the works of the potter Laurent Crast) as the destructive works in the artistic works of the potter (Laurent Crast) were studied, in addition to the role of the potter in creating formal and intellectual destructive works, which carried within them destructive works. This research included four chapters concerned with it.
Chapter One: Presentation of the research problem, which is summarized in the question:
What are the destructive works in the works of the potter Laurent Crast?
As for the research objective:-
To identify the destructive works in the works of the potter Laurent Crast.
As for the research limits, they can be summarized as follows:-
1. Objective limits:- Studying the destructive works in the works of the potter Laurent Crast.
2. Temporal limits:- Determined temporally from the period (2006 - 2023).
3. Spatial limits:- France.
Chapter Two: The theoretical framework, previous studies, and indicators resulting from the theoretical framework. It included two topics. The first topic dealt with (the concept of demolition), while the second topic dealt with (contemporary French ceramics). Chapter Three contained the research procedures, including the research community, its sample, the research methodology, the research tool, and the analysis of the research sample, which numbered (5) ceramic models from the research community, which numbered (100) ceramic models. The researcher adopted the descriptive method as a method of analysis for its compatibility with the specificity of the current research, based on the indicators resulting from the theoretical framework, as criteria for analyzing the research sample. Chapter Four contained the research results, the most prominent of which are: -
1. The demolition works in a single ceramic work achieved the innovation of new forms and elements used that were not previously circulated.
2. The potter confirmed in the demolition works his objection to traditional forms, decorations, and drawings, through the use of an artistic style that tends toward openness and multiple readings.
Chapter Four also contained conclusions, the most prominent of which are:
1. The potter expressed his objection to the stereotypical and traditional character of the decorations and ceramic works dating back to the eighteenth and nineteenth centuries.
2. The potter employed demolition through the multiplicity and diversity of his executed works, in the same ceramic form.
In conclusion, the researcher reached recommendations and suggestions with a summary in English.

ABSTRACT
Graffiti art represents the other side of the miserable social situation that society suffers from as a result of repression, conflict, deprivation, poverty, displacement, and racism. It is an expressive protest that manifests itself in rejection, conflict, and opposition to all social systems, rules, and norms. Some describe graffiti as an incitement art against authority, calling it the art of the deprived and poor classes who have adopted this art as a means of expressing their suffering. Aggressive behavior has received significant attention in social, educational, and judicial circles due to its impact on the structure and development of society. The features of hostility in graffiti art have been strikingly evident, especially in the graphic arts experiences of the artist Jean-Michel Basquiat. Thus, the current study aims to: Identify the features of conflict in the productions of graffiti art (Jean-Michel Basquiat as a model). The second chapter included the theoretical framework with two sections. The first explored the psychological dimensions of conflict—concepts and applications. The second section explored approaches to the manifestations of conflict in shaping the postmodern era. The third chapter included the research procedures. After defining the general framework of the original community, five models were selected to represent the research sample. A content analysis tool was also developed, after achieving both apparent validity and reliability. This tool was then prepared for application in its final form to analyze the research sample models.

Keywords: (Conflict - Graffiti Art - Jean-Michel Basquiat)

Abstract:
The research titled “Mechanisms of expressive display in Mahmoud Shabr's drawings” focuses on the study of expressive methods in the artist Mahmoud Shubber’s works, through his reliance on various artistic schools. The research is organized into four chapters, beginning with Chapter One. It includes the research question: What are the systems of expression in Mahmoud Shubber’s paintings? The aim of the study is to identify these expressive systems. The objective boundaries of the research are limited to the artist’s works executed using acrylic colors, within the timeframe of 2011 to 2022, and the geographical context being Iraq. also includes the definition of key research terms. Chapter Two (Theoretical Framework) consists of two main sections:
• The first section addresses Systems of Expression in Contemporary Art.
• The second section explores The Artistic Experience of Mahmoud Shubber.
The chapter concludes with the indicators derived from the theoretical framework-
Chapter Three covers the research procedures, including the research population, the selected sample consisting of three models, the research tool, and the analysis of the sampl.
Chapter Four presents the research findings, the most important of which are:
1.One of the most prominent expressive methods in Mahmoud Shubber’s artworks is the skillful integration of authenticity and modernity.
2.Mahmoud Shubber utilized free space in distributing forms across the pictorial surface, where the elements appear to completely fill the canvas, enhancing a sense of visual tension and density.
The conclusions include:
1.The interaction between heritage and modernity forms a renewed visual perspective. His use of Islamic art elements, combined with modern techniques, enables a contemporary reinterpretation of cultural heritage.
Keywords: Expression, Paintings

Abstract
The importance of the study is the attempts to deconstruct social contents concepts and put them in artistic employment as a phenomenon or human condition and establish the extent of their functionality in the field of contemporary Iraqi caricature art. The study was described in the first chapter on the methodological framework of the research problem and to highlight the research problem in the social contents of Iraqi caricature art. Current studies, research importance, the need for a mechanism, the purpose of research, and the disadvantages of research represented findings regarding it Finally, defining and defining terms, whereas the second chapter was encompassing the theoretical framework in two sections, the first representing (cognitive approaches in sociology), while the second section was represented by the following title (the content of caricatures in Iraqi society). Then, the most significant pointers were from C
Then, the most significant pointers were from the theoretical framework, while the third chapter had procedural research which tested samples of caricatures, while the fourth chapter represented the following findings .
1- The contemporary Iraqi cartoonist was dedicated to expressing andpreserving the humanitarian causes of Iraqi society, a job to which the artist was well-known.
2- The Iraqi cartoonist was able to reach the profundity of the nature of the Iraqi personality, represent and illustrate their conditions, and introduce their contemporary Iraqi identity.
Conclusions:
1- The Iraqi caricature emphasized the adherence of the art of caricature to social issues by referring to these reductionist vocabulary in the world of images.
-Iraqi cartoon drawing was able to put into perspective the suffering of the Iraqi people as much as some of the laws leading to social problems and their effects were concerned.
. The study concluded with the examination of the study sources, appendices, and an English summary of the study
Social، Implications، Keywords: Iraqi Caricature

Abstract:
Amidst rapid urban expansion and increasing isolation from natural environments, the problem of interior space design emerges, often neglecting to integrate natural elements effectively and purposefully, leading to negative repercussions on the mental and physical health and productivity of the user of the interior space. The research addresses the dialectical relationship between Biophilia, as an innate human tendency toward nature, and the design of interior spaces, and the strategies it proposes that direct design toward patterns and considerations that enhance the user's connection to space. Therefore, the research problem crystallized into the following question: " What are the design strategies based on the concept of Biophilia in interior spaces? What are their patterns and design considerations? How can they be employed to enhance positive connection to space?" The research aimed to "identify the concept of Biophilia and its design strategies in interior space."
The theoretical framework addressed the study of the concept of Biophilia in interior design, and its design strategies in interior space. The research adopted the case study approach to arrive at accurate results. The research community was limited to the design works of international conference centers in the Kingdom of Saudi Arabia. The research came out with a set of results and conclusions, the most important of which are:
• The strategy highlights the nature of the place experience in biophilic design, through achieving a broad and extended perspective, and including the principle of privacy for some places, in addition to activating the principle of suspense to deepen interaction with the place and provide an immersive experience for the user that deepens the cognitive awareness of the place and enhances the connection to it.
Keywords: Biophilia, Strategy, Interior Space.

