Al-Academy

Maher Harbi's drawings have taken an aesthetic and artistic dimension that leads to creating an approach between what is religious and mundane, between religious and mundane, with the techniques of plastic art, and this is what led the researcher to address this topic and stand on the realistic controversy based on the religious and the secular. Accordingly, the researcher divided the subject of the research into four chapters. The first chapter (the methodological framework) dealt with the research problem, which is summarized in the following question: (What is the dialectic of the reality of Maher Harbi’s drawings between the religious and the secular?) Then the importance of the research manifested in shedding light on the deep structure of the drawings and its dimensions in the religious reality and mundane. As for the need to research an academic study that benefits students in the fine arts specialization.
The chapter also dealt with the objective of the research, which seeks to: (know the dialectic of religious and worldly reality in Maher Harbi's drawings). This is followed by the limits of the research that include the temporal limit: (1990-2014) and the spatial limit: (Nineveh Governorate) and the subject boundary (a dialectical study of the religious and worldly reality in Maher Harbi’s drawings) to conclude the research by defining the terms (argumentative, religious, worldly) linguistically, idiomatically and procedurally.
As for the second chapter (the theoretical framework), it included two topics: the first: the Christian religious dimensions of painting, and the second: the religious and secular dialectic in art. The researcher concludes the chapter with the indicators that resulted from the theoretical framework and previous studies.
The third chapter includes (the research community), which is defined in Nineveh Governorate (the research tool), as the researcher adopted the indicators that resulted from the theoretical framework as the criterion for measuring the research sample. (Selected models between 1995, 2011), to end the chapter with the analysis of samples.
The fourth chapter also dealt with the research results and their discussion, then the conclusions, recommendations and suggestions. This is followed by a list of proven sources, references, appendices and images

The art of theater penetrated various scientific and human fields, as well as touching the facts and events surrounding it, and scientific innovations had a wide field, so it adopted feedback in interactive theater performances, especially the theater of the oppressed. Then came the indicators that resulted from the theoretical framework for the formation of the tool by which the research sample is analyzed, and then the chapter concluded with previous studies. As for the third chapter, it involved the research procedures, and through the research tool and the research method, and by selecting the intentional sample, the sample represented by a play (the story of Shahrour) was analyzed. As for the fourth chapter, it included the results of the research, and the chapter also contained conclusions and a set of recommendations and proposals, and it was proven by the sources and references

The theatrical performance has an aesthetic, artistic, technical and intellectual vision presented by the theatrical director according to the dualities of theatrical form and content, which depend on the uniformity and interconnection of theatrical elements, as the vision is integrated through the harmony and fusion of these elements and the flow of their coordination with an aesthetic system within the framework of the aesthetic space of the theatrical performance, and when the heritage is presented in the performance, as there will certainly be different readings of that heritage and moving away from the iconization of the event and highlighting it in a manner that is in line with the spirit of the age.
the (researcher) tries, through her research headlined (directorial vision and sociological adaptation of heritage in theatrical performance), to grasp the hypothesis of heritage at the levels of time, place, event, topic and mechanism of action.
And the director's adaptation of heritage and his aesthetic vision, sociologically.
The research is formed through two axes, the first is the research in the sociology of theater throughout history and the discussion of the sciences that presented those hypotheses and the philosophers who contributed to finding the determinants and features of sociology, theatrically, and through living experiences that presented the directorial adaptations to it through different societies and the mechanism of the director’s work on those adaptations.
The (researcher) also presented another topic that discussed the references of directorial visions and their sociological adaptation of heritage in theatrical performance through a group of performances that contributed to presenting directorial visions of heritage in their various theatrical experiences, and she (the researcher) also referred to some indicators that will contribute to analyzing the research sample descriptively because it represents a criterion in the work of (the researcher), to come up with a set of results through which it is possible to refer to some conclusions to reach satisfactory answers to the research problem, which is the question of what are the epistemological references of the directorial vision, sociologically, in the adaptation of heritage in theatrical performance

The visual stimulus is the effective force in visual attraction that achieves visual and perceptual co-optation and is important in wooing the recipient, and many procedural processes in the design are interpreted on it as the visual stimulus achieves visual comfort and a sense of pleasure and gives (place) the interior space a transformation in its plastic structure as well as arousing attention through The kinetic rhythm and the formal diversity, which increases the possibility of breaking the routine and traditional constraints of design patterns through the coating and encapsulation of the vertical and horizontal levels . Thus, the research problem was launched based on the following question: What are the stimuli of the visual stimulus in the designs of the internal space of the communications company (Zain Iraq)? In order to achieve the goal of the current research represented by revealing the visual stimulus in the designs of the internal space of the telecom company Zain Iraq. In order to cover the contents of the research and its variables, the research structure is distributed into three chapters. The first set out to clarify the introductory framework for the research, while the second reviewed the theoretical framework and the reality of two chapters, namely:
1. The visual stimulus as a concept in interior design.
2. The relationship of the visual stimulus in the design of the interior space.
The third chapter deals with the research procedures, results and conclusions, including:




