Journal of Nabu

Research Summary:
Societies vary in their cultures, religions, and sects, which form the foundations of the social system with its individuals and their diverse and multiple relationships. Their paths are determined by social values, traditions, and cultural patterns that differ in their behaviors, motives, and goals regarding the right to recognize and accept or reject the other, and their denial, by elevating the selfish self over the collective self. (Tolerance and intolerance) are important value pillars for the formation and construction of the social and cultural systems of human peoples. With tolerance, peoples are strengthened and built, and with intolerance, societies disintegrate and peoples are weakened. Tolerance is a symbol of courage, while intolerance is a symbol of weakness that takes negative, fanatical, and inflexible positions. This manifests in the multiple forms of intolerance and the impact of conflicts and disputes that penetrate and dismantle the culture of tolerance, leading to the adoption of ideologies of hate speech, violence, and extremism. Thus, the research "Tolerance and Intolerance in Contemporary Iraqi Theatrical Texts" covers the concept of tolerance, fanaticism, and violence, and their relationship to Iraqi theatrical texts. It includes four chapters. The first chapter includes (the framework). (Methodological) The research problem focused on the following question: What is tolerance and intolerance in the contemporary Iraqi theatrical text.?

The research dealt with the topic of (the industrial product between time and movement), as the research problem included the following question: (What is the role of time, movement and their diversity in the development of industrial product design in form and function?) While the aim of the research was to reach the type of movement used in industrial product design and its relationship to time and movement, while highlighting the scientific and cognitive importance of the research. The researcher relied on the research procedures Its methodology is based on the descriptive scientific approach to sample analysis. One of the most important conclusions was that it gave the movement a functional dimension based on integrating time and movement in a way that is compatible with the utilitarian function and serves the user. It was stated in The most important recommendations are to consider the design of modern industrial products that employ different motion systems that are compatible with the performance requirements of the industrial product according to the appropriate motion and time.

Abstract

Riders to the Sea is one of the most critically acclaimed plays written by Synge. It contributes to make Synge’s name because he has succeeded in capturing a whole way of life in several pages. The play shows the Aran islanders’ life with simplicity and sincerity. Synge set his play on a remote Irish island, focusing on the hardships of a family plagued by the sea\'s dangers. Man is represented in the play by the main character Maurya; an elderly mother who has lost several sons to the sea. This paper shows how Synge\'s, impressively, summarizes the whole existence of man on this universe and how man has no alternative but to accept his inevitable fate.

Abstract
The research, titled \"Systemics in Off-Broadway American Commercial Theater,\" addresses the system conceptually. The researcher discusses the theory of systems, its origins, its pioneers, and its stages of development. He also discusses the concepts of system theory and how it operates. He also discusses artistic systems in international theatrical performances, from the origins of theater among the Greeks, through Roman theater, Renaissance theater, and contemporary theater. The research includes a presentation of international commercial theater techniques, their use in commercial theater performances, and the stages of their development. The researcher took samples from Iraqi commercial theater performances to examine the extent of similarity and difference between the two theaters and the systems employed in Iraqi commercial theater performances.

This research examines the influence of totemism, as a religious and social symbolic system, on contemporary sculpture in the twentieth and twenty-first centuries. The research problem is summarized in the following question: "What are the manifestations of totemism in contemporary sculpture?" The research aims to define totemism, trace its historical roots, and its reflections in modern sculpture across the continents of Europe, America, and Australia.
The theoretical framework addresses the theories of pioneering anthropologists such as Durkheim, Frazer, and Lévi-Strauss on totemism, in addition to the aesthetic and technical features of traditional totemic art. The researcher adopted a descriptive and analytical approach to study five selected examples from 68 sculptural works, representing geographical and temporal diversity.
The results showed that contemporary sculptors were inspired by essential elements of totem art, including: vertical composition similar to totem poles, the use of local materials with a sacred character, the employment of animal and plant symbolism, formal composition and superposition, reduction and simplification, symmetrical repetition, and colorful decoration.
The research concluded that totemism in contemporary sculpture represents an evolving continuation of ancient symbols with new tools and connotations, making it a dynamic phenomenon capable of being renewed according to contemporary cultural contexts

This research, titled "The Philosophical Actor and the Transformations of Decentralization in Postmodern Theater (The End of the Earth as a Model)," focuses on two important areas in theater. The first area comes from philosophy and looks at how postmodern actors show decentralization. The second area is about how decentralization has changed in postmodern theater performances. The connection between philosophy and theater has a long history. The research includes four chapters, as follows:
Chapter One, titled "Methodological Framework," discusses the research problem, the importance and goals of the research, the time, place, and subject of the study, and explains the main terms.
Chapter Two, "Theoretical Framework," has two parts. The first part explains the idea of the philosophical actor and the changes in decentralization. The second part is called "Transformations of Decentralization in Postmodern Theater." The chapter ends with key points from the theory.
Chapter Three, titled "Research Procedures," explains the research group, the methods used, the tools, and the analysis. The chosen play for the research is The End of the Earth.
Chapter Four, titled "Research Results and Discussion," explains the most important results of the research, gives some conclusions, and ends with the sources and references.

Slow cinema is a modern phenomenon conceptually. It is one of the most important contemporary features of the development of film art. Despite its roots extending back to previous cinematic schools, it is unique in its distinctive intellectual and visual-audio structures that tend towards slowness, simplicity, monotony, and calm in shaping the cinematic material it presents to the recipient, prompting them to contemplate and reflect on it, rather than receiving it passively. Thus, slow cinema becomes a revolutionary trend linked to philosophical structures broader than the world of film, attempting to resist the ideology of speed that dominates our contemporary lives. Based on this importance of slow cinema, the researcher defined the topic of this research, which bore the following title: (Stylistic Features of Slow Cinema Films). From here, the importance of the research emerges in that it addresses an important issue. The aim of the research will be to uncover the most important stylistic features represented by the intellectual and visual-audio characteristics that characterize slow cinema films. After that, the limits and terminology of the research were presented. Then the researcher moved to the theoretical framework and concluded it with a set of indicators. As for the third chapter, it was (research procedures), in which the researcher identified a deliberate research sample represented by the film (Vitalina Varela 2019), then