Abstract
The dramatic character is one of the active elements in the narrative structure. It is the central axis around which events revolve and from which various conflicts emerge. Good and evil are embodied, taking on different forms and varying aspects, in addition to its content, which inspires variable behaviors and actions. The essence of character lies in the oscillation between form and content. This oscillation lies in the technique of fantastic narrative, which transforms the natural character into a character that transcends the boundaries of the unreal, the illogical, and the irrational, relying on imagination and illusion. From this perspective, the researcher decided to conduct a study entitled "The Character of the Marvelous Hero in Contemporary Cinema." The research problem was defined by the following question: "What are the characteristics of the character of the marvelous hero in contemporary cinema "
The structure of the research included the following axes: an introduction, including the research problem, its importance, objectives, and limitations, followed by a definition of terminology. The importance of the research lies in the fact that it sheds light on the fantastic character, which represents a cognitive addition to the students of the Cinema and Television Department at the Faculty of Fine Arts. The research objectives were limited to revealing the characteristics of the fantastic hero character in contemporary cinema. Regarding the theoretical framework, it included two chapters, the first dealt with the concept of the fantastic, while the second chapter dealt with the characteristics of the fantastic hero character. After that, the researcher came up with a number of indicators that resulted from the theoretical framework. The research also contained research procedures that included the research methodology, research community, research tool, and unit of analysis, to be used in analyzing the sample represented by the movie (Venom). The research concluded with a set of results, including: The fantastic has special unique characteristics that distinguish the character of the fantastic hero from the character of the normal hero, through the displacement of its physical and psychological dimensions that gave it uniqueness, distinction, and dazzle, and this was clearly evident in the movie (Venom Part One). The most important conclusions of the study emphasized the role of modern technology and its impact on the elements of cinematic language by creating fantastic characters based on the transformation of their external and internal characteristics within the film's environment, giving them an aesthetic, expressive, and dramatic dimension. The study concluded with a list of sources and an English summary.

Research Summary
Art in general, and drawing in particular, serves as a fundamental means of exploring the depths of the human personality. It offers a non-verbal confession of the emotions and feelings that an individual might shy away from expressing directly. These are often embedded in their drawings in a veiled or ambiguous manner, or transcended in a psychological sense.
Given the critical importance of adolescence in shaping personality, coupled with the accompanying physical and psychological transformations that can burden teenagers and make them more susceptible to psychological issues, there's an increased risk of disorders that most psychologists attribute to maladjustment.
The current research aimed to clarify the relationship between maladjustment and the characteristics of drawings among 16-year-old adolescents. To achieve this objective, the following null hypothesis was formulated:
* There is no relationship between maladjustment and the characteristics of adolescent drawings at a significance level of (0.05).
The original research sample consisted of 208 students distributed across two schools. The study required the use of two instruments:
1. The first instrument, Al-Zammali's scale, was used to measure maladjustment after its validity and reliability were confirmed.
2. The second instrument, Bouhia's scale, was used to measure adolescent drawings after its validity and reliability were confirmed.
Among the findings, the researcher concluded that maladjustment is related to some characteristics of adolescent drawings, but not to others. It was observed that maladjustment is related to the appearance of (20 ) distinct characteristics in adolescent drawings by psychologically maladjusted.

Research Summary
: Art Beauvira has formed a wide presence in various arts to give an aesthetic and intellectual character that raises the process of suspense and is considered Art Bovira in the theatrical presentation one of the arts that emphasized the correspondence of reality with its negatives on the one hand and its physical link to the philosophy of theatrical presentation with all its techniques, especially in the design of theatrical decoration for its approach to the contents of the lived reality, so the materials used were commercially drawing the philosophy of the modern theatrical theorist as a material philosophy, especially taking advantage of the characteristics of Art Bovera in modeling and structuring decoration and drawing in the theatrical image Modern in the composition of the theatrical plastic confirms the importance of the use of material close to reality in drawing theatrical decoration has included the current research four chapters are as follows: The first chapter, which is the methodological framework that included (research problem) represented by the following question: What is Art Buffeta, and how to represent artistically and aesthetically in the décor of the contemporary Iraqi theatrical show? This chapter also included the importance of the research by highlighting the art Bovira and how it is represented in the design of theatrical decoration and also included and also contained the goal of the research, which was limited to the definition of (art Bovira and its representations in the design of theatrical show decoration) as determined ... The limits of the research were also determined by the time contract (2021), which was presented in Iraq _ Baghdad As for thematically, the study was specialized in the study of art Bovira and its representations in the design of theatrical show decoration, and this chapter concluded by defining the terms and defining them linguistically, idiomatically and procedurally, while the second chapter was determined in three sections: The first topic: the concept of art bovira, the second topic: art bovira and its representations in theatrical decoration design, The third topic: Art Bovira and its representations in the global theatrical presentation The chapter concluded with the indicators that resulted from the theoretical framework, either the third chapter: represented by the research procedures, as the researcher chose the play (yes Godot) a model consistent with the directions of the research and its scientific and methodological nature, while the chapter strengthened the quarter results, conclusions and sources

Abstract:
This research consists of four chapters. The first includes a presentation of the problem being investigated by the researcher, summarized by the following question: What are the characteristics of image rationality in Sumerian art?
The research also addresses the importance and need for this research, and its objective: to uncover the characteristics of image rationality in Sumerian art. The research's boundaries are then followed by a linguistic and technical definition of the terms. The second chapter includes two sections: the first: The concept of rationality of the artistic image, and the second: Fine arts in the ancient Iraqi Sumerian civilization. The researcher then presents indicators derived from the two sections of his theoretical framework. The third chapter consists of the research community, the research sample, which comprised five examples of fine art productions in the Sumerian civilization, the sample analysis tool, the researcher's methodology, and an analysis of the research sample. The fourth chapter contains the research's findings, the most important of which are:
1-The various Sumerian artistic productions contain aspects of the natural biological environment, including plants, animals, and humans, distributed according to a rational existential hierarchy. They are depicted in abstract ways, yet they provide the artistic image with a rational foundation for its recipient.
2- Humans are depicted in Sumerian art with correct anatomical characteristics and in various positions, emphasizing the image's rationality. Eyes are depicted larger than their natural size to indicate the Sumerian artist's spiritual orientation. Conclusions include:
1- The Sumerian artist works to reconcile two worlds: the tangible real and the intuitional supernatural. Both are considered realistic, contributing to the enhancement of the rationality of the artistic image.
2- The Sumerian artist produces his artistic works with an obsession with religious faith and mythological thought, and his artistic creativity is considered a religious and devotional duty, not an individual achievement.
Then, recommendations and proposals, and an index of research sources.

Abstract :
This research is concerned with the study of (realism in Hellenistic art), which is located in four chapters: The first chapter included a presentation of the research problem, which is defined by the following question: Is there a realistic tendency and its reflection on Hellenistic art, and the importance of the research and the need for it came in terms of identifying the manifestations of realism and developing a base or map of knowledge for Hellenistic arts. The objective of the study is to: (identify the tendency of realism and its repercussions on Hellenistic art), and determine the research by studying artworks (sculpture) specifically, which is represented by the tendency of realism and its repercussions on the Hellenistic art formation. The second chapter: it included the theoretical framework and previous studies, which contained two sections: I mean the first section (the study of conceptual realism), has embraced the second section (Hellenistic art) has specialized the third section (Hellenistic art) and concluded the theoretical framework with a set of indicators, and previous studies. The third chapter dealt with the research procedures, which included the identification of the research community, which amounted to (35) sculptural work, the selection of the research sample of (3) sculpture works, then the research tool and sample analysis. What is the ...
What is the fourth chapter? It includes the results of the research, conclusions, recommendations and proposals. Among the most important findings of the study are the following:
1. The relationship between manifestations of realism and its repercussions on Hellenistic art was part of the overall relationships that control society as a whole, and work to define its special character and even determine the nature of artistic subjects in it, according to the transformations from one era to another.
2. The ancient Roman civilization had a clear impact on all the results of the research sample and used it as a tool of knowledge to build the surrounding world as symbolic forms prevailing in human consciousness in an indispensable way, which turns that system into a tool of domination in the hands of interests.
3. The adoption of Hellenistic art, in many works of sculpture, came to be affected in the Hellenistic period by the embodiment of the form in the works of sculpture in a way that depended on the realistic or natural form, and in some of them it was indicative in its significance in reducing the subject.
The fourth chapter also included a set of recommendations and proposals, and the study concluded with a list of sources and references.