Conclusions
1- Every visual stimulus that calls for a stimulus of strength and effectiveness in shape, color and size and is a stimulant of sensory perception.
2- The act of the visual stimulus is achieved through the forces of the qualitative flow of the elements as a reward or a whole.
3- The visual stimulus depends on formal stimuli in the design of the interior space, which is an incentive for human practical activity.
4- The visual stimulus depends on the factors of organization and arrangement by breaking the familiar rules in the structure of forms between transformation and change as manifestations that attract the sight and motivate the senses.
5- Every visual stimulus in the inner space gives the recipient visual comfort and a sense of pleasure.

Most of the propositions, after the Arabic letter reached a position of integrity and proficiency, the calligrapher turned to the production of calligraphic formations in various aesthetic and expressive forms, investing the spiritual energies in what these calligraphic compositions show in artistic paintings. It carries a lot of meanings that are embodied in linear formations, and in order to reach these expressions and know the effective positions of space, this research is concerned with studying these technical treatments. The first chapter included the research problem, which included a question about the effectiveness of space in the linear painting, the importance of research and the temporal and spatial boundaries. As for the second chapter, it contained three sections: the first topic included the role of space in the arts and how to deal with it in the arts, the second topic the emergence of linear painting and the third topic the role of space in the linear achievement and its relationship to artistic foundations in achieving balance, sovereignty, repetition and unity, indicating the effectiveness of space and its active role In the linear achievement, the third chapter was represented by the research procedures and identification of the community, which amounted to (50) written paintings distributed among the types of paintings and from different spatial boundaries, which were characterized by an effective space representing the skill of the calligraphers of those creative paintings, five models were selected on which the analysis was conducted and the researcher adopted The descriptive approach in analyzing the samples, and the analysis concluded to a number of results that were clarified through the fourth chapter, the space has effectively contributed to achieving the balance of the painting and the rest of the elements, as the space formed a point of visual polarization and attractiveness through the organization and through its dominance in the painting, as well as the researcher recommended a set of commandments concerning Scientific research for the sake of knowledge balance and the research was ended with recommendations and suggestions that contribute to achieving the research goals

The rhetoric is concerned with the expressive emphasis of things, the science of the statement takes the treatment of graphic images and rhetorical fiction, and in the science of the exquisite dealing with the study of verbal and moral improvements, and in the science of meanings took all related to compositions and methods, and these vocabulary entered into the field of art and its branches largely, especially in the uncle and art of design because it has a major role in including a lot of biological functions with a deep meaning of its comprehensiveness on the multiplicity of real meanings characterized by suggestive and important and semantics refer to the recipient in the research to refer to the recipient The discovery of the internal contents, meanings and meanings of speech, which came through the technical, intellectual, expressive, functional and aesthetic orientation to present multiple show options consistent with the design idea. This research highlighted the extent of the semantic reflection of the brand's rhetorical expression and the presentation of the research problem was based on the question: What is the semantic reflection of rhetorical expression in brand design?
The research included four chapters, from which the theoretical framework identified two theories and addressed the following topics: (the intellectual and philosophical vision of the concept of significance, the rhetorical, semantic and deliberative concept of expression in the brand, and the methods of reflecting the expressive significance in the design of the brand), and then addressed the research indicators that produced the theoretical framework, including the semantic interaction of rhetorical expression, representing a structure loaded with formal rather than verbal meanings, crystallized in the embodiment of expressive rhetoric in the design of the brand. The third chapter dealt with the procedures he carried out, which included the methodology of research by selecting the descriptive approach for the purposes of analysis, adopting the method of the sample intended in the selection of sample models, if (5) models were chosen from the research community and by (25%) of the original community, and then singled out the fourth chapter to present the results, discuss them and conclusions, as it came from: Key words (Expression, Rhetorical, reflectance, Significance)
1. The eloquence of expression was shown by the suggestive significance of the movement of the arrow, which represents a smile that represents the satisfaction and joy of the consumer, as it was achieved by that indication the strength of the indicator represented by the smiley arrow under the written text as in the models (1.5), but the results include:
1. Rhetorical expression is not a compilation of different elements or multiple words in meaning, but rather a mediator who engages and interacts with elements so that their qualities are acquired from each other as a result of the interaction based on organization and order of the elements of the idea

Theatrical performances began with the Greeks when the theatrical scenes and skeletal figures were encoded, where the large wall of the Alskina, which contains three doors, the middle of them with a high height, and the two sides took the natural size, where the middle door indicated a symbolism of the god or demigods, as we find the condensation of the symbol in the architecture of the theater, and the symbol was taken In the theatrical scene, the development semantically and aesthetically, and interpreting and interpreting the current day, where the laser light formed the symbolism of the contemporary virtual scene, and in order to identify the aesthetics of the symbol in the theatrical scene, the current research was evaluated into four chapters

Pun concept the design discourse for the cover of magazines the researcher chose the German magazine Der Spiegel as a model for that, as the research problem was manifested by the following question: What are the representations of puns in the covers of the German magazine (Der Spiegel)? The researcher has identified four chapters for this study as follows: The first chapter is devoted to research procedures, and the theoretical framework, which is like the second chapter, included the literature related to the topic of research according to the two interlocutors. A review of the concept of pun in the field of typographic design and the functions that puns achieve in that field, leading to the third chapter, which included the analysis of sample models, and the fourth chapter (results and conclusions).