Abstract.
The study examines the style of melodic variations in orchestral compositions based on folkloric lyrical compositions. The study examines the style of melodic variations in orchestral compositions based on folkloric lyrical compositions. It seeks to analyze the methods used by composers to transform Kurdish folkloric melodies into a contemporary orchestral form by integrating Kurdish folkloric melodies within a modern orchestral
context, reflecting a balance between authenticity and innovation.
The study focuses on the way folkloric melodies interact with orchestral compositions, the use of instruments in their diverse sonic colors, and how to modify and develop them through melodic variations to align with modern musical techniques while simultaneously preserving their original cultural and folkloric identity in innovative formulations within their traditional character.
The research consists of four chapters. The first chapter (the methodological framework) included an introductory introduction to melodic variations and how to address and develop them in orchestral compositions. Then the research problem, which was defined as (the style of melodic variations in orchestral compositions on Kurdish folk melodies), in addition to the importance of the one who seeks to benefit from studying the subject of melodic variations, and the aim of the research, which is directed towards identifying the style of melodic variations in orchestral compositions on Kurdish folk melodies, and then the spatial, temporal and thematic limits of the research. This chapter dealt with the terms included in the research.
As for the second chapter (the theoretical framework), it included three topics: the first topic, the concept of (theme variations), the second topic, addressed the elements of melodic variations (Elements of Melodic Variations), the third topic included folklore melodies (Folklore Melody), and the fourth chapter consisted of the results, the most important of which are:
1 - The composer used the augmentation form within the melody, doubling the time value of the notes of the main melody and changing the musical scale according to the requirements of the diatonic arrangement and the composer\\\\'s style.
2- The folkloric melody (Garmat Behstamat) was developed without compromising its folkloric form, using melodic variation techniques within the orchestral composition in a profound and extensive manner.
The conclusions are as follows:
1- Folkloric melodies are collective in nature. Folkloric songs have a comprehensive and homogeneous character, presented in a different way almost every time, regardless of time or place. They maintain authenticity despite temporal changes, while remaining capable of development and reformulation to suit the modern era.
2- Folkloric melodies are among the most important elements of the cultural heritage of peoples, as they represent a cultural vessel that carries within it the identity, history, and values of societies passed down through generations. The research concludes with a list of the sources used in the research.
Keywords: Melodic Variations, Orchestral Compositions, Folklore Melodies

Abstract
The current research's starting points are determined by studying fragmented narratives and investigating their components in the actor's performance, as a gift that departs from traditional patterns and moves towards different broadcasts that the actor adopts in his performance and goes beyond the narrative sequence of the performance's rhetorical given, as it is formed according to the performance's fragmentation and the scattering of its positions and the obstruction of its narrative and its hybridity in dispersed narrative mixtures that go beyond centrality and the confusion of time and space in favor of stimulating the recipient to investigate the performance and its potential in monitoring the hypothetical possibilities of narrative relationships. This is what the research problem and its goal focused on as a cognitive investigation that aims to identify fragmented narratives and their presence in the performance of the actor of the contemporary Iraqi theatrical show within the specified time period between the years (2013-2015 AD). The research then turned to the theoretical framework for examining the concept of fragmented narratives in its first section, while the second addressed fragmented narratives in global theatrical experiences. Both sections formed the basis for establishing the indicators that were applied to the research sample as a research tool that analytically investigated the approaches and applications in the intentionally selected sample, represented by the models (Reprimand), (Ahriman), and (Red Carpet). This paved the way for the emergence of the results as a reflection of the analysis.

Abstract :-
Human communities draw stability maps by social and international plans in every time and place to dominate and protect individuals and societies in the shed of rules, regimes, circumstances and events as it is variable and not constant, its strategy emerges over the life of masses by reflection on the life of individuals and groups consequently over philosophy, intellectual and literal productions of peoples. Stage texts are the most important works that works on showing securitization's concepts, types and repercussion in the contents of dramatic stage texts, the Iraqi writer also strives to documentation of social reality and what results from securitization like importance, repercussion and contradictions.
The problem of research was determined by the current query:- How did the Iraqi stage' writers embody the concept of securitization and its repercussion in their contemporary stage texts?
The research aimed to identify securitization and its repercussion in contemporary Iraqi theatrical texts.
The importance of the research focused on its social and political nature, and on the importance of achieving security, stability, and coexistence. The second chapter comprised the theoretical framework of two sections: the first section tackled with the concept of securitization, its types, and philosophical schools. The second section focused on the manifestations of securitization in international and Arab theatrical texts. The third chapter covered the research community, which consisted of (6) Iraqi theatrical works from the period (2015-2024). The play "The Ten-Minute War" that was chosen as an analytical sample to extract the research conclusions, the most important of which are:
1- Securitization and its repercussions represent the dynamics of the comprehensive quantitative state, its correlation, its needs, and its relationships with individuals in its communities and authoritarian policies.
2- Securitization takes multiple forms resulting from the psychological depth of the character and the events and situations they encounter in life.
3- The securitization aimed to impose a strategy with an ideology path by imposing the rules on life's items and ensuring social relations with the political path, either it dissembled or grow by away or another with an intellectual and metaphor nature.
Key words:- Securitization, repercussion, social security and insurance.

Summary
Every work of art has a form and a meaning. Form is subject to the relationships that connect it to the compositions, and thus the sculptural work is perceived through them. Content and meaning are understood through the systems of form itself. No work of art can separate its form from its meaning, or vice versa, in all cases or methods adopted by the sculptor. Based on this, the researcher formulated her research, entitled "The Symmetry of Meaning and Form in the Works of Sculptor Mekki Hussein Mekki," in four chapters: Chapter One (the methodological framework) contained the research problem defined by the researcher through its problem question: "What is the nature of the symmetry between forms and content in the works of the sculptor Mekki Hussein Mekki?" The research objective included revealing the symmetry of meaning and form in the works of the sculptor Mekki Hussein Mekki. The importance of the research is to shed light on the symmetry of meaning and form in the works of the sculptor Mekki Hussein Mekki. Then the researcher defined the boundaries of her research and identified the most important terms in the research. As for the second chapter (the theoretical framework), it contained two topics. The first topic was the concept of homology in plastic art. As for the second topic: Representations of meaning and form in Iraqi sculpture. Then the researcher concluded the chapter with the most important indicators and previous studies that resulted from the theoretical framework. As for the third chapter (research procedures), which included defining the research community, the research methodology used in analyzing the sample was chosen, then the research tool was chosen to achieve its objectives, then the sample was chosen and then the sample models were analyzed. As for the fourth chapter, it included the results that the researcher reached through analyzing the research sample, then the conclusions. It also included a number of recommendations and suggestions. Then the research was concluded with the sources.

Research Summary
The current research aims to identify (the effectiveness of using differentiated instruction to teach the planning subject in developing the creative skills and abilities of students in the Art Education Department)
Where I used the experimental user with a two-group design (the experimental control) and the pre- and post-tests for the purpose of the research. The research creativity was chosen from the students of the second stage / Department of Art Education for the electrical version (2023-2024).
The sample was randomly distributed into two groups, the first an experimental group consisting of (17) male and female students who studied using the differentiated education strategy, and the second a control group consisting of (17) male and female students who studied using the traditional method.
The researcher prepared an achievement test that measures the level of theoretical, practical, and technical information about the planning subject through observation form questions.
The study found the effectiveness of using the differentiated education strategy in raising the level of teaching of students of the Art Education Department in the subject of planning

Abstract:
The research explores the impact of artificial intelligence on developing the skills of Design Department students in the subject of Advertising Art. It is divided into four chapters: Chapter One presents the methodological framework, defining the problem through the question: What is the effect of artificial intelligence on enhancing the artistic appreciation of design students in Advertising Art? The aim is to identify AI’s effect on skill development.
Research boundaries:
Spatial: Iraq, University of Babylon, College of Fine Arts.
Temporal: Academic year 2024–2025.
Subject: The effect of AI on enhancing design students’ skills in Advertising Art.
Chapter Two covers the theoretical framework in two sections: the first on artificial intelligence, the second on Advertising Art. Chapter Three explains research procedures, population, tools, and analysis. Chapter Four presents results, conclusions, recommendations, and suggestions.
Key findings:
The experimental group showed notable improvement in practical and theoretical skills after using AI tools, with statistically significant differences favoring them over the control group. AI applications stimulated creativity and enhanced problem-solving in design.
Key conclusions:
Traditional methods in the control group showed a decline in performance, indicating a need for enhancement. In contrast, the experimental group’s significant progress highlights the effectiveness of AI in learning.

Research Summary
The current research is concerned with studying collective memory and its representations in the artworks of Ali Al-Tajer. It is divided into four chapters. The first chapter outlines the significance and objective of the study, which is to identify the collective memory and its representations in the works of Ali Al-Tajer during the time period between 2008 and 2021. This chapter concludes with a definition of the research terms
The second chapter presents the theoretical framework, which includes two sections:1- the concept of collective memory according to Maurice Halbwachs, and 2-approaches to collective memory in contemporary Iraqi painting.
The third chapter discusses the research methodology, starting with the description of the research population. The sample consisted of four artworks selected purposefully
The fourth chapter presents the results of the analysis, including findings such as: the works of Ali Al-Tajer reveal a strong presence of collective memory as a fundamental element in the construction of visual production. His works recall historical events and social experiences as central themes that are visually revived in a symbolic expressive style. Collective memory in Al-Tajer's art is manifested through the structural composition of the main characters in his paintings, which harmonize with other elements of the artwork to express aesthetic and emotional values that are part of the country’s heritage, history, and culture
Among the conclusions reached by the research: the artist Ali Al-Tajer asserts his position as a cultural agent who plays a dual role—as both a witness to events and a historian who reconfigures them through the tools of visual art—in an effort to keep memory present in collective consciousness.

Abstract of the research:
The current research (the reporting function in Islamic Arab miniature) dealt with four chapters: The first chapter contained a problem, which ended with the following question (What is the reporting function of Islamic Arab miniature)?? The research, its importance, the need for it, and the aim of the research, which aims to identify the reporting function in Islamic Arab miniature, as well as its limits and defining its most important terms.
The second chapter included the theoretical framework of the research, which included the first section, the concept of function and reporting in art. As for the second section, it dealt with the reporting function in Islamic painting.
The third chapter also included the research procedures: the research community, its sample, and the methodology in it, and the research tool, which marked the most important indicators that resulted from the theoretical framework as criteria for analyzing the sample, which amounted to (5) models.
The fourth chapter contained the research results, conclusions, recommendations and suggestions. The most important results are:
1. The reporting function of Arab-Islamic miniatures revealed social life in all its forms, as it is the container that carries the visual plastic achievement in which the Arab artist in general practiced his creativity in calligraphy, decoration, gilding and photography, as in all the sample models.
2. Islamic art was able to transfer the basic environment for the logical understanding of reporting and intellectual symbols to an artistic pictorial material for Islamic miniatures so that aesthetic awareness in it became original, not secondary, independent and without others. As in all the sample models.
The most important conclusions:
1. The connection between science and art and the spread of the art of miniatures had an effective role in the breadth and spread of scientific and literary topics.
The research ended with footnotes and a list of sources.
Keywords: Function - Reporting - Miniature - Arab - Islamic.

The current research includes four chapters. The first chapter includes the methodological framework and the research problem, which focused on answering the following question: (What is performativity and its applications in the theatrical performance, the play Red Carpet as a model?) Then, the importance of the research and the need for it to shed light on the subject of performativity as it is one of the modern terms that must be emphasized, and to highlight the artistic and stylistic mechanisms that distinguish this performance form and are evident in many international directors. The aim of the research is to identify performativity and its applications in the theatrical performance, the play Red Carpet as a model. The second chapter, the theoretical framework, included two topics: the first, the concept and origin of performance, and the second, the performance applications in global theatrical performance. The chapter concluded with indicators resulting from the theoretical framework. The third chapter, the research procedures, included the intentional selection of the sample, which is the Red Carpet performance directed by Jabbar Joudi, shown in 2013. The fourth chapter included the results and conclusions, including: 1- Following composition and montage in forming scenes based on the visual narration of events. 2- These performances carried their daily concerns represented by the concepts of war, death and terrorism, which re-formulated the tragedy in a style that evokes local events at the present time.
Keywords : Performance - Applications - Theatrical Presentation

Abstract
Children\'s literature constitutes an important field of knowledge in refining the intellectual and aesthetic taste of young people. It contributes to the crystallization of life facts and information that accompany the child from his infancy. Children\'s literature includes diverse writing styles that follow the intellectual and psychological development of the stages of growth that the child goes through, and his aesthetic taste, which is constantly changing according to the changes that occur in the environment and the larger world in which he lives. (Figural Narrative) represents one of those writing styles that focuses on the quality of the audience, not its quantity. This style is characterized by aesthetics that can be transferred to the child\'s world and worked upon within this intellectual system, which is unique mentally and emotionally. This provides the opportunity to evoke ideas and values that may be absent from the child\'s consciousness, while he is in dire need of them in the midst of his larger world.
The research included four chapters. The first chapter (the methodological framework) dealt with the research problem, which revolved around the following question: (What are the aesthetics of Figural narration and the extent to which it can be applied in children\'s literature). The research also highlighted the importance of the research, as it is the first to study the aesthetics of Figural narration in children\'s literature. The research objective was to identify: (The aesthetics of Figural narration in children\'s literature). The research boundaries were: Temporal: (2024 AD), Spatial: Globa , Objective: Studying (The aesthetics of Figural narration in children\'s literature), in addition to defining the terms and operational definitions.
The second chapter (the theoretical framework) was divided into two sections: The first covered (Figural narration, its concept, and Its aesthetics), while the second section shed light on (Figural narration In children\'s stories). The third chapter was devoted to research procedures, where the research sample was identified, represented by the story (Health is Wealth), written by Aesop Fabel and translated by Raja Faraj. It was intentionally selected and used as a model for analysis. The researcher adopted the descriptive approach to analyze the sample, in accordance with the nature of the current research. At the end of this research, the researcher presented the results that emerged from the analysis of the research sample, the conclusions, and a list of sources.