The research is exposed to the concept of rough discourse in contemporary theater with a critical reading that takes the genealogical work as a starting point in deconstructing the references of rough discourse and pursuing its paths in the civilization and cultural framework and how it identifies aesthetically within the theatrical field and the extents of its procedural treatments in order to reveal it and clarify its limits and representations, as the research included the first chapter. (methodological framework), the second chapter (theoretical framework), which included two sections, the first took place under the title (rough dramatization), while the second topic took place under the title (rough drama), and the second chapter resulted in indicators, and the third chapter was represented by the research procedures, as The researcher chose (the play YES GODOT) a model that is consistent with the research trends and its scientific and methodological nature, while the fourth chapter is reinforced with results and conclusions, sources and references and a summary of the research in English

Based on the systematic scientific investigation of artistic achievement, researchers (critics) adhere to mechanisms based on epistemology, through which it is envisaged to reveal the meaning of the achievement as the product of three actors: the effectiveness of an artistic sense, the effectiveness of an idea, and the arousal of taste according to systematic criticism procedures that investigate the new artistic achievement. Or, in a specific way, the possibility of meaning in all the accomplished from the aesthetics of artistic presentation and the character of the self-accomplished by the "artist" and the critic invokes his critical tools with certain cognitive foundations. In defining its nature from the rest of the other cultural achievements, including the applied, art is a product that investigates its presence in a free open space between reality, feeling and awareness, and in an individual “special” way to express the enjoyment of a new idea. Awareness of the artist These two factors contribute to the formation of the new art icon as a new presence in what we clearly feel in the characteristic of creativity

Theatrical art, from (Plato) to (Heidegger), passing through (Husserl) and (Husserl) has propagated the parallel relations between the overlapping formal patterns in the world of hypotheses crowded with diaspora and scattering, leading to the manifestations of implicit meaning in the intellectual and aesthetic discourse, through the deconstructive pattern that restructures The aesthetic image according to the aesthetic data to be employed, so the effectiveness of the deconstructive system had an important role in authorizing the Ghanaian logic and continuity on which the Western meta meaning was based, and the artistic scene was subjected to it in line with literature and art to be able to pay attention to the achievement and clarify it in a more accurate, broader and more comprehensive way than it was, The deconstructive reading had its dominant equations, and its main lines in (writing, impact and difference), so this research stopped at those lines and their functional formats, which are located in four chapters, namely:
The first chapter: the methodological framework, and it contained the research problem, the need for it, the importance of the research, the objectives of the research, and the limits of the research. The second chapter: included a theoretical framework that contained two sections: the first: the strategy of deconstruction from concept to work, and the second: the aesthetic employment of deconstruction in the experiences of the world theater.
As for the third chapter: it came with the procedural framework, which includes the research methodology, the research community and the research sample, and the fourth chapter: includes the results and their discussion, and the conclusions, including:
1. The Iraqi director, through the effectiveness of the deconstructive formats, employed the political, intellectual and social crises after deciphering many of the writing codes and mechanisms.
2. The deconstructive consistency made the presentation in front of opposing pairs that can be occupied in understanding and reading theatrical discourse in the performances, production and reading

Psychology is one of the sciences that consciously overlap in terms of mutual influence with art forms in general and cinematic arts in particular. The psychological effect can be extrapolated into the visual image through the characters and their actions, especially the adoption of psychoanalytic ideas and proposals that came by (Freud), The cinema benefited from the concepts of psychology and participated in the process of creativity and the manufacture of events or the actions of characters, such as the concepts of consciousness and subconsciousness to express the psychological dimension of the film events, these data can be counted on the level of nightmares in the cinematic movies.
The methodological framework included the research problem, which is determined by the following question: What is the psychology of nightmares (horror) in the cinematic movie? And then the researcher stated the value of the research, as well as the aims and limits of the research. The theoretical framework included two sections, the first section: the psychology of the dream. As for the second section: the nightmares (horror) in the cinematic movie, and the researcher came up with the indicators of the theoretical framework. As for the research procedures, it includes the research methodology, the research tool, the research community, the unit of analysis and the research sample. Finally, the analysis of the intended sample represented by the movie (The Call of the Beast), and the researcher came out with a set of results from the analysis of the research sample and conclusions.