Abstract of the research
The current research dealt with the interpretation of the mental image in ancient Greek sculpture, which shed light on mental and other visual images in Greek sculpture, which the artist embodied and accomplished in his artistic works, to form images with different embodiments according to the culture of society, beliefs and myths. The research included four chapters. The first chapter dealt with the general framework of the research, which included the research problem, which ended with the following question: What is the interpretation of the mental image in ancient Greek sculpture? The research objective, which stipulates identifying the interpretation of the mental image in ancient Greek sculpture, as well as its importance, need for it, and its objective, spatial and temporal limits, which were limited to the era (the fourth and fifth centuries BC). While the second chapter included the theoretical framework and previous studies, two topics: the first (the concept of interpretation and the structure of the artistic image) and the second topic (the image and its representations in Greek art). Chapter Three (Research Procedures) included the research community and the research sample (5 models), the research methodology and the research tool to analyze the research sample models. The research also included the fourth chapter, the results and conclusions. Among the most important results reached by the research:
1. The mental images in ancient Greek sculpture were loaded in their sensory form and the accompanying perceptions with mythological and ideological data that were explained by the works - the research sample.
2. The concepts of the image varied in the meaning intended to be formulated as a thought for expression, representation, diagnosis and even imagination.
Among the conclusions:
1- The artist used his imagination and what he imagined about his gods and mixed it with the political conditions that existed at that time, which people dealt with daily.

Abstract
Hysteria is a common psychological illness that affects various segments of society as a result of the social and political factors experienced by individuals. This research demonstrates that theater reflects a concern with psychological and social issues affecting society. Since the Greek era, playwrights have used psychological phenomena as dramatic tools to highlight characters' internal conflicts and social tensions through theater, which serves as a mirror for society. Hysteria and other pathological psychological conditions have been employed in theatrical drama to reflect the disturbances resulting from war, poverty, oppression, and other factors.
Therefore, this research is divided into four chapters. The first chapter includes (the methodological framework of the research) and the research problem represented by the following question: (What is the hysterical character in contemporary Iraqi theatrical texts?) The researcher identified the importance and need for the research in its treatment of the term hysteria and its description as one of the psychological concepts that reflect specific disorders that appear in some characters. He emphasized the importance of accurate diagnosis of the pathological condition by tracing the symptoms apparent in the dramatic character within the theatrical text, as well as shedding light on the hysterical character in contemporary Iraqi theatrical texts. As for the need for it, the research benefits students and researchers in the field of theatrical psychology, and contributes to enhancing the cognitive and psychological aspects of students, institutes and colleges of fine arts, and provides them with the necessary information in this field. The research aims to identify the hysterical character in contemporary Iraqi theater. The research was set temporally (2010), spatially (Iraq), and objectively (studying the hysterical character in contemporary Iraqi theatrical text). The chapter concluded by defining and identifying terms. The second chapter (the theoretical framework of the research) included two sections. The first section dealt with (studying the hysterical character in philosophical thought), while the second section dealt with studying (the hysterical character in global theatrical text). The chapter concluded with indicators of the theoretical framework. Chapter Three (Research Procedures) included the research community, which included one theatrical text (Oil Slick), which was chosen intentionally. The researcher adopted the descriptive and analytical approach in his research, and concluded the chapter with an analysis of the research sample. Chapter Four included the most important results, including:
- This model focused clearly on mental illness, as the researcher considered it closer to hysteria than other psychological conditions.
Then came the conclusions, recommendations, and suggestions. The research concluded with sources and references.

Abstract
The formation of color in the Holy Quran has an expressive weight regarding life and death, happiness and misery, reward and punishment. It is a type of miraculous Quranic style through which the Quranic imagery is revealed, captivating and stimulating the human imagination. . The researcher's problem is summarized in the following question:
What are the colors mentioned in the Holy Quran, and what are their psychological connotations in the duality of reward and punishment?
The current research aims to (identify colors in the Holy Quran and their psychological connotations in the duality of reward and punishment).
The theoretical framework includes two chapters. The first deals '' the psychological of Colors in the Holy Quran," the second with "The Duality of Reward and Punishment." In order to achieve the research objective, the researchers designed a tool to analyze the Holy Quranic texts, which amounted to (29) verses (the research community). The researcher reached a number of results, the most important of which were:
1- The verses that referred in their texts to the connotations of reward and punishment are (13) verses, which constitute a percentage of (44.8%) of the total verses that include the six colors in their texts, while the verses that included the colors in their texts and did not refer to reward or punishment, which she focused Its connotations relate to everything related to the divine power in creating existence, to the signs of divine creativity in creating nature and the universe, to the truths of creation and the divine touches in its creativity, and to the sermons and lessons it leads to for contemplating and reflecting on the truths of Lordship and faith. This constitutes a percentage of (58.6%).
2-There are some colors whose connotations refer only to reward, such as white and green. We see this in verses (49, 107, 46, 106, 76, 21, 31), which constitute a percentage of (53.8%).
3- There are some colors whose psychological connotations refer only to punishment, such as yellow, blue, and black. This is seen in verses (33, 21, 20, 106, 60, 102), which constitute a percentage of (46.2%).
The most important conclusions were:

1- That color have a spiritual and symbolic presence and manifestation, embodying ranks and stations that suggest a lofty status and a good outcome. In another aspect, they are present in the structure of lower stations, and the bad outcome and loss for those who oppose God and His Messenger, for the disbelievers.
2- Colors in the Holy Quran have characteristic of indicating the paths of human behavior , whether good behavior or bad behavior .
Key word: (colors, Holy Quran, Psychological Implications, Reward and Punishment).

Research Summary
The current research, “The Constant and the Variable in Modern European Painting,” consists of four chapters. The first of them deals with the research problem, which is defined by answering the following question:
• How are constants and variables represented in modern European painting?
The first chapter also addressed the importance and need for the research, as well as the research objective.
The research boundaries were defined by the period (1900-1960).
The second chapter, which presents the theoretical framework and previous studies, addresses the meaning of the constant and the variable in its first section. The second section addresses the constant and the variable in the structure of modern European graphic thought. It then examines the indicators resulting from the theoretical framework and previous studies.
The third chapter (research procedures) dealt with the research community, the research sample, and the research tool, in addition to the research methodology and analysis of the sample amounting to (4) as a model. The fourth chapter contained (the research results, conclusions, recommendations, and proposals). Among the results that the researcher reached were: The effect of the fixed and variable concepts of aesthetics and semantics appeared in the artistic achievements of modern European painting. Therefore, we find manifestations of asceticism.
Through lines and shapes, this smoothness in the simplicity of lines revealed the fixed and changing inner and spiritual meanings in meaning to highlight and reveal the introspective subject of the completed artwork, where the reduction in shapes is through the European painter’s search for non-resemblance and for spiritual and ideal purity, as asceticism was revealed through color in the artistic productions of European painters, and the colors, through their asceticism, expressed the spiritual meanings with a fixed and changing significance.
The search for a metaphysical content, essence, and core beyond the material existence of the real world is a search for truth with fixed and changing connotations of the idealism that the European painter creates, however he reveals that truth and its source by abandoning the world of space and sense to the world of time and absolute spirit. This is evident in all the models in the research sample.
Based on the results obtained, the researcher arrived at a set of conclusions, as follows:
1- The visual discourse of a literary text, which possesses fixed dimensions and shifting connotations, does not express a social or historical thought, but rather, as a whole, represents an openness to themes with idealistic connotations.
2- We find that the European painter's experience has significance in the dualistic idea of opposites. This is not new, but rather an awareness of nature and its life, divided between the apparent and the hidden. We find him embodying this in his artistic productions, which express everything that is constant and changeable about the manifestations of their matter in constant conflict.
Keywords: (Constant, Changeable, Modern European Painting(

Abstract
Prehistoric man produced many aesthetic achievements characterized by their influence on aesthetic taste. We see the emergence of these aesthetics over a period of time, accomplished in Mesopotamia through functional work, through which humans sought to fulfill their needs.
Pottery also focused on the value of the Mesopotamian raw materials used in its manufacture as artistic tools that demonstrate technical progress and increased expertise, through the various forms used in the artwork.
To uncover this level of beauty that influences taste, the researcher sought, through this research, to "study artistic models of aesthetic value that can be appreciated in the pottery of the Samarra civilization." Therefore, the research sought to clarify the existence of a utilitarian and aesthetic function for Samarra pottery, in addition to its symbolic value, which emphasizes beauty and aesthetic taste. We see that pottery from the Samarra civilization transcends its functional role and enhances its aesthetic aspect.

Abstract
This current research is concerned with the study of (the Zionist other and its representations in the Arab political poster). The research problem has dealt with the necessity of standing by describing one of the visual arts, and it is based on functional and aesthetic foundations that contribute as \ of communication in support of the Palestinian cause and its active role in showing all the killings, violence and exclusion by the Zionist other, so that it can be an image The other is available for use in all the arts, especially in the political poster, which found its active presence in consolidating the image. The poster also expresses a specific idea or topic in the image, drawings and words, since the elements in which the political poster is organized are subject to specific design treatments for the visible structural artistic elements such as line, color, shape and space. And the material is through pictures, titles and letters, which prompted the research to formulate its title as follows: (The Zionist Other and its Representations in the Arab Political Poster) Thus, the research may raise the following question: (How does the Zionist Other represent in the Arab political poster)
The current study aimed to: Get to know the Zionist other and its representations in the Arab political poster
The limits of the research were limited to the study of the Zionist Other and its representations, the Arab political poster between the years (1984-2022), and the spatial borders of the Arab world, which the researcher obtained from illustrated Arab and foreign books and the Internet, and a number of terms were defined in this study.
While the second chapter included the theoretical framework and the resulting indicators, to contain three topics, as follows:
The first topic: the other conceptually.
The second topic: the last artistic in the global political poster
The third topic: Palestinian resistance in Arab art
The second chapter ended with indicators that benefited from the research as criteria for building the tool. While the third chapter contained the research procedures, and included the research community, the research community reached (20) works of art from various Arab artists, of which the sample was intentionally chosen, with a rate of 10% from Arab countries, amounting to (2) samples. The chapter also included the research tool, which was the content analysis tool. After obtaining the tool validity and then reliability, and after processing it statistically, it became scientifically valid for analysis. As for the fourth chapter, it included the results of the research, conclusions, recommendations, and suggestions, and among the results reached by the researcher
- 1The Arab political poster symbolically expressed the reality of the existence of an undesirable entity, as all Arab neighboring countries consider it an enemy that contributes to the destruction of social and political structures in the Arab region, which indicates the crisis self-image amid the Arab society’s agitation against the other usurper of Palestine, leading to To the abolition of the Palestinian presence by force
-2 The Zionist other is represented in the Arab political poster through the practices of the Zionist entity of terrorism, fear, arrests, killing, displacement and destruction of cities and missile strikes against the Palestinian people, as in the research Some of the conclusions reached by the researcher are:
1- The absence of freedom in the governments of the Arab world and work on the policy of normalization is one of the most important reasons for the lack of an Arab political poster that publishes the crimes of the Zionist entity
2- The design of the poster adopted the direct method in communicating the idea and in employing images and written patterns. It was a clear method chosen in order to communicate the media message without linguistic, visual or ideological obstacles.
The researcher referred to a set of recommendations, proposals, proven sources and references, appendices, and a summary of the research in English

Research Summary:
Nihilism is considered one of the most prominent philosophical currents that has preoccupied modern human thought. It is based on a radical skepticism toward traditional meanings associated with life, values, and absolute truths. Nihilism represents a sharp intellectual response to the collapse of metaphysical and religious systems, and expresses the crisis of modern man who finds himself face to face with a silent universe that neither cares about his existence nor grants him a predetermined purpose. This idea has been addressed by many playwrights, especially Chekhov, who opened the door with his questions about the and whether there is any true meaning that can be held onto, or if all meanings are artificial, fragile, and transient. From this perspective, the idea of our current research was born, which is structured into four chapters. The first chapter addresses the research problem, which is based on the following question: What are the reasons that led Chekhov to gravitate toward nihilism in his theatrical texts? It also includes the importance of the research and the need for it, followed by the research objective, the scope of the study, and finally, the definition and clarification of key terms.
As for the second chapter, it consists of two sections. The first section is titled Nihilism: Concepts and Perspectives. The second section was titled Nihilism in the Theatrical Text. The third chapter included the research procedures, which covered the research population, research sample, methodology, and research tool, concluding with the sample analysis section. The fourth chapter presented the findings, among the most important of which was: The characters wait for change, but as time passes, ambition fades and the sense of meaninglessness deepens. It also included the conclusions, the most significant being: Life is not a series of events directed toward a purpose, but rather a long wait for something that never happens. The research concludes with a list of sources and references.
Keywords: features, nihilism, Nietzsche, Chekhov.

The importance of the current research came to explain philosophy, especially the philosophy of life, where philosophy works on a different level with the course of daily life, its interests and difficulty, presenting human ideas and interests, as an influential historical force, and if the economy and needs govern the daily life of nations and individuals, what changes the course of History and humanity is thought, and what philosophers, thinkers and researchers do today will become the doctrine of tomorrow and change the face of the future, and when nations face difficult and stifling circumstances, they ask for help from the owners of ideas and philosophers, to lead them and save them to change their circumstances. Modern capitalism has subordinated everything to serve its interests, and the different types of struggles that nations, societies and individuals experience are struggles that have been fought and designed over the years to control all aspects of life on the basis of a single principle. The pole of the world, that is, what is known as globalization, the impact of this capitalist ambition on culture and the arts. Education and the economy have reached the level of individual self-modeling to become copies designed according to the moods of capitalism when we talk about aspects of life that society goes through, which Goffman likened to theater where everyone plays a role An audience appears that is different from its true nature, i.e. the units pretend to be the opposite of reality as a kind of shadowing and deception, and those who perform this shadowing or deception try to suggest the role they are playing or the apparent behavior is not different from the actual behavior, in an attempt to preserve their social role, and in fact try Expressing their personal qualities, presenting an ideal self-image and trying to build this optimal image of individuals for themselves, I found the key to capitalist manipulation, with the fate of individuals as individuals are directed by imposing an ideal image of the individual using a particular model that must be captured so that the individual appears to be at his best and this model covers All levels of life and all age groups in society, from childhood to old age
keywords: (liquid fear, formation, Western visual art(

Research Summary " "
This research focuses on analyzing the "discursive representation of women's images in contemporary Egyptian painting." It highlights how women are represented in contemporary Egyptian artworks within the context of political and social changes in Egyptian. The research also examines the impact of historical and cultural transformations on representations of women in art, particularly during periods of war and political conflict that Egyptian has experienced. The research addresses the role of women as a symbol in Egyptian art, as they are used in many artworks to express the suffering of society and its interaction with political and social crises. In some works, women are depicted as a symbol of pain and deprivation, while in other works, women are embodied as a strong and independent being, which reflects the transformations of society and its understanding of the concept of women's identity. Egyptian
The first chapter addressed the research problem, which was defined by the following question: "What is the discourse of the image of women in contemporary Egyptian painting?" The research aimed to identify the discourse of the image of women in contemporary Egyptian painting. The current research was limited to thematic, spatial, and temporal boundaries, encompassing the period from 2000 to 2024 for contemporary Egyptian artistic achievement.
As for the second chapter: it included the theoretical framework (the concept of discourse, the image of women throughout history). As for the third chapter: it included a research community of (50) works on the image of women, and as for the sample, it amounted to (3) artistic works that were subjected to analysis.
The fourth chapter included the research results, from which the philosophical discourse of the image of women appeared with its multiple approaches and representations in a broad way in the research sample, as a result of the breadth of its meanings and the multiplicity of its concepts that appeared in the connotations and proposals of thinkers and its harmony with the trends of contemporary artistic trends, in addition to the fact that the philosophical discourse of the image of women in itself had its own philosophy represented by Arab thinkers who worked on identity issues.
The body and symbolic representation, so the philosophical discourse of the image of women was very effective and influential and it was found to have representations in the entire research sample, so it occupied an advanced position in relation to the rest of the other intellectual discourses (psychological, religious, social, political, cultural, aesthetic).
Contemporary arts, in their dealings with the subject of social discourse, have reflected a framework for the image of women in a striking way. Social discourse, with its various concepts, has been represented in all research samples through a perception of the image of women as a social element, interacting with others, subject to their pressures or rebelling against them, which creates a social discourse that redefines their role in the public and private spheres.
It also depicts women in poor or marginalized environments, making the painting a discourse that questions social justice and places women at the heart of the class struggle. Representations of violence (symbolic or direct) are used to expose the structure of patriarchal violence, and push towards a critical reading of Arab social reality, as in models (1, 2). Conclusions: Woman is no longer just a representational subject, but has turned into a philosophical and visual idea. She is no longer depicted as a beautiful object, a victim, or a traditional icon, but also a complex intellectual symbol, used to explore questions about identity, freedom, oppression, the sacred, the self, and the other.

Abstract
The current research (Analysis of metallic mineral pastes for use in forming miniature sculptures in contemporary sculpture) is an attempt to understand the components of metallic mineral pastes and their ease of use in the field of ceramic formation. Metallic mineral pastes can be defined as a material made from metal powder and a binder with pure distilled water. Metallic paste is a popular material for jewelry makers, as it has high plasticity that allows the creation of complex designs that are practically indistinguishable from the pieces produced by the sculptor in jewelry making techniques. This study examines the process of analyzing metallic paste in terms of formation and organic and inorganic composition.
The first chapter included the methodological framework for the research (the research problem, the importance of the research, the need for it, the limits of the research, and the definition of its terminology). The second chapter included the theoretical framework and previous studies for the research, and it consists of two sections. The first section is the nature of metallic mineral slurries.
The second section is the types of metallic pastes, while the third chapter is concerned with the research procedures, which is about the research community and its sample of (2) models and its methodology leading to the analysis. The fourth chapter includes the most important results that came from the subject of the research, as well as recommendations and proposals.
Keywords: pastes, minerals, metallic.

Abstract:
This study aimed to evaluate the effectiveness of a proposed program to develop psychological and cognitive integration among middle school students in art education in Babil Governorate. The study used the experimental approach on a sample of 200 students, divided equally between an experimental and a control group. The program was implemented for 12 weeks, and integration levels were measured before and after implementation. The results showed statistically significant differences in favor of the experimental group in the levels of emotional, behavioral, and cognitive integration. The study revealed a strong positive relationship between integration and academic achievement. No statistically significant differences in integration were found attributable to the gender variable, while differences were found in favor of higher grades and higher economic levels. The program implementation faced administrative, material, and human resources challenges, which were analyzed, and recommendations were made to address them. The study recommends generalizing the program, providing training for teachers, and improving school infrastructure to support art education activities, while emphasizing the importance of conducting future studies to evaluate the long-term impact of the program.

Abstract:
This research explores the conceptual and aesthetic transformations This research aims to study the concept of hedonism and its applications in body art, based on the hypothesis that hedonism is no longer confined to its traditional sensory or aesthetic dimensions. Rather, it has evolved into an intellectual and cultural tool that reshapes the relationship between the viewer and the artwork—particularly within contemporary and postmodern art, which tends to produce cognitive and contemplative pleasure. The research adopts a comprehensive theoretical framework, divided into three main sections: the first examines the concept of hedonism; the second explores both ancient and modern philosophical perspectives on the notion; while the third investigates artistic techniques in body art that have contributed to framing hedonism as a central platform for this concept. The study uses a descriptive-analytical method applied to a selected sample of body art works in order to analyze the manifestations of hedonism within them. The findings reveal multiple levels of hedonism in contemporary body art, demonstrating a shift beyond the sensory toward cognitive and interpretive dimensions that reflect the transformation of aesthetic taste in postmodern contexts. The study concludes with several recommendations and proposals that open new avenues for future research at the intersection of visual arts, philosophy, and contemporary psychology.
Keywords: Hedonism, Body Art, Contemporary Aesthetics, Philosophy of Art, Cognitive Pleasure

The research contains four chapters. The first chapter focuses on the research problem by answering the following question: What is the poetics of shadow movement in digital shadow theatre experiences? The importance of the current research is evident in the following: It lies in searching for the effective semantic relationship of using digital technology in shadow arts, given the effective impact of this employment in developing the shadow experience in Iraq. It also includes the research objective: Identifying the poetics of the semantic employment of digital technology in shadow movement in the shadow mime performances (Sinbad as a model). It also included defining the most important terms used in the research. The theoretical framework consisted of two chapters. The first chapter studied: Poetics: Concept and Application. The second studied: The Shadow between Digital Technology and Meaning. At the end of the theoretical framework, the resulting indicators were presented. Chapter three covers the research procedures, population, sample, analysis methodology, and an analysis of the selected research sample (Sindbad). The research concludes with a fourth chapter, which contains the research results. The chapter also contains the most important conclusions, recommendations, and suggestions presented by the researcher, and mentions the sources he used.
Key words: Digital, Digital shadow, Poetics, Shadow theater, Movement.

Abstract
This study aimed to identify the concept of artistic extra-curricular activities and their various fields and their importance for university students. Among single-stage students and their teachers, extracurricular activities are any activity outside the classroom (the classroom) that is not concerned with the official curricula, and students have the right to choose in it and through which students acquire scientific expertise and skills.
In the era of the information revolution and facts, the role of universities is no longer limited to students’ acquisition of knowledge only, but many universities tend to pay attention to all aspects of the student (social, scientific, psychological, emotional, etc...) because he represents an integrated personality and is an effective element and has a role in society. The university is keen On building his personality so that he is able to face life, and seeks to develop it in all its aspects.
At the end of the study, we found that the artistic extracurricular activities contribute to the consolidation of artistic concepts and their awareness among students and provide them with experiences and the use of extracurricular activities in different fields have a positive impact on the development of work skills among university students, and these fields are (art of drawing, art of design, art of handicrafts , collage art and others ...), and I recommend encouraging university students to perform artistic extra-curricular activities in various fields and to spread their culture among other students, and I see the need to develop a special program to carry out artistic extra-curricular activities according to a programmed plan that fits with the overcrowding of the academic schedule with courses, which does not allow them to engage in this type of activities or the lack of sufficient time to practice their activities.

Abstract
The Omani theater was able to be a link between the past, present, heritage and modern, and its workers presented many successful experiences that received awards and critical praise in the symbolic degrees of awareness of this linkage, employment and deep reading of connotations embodied with all professionalism and success on local and regional theaters.
The research discusses the actual contents and efforts made by Omani authors and directors and the results that the Omani theater was able to achieve during the past two decades and to bring them to the level of presentation and presentation at the local intellectual and artistic level, and the presence recorded at the external level, especially in theatrical play and dramatic employment of the popular song, whether at the level of text or purpose, as the tools and methods of this employment varied, to the point that the popular song turned into one of the most important vocabulary of the Omani theatrical experience because it is characterized by a collective character, and performance The collective of the most prominent vocabulary of the Omani heritage for this is employing the Omani folk song in the theater in a tangible way behind the popular song a continuous presence and varying from one work to another, especially in the theatrical works of the current study sample, which is (package - Hamran eyes - Bousalama - Samhri - Burqa) and represent the burqa the main model of research.

Abstract:
The researcher divided his research into four chapters. The first chapter included the methodological framework of the research, which began with the
In light of the challenges facing modern education systems, cognitive integration remains an effective tool for enhancing active and sustainable learning and education. By integrating knowledge in new and innovative ways, cognitive integration represents a process of combining knowledge and information from different sources to achieve a deeper understanding or generate knowledge that aligns with students' cognitive and mental abilities. This concept involves the integration of cognitive ideas, key theories, and potential data from various disciplines or fields to enhance understanding or solve educational and behavioral problems. research problem, which centered on the following question: What are the manifestations of cognitive integration on the actor’s performance in contemporary Iraqi school theatre? Then came the importance of the research, which shed light on the foundations of cognitive integration and the methods of its operation in theatrical performance, in addition to the need for it, as it benefits students in the fields of theater and education and other specializations. The research objective was also determined: to identify the manifestations of cognitive integration in the actor's performance in contemporary Iraqi school theater. Then, the researcher defined the topic temporally, spatially and thematically, and concluded the chapter by specifying the terms and the procedural definition. Then came the second chapter, which included the theoretical framework and previous studies, which was divided into two sections. The first section included: cognitive integration theory and concept, the second: the characteristics of the actor's performance and its relationship to cognitive integration in school theater. Then, the third chapter was devoted to the research procedures, as the research community was determined, which amounted to (8) theatrical performances, from which wan theatrical performances were chosen randomly. After that, came the fourth chapter, the results and their discussion, then came the recommendations, proposals .

(Abstract(
The current research is concerned with studying how to employ theatrical techniques in theatrical performance to create visual dazzle and diversify theatrical performance spaces. The display is based on a system of signs in shaping the artistic and aesthetic aspects in addition to the functional aspects that lead the recipient through an intentional aesthetic cognitive process to understand the visual, audio and even olfactory, together this creates artistic pleasure and visual dazzle that attracts the recipient. The first chapter presents the research problem, which is summarized by the question: How were theatrical techniques employed in the theatrical performance to activate visual dazzle and diversify the theatrical performance spaces? And this method can be achieved in the design and implementation of these techniques in a way that makes visual dazzle an inevitable result that makes the show an effective visual system and technique. This topic has been rooted since the beginnings of theater until the present day. That is, almost no theatrical work is devoid of this goal with all its elements, in order to aesthetic pleasure, The importance of the research is that it addresses an important aspect of theatrical presentation techniques, as they cannot be imagined without that creative design vision, conceptually and aesthetically. The need for it is to shed light on the concept of employing theatrical techniques in theatrical presentation to activate visual dazzle, aiming behind this to have a more comprehensive understanding of the functions of theatrical techniques in order to create aesthetic pleasure for the recipient.

Summary
The current research dealt with (Features of Mathematical Ideology in Contemporary Chaikali) in an attempt to grasp comfortably, and through it the recipient can decode the integrated text on its hidden meanings as well as to know the work of classical ideology in contemporary occupants, and the research contained four chapters, the first of which is the framework for my practice of research, which represents the research problem that ceramics acknowledged by answering the following question: - What is the ideology of romanticism in contemporary Babylonian ceramics? The aim of the research is to identify the work of mathematical ideology in contemporary Babylonian ceramics, but the limits of the research included in the first chapter were limited to studying political ideology in Xiamen, Iraq, based on the connections achieved in foreign sources and the information network (the Internet). As for the second chapter, it included two topics, the first introduction to China, including: the concept of political ideology, and the second topic: the loss of contemporary Iraqi and the theoretical framework ended with what is collected from the indicators and previous studies. As for the third chapter, it included the research procedures that included the research community, its sample, and the research methodology (the descriptive methodology) and the analysis of the sample into (5) ceramic works. The fourth chapter included recommendations and production in addition to recommendations and suggestions. The researchers reached a number of results, including:
1. Political ideologization constituted an important step towards discovering new facts by the contemporary Babylonian potter based on adding it to the plot and narrative in the ceramic work as in all the sample.
.2 The contemporary potter contributed to developing new forms of political jungle that depend on the integration of embodying the models used in the intellectual trade of work, which leads to difficulty in moving in front of the potter as in all the sample.
As for the dimensions, we mention them:
1. Achieving many details in the aesthetic miracles to invent new forms and structures that have political ideologization in a way of communication in order to add the aesthetic formal structure in China.
2. Ceramics created an overlap of different races in contemporary Babylon, which led to its formation of other famous celebrities.
Finally, the research ends with recommendations, suggestions and sources.

Research summary
This research dealt with the connotations of metaphor in the contemporary Iraqi theatrical text. Metaphor had an important role in the theatrical text by giving this text suggestive connotations represented by a new type of dealing with language that differs from traditional dealing. From here, the researcher conducted a research study in which metaphor was explained in the contemporary Iraqi theatrical text through four chapters, the first chapter the methodological framework, which included a problem which was defined by the following question: (What are the connotations that the Iraqi playwright wanted from metaphor in his theatrical text?) While the researcher determined the importance of the research and the need for it as follows: By highlighting the concept of metaphor as it is of importance to the theatrical text, metaphor is identified as an important rhetorical method, in addition to the fact that it benefits scholars and researchers in the field of literature and criticism in writing theatrical text. The current research aims to identify the connotations of metaphor in the contemporary Iraqi theatrical text. As for the limits of the research, it was limited to the period from (2011-2020), and then the first chapter was concluded by defining the terms and the procedural definition of metaphor and its meaning. The second chapter (the theoretical framework for the research) included topics studied in the first section: the metaphor between concept and procedure. As for the second section: Metaphor in the Iraqi Arab international text, the chapter concluded with indicators, the theoretical framework and previous studies. As for the third chapter (research procedures), it included the research community, which amounted to a number of theatrical texts (9), and the research sample that the researcher chose in an intentional way, as it included (Who is on the horizon?) As for the research tool, the researcher relied on the indicators of the theoretical framework, while the research methodology adopted by the researcher is a descriptive and analytical approach because it is close to the research mechanism. The research concluded with the fourth chapter, which included the results, conclusions and recommendations, then a list of sources and references.

Research
SummaryArchitectural and design outputs generally transfer through a system of relationships and rules based on mental projections in interpreting design outputs, which themselves include an aesthetic or intellectual aspect. This can lead to a sudden flash of insight that illuminates the mind with a new creative design idea. This necessitated a period of reflection, contemplation, and an extensive study on the possibility of representing music and its sensory influences, shedding light on them in accordance with the aims of this research. Hence, the goal of the research was to unveil the underlying musical traits and their reflections in translating human emotions and feelings, in order to achieve contemporary interior designs that possess their own thought and sensory content.To achieve the research goal, the researcher conducted an extensive study encompassing the research problem, its significance, and its objectives, as well as setting its boundaries and defining the terms used. The second chapter included two sections, while the third chapter discussed the research methodology and procedures, relying on a descriptive approach to describe and analyze research samples, leading to the conclusions drawn from the analysis process and its discussion, ultimately arriving at a set of conclusions and a list of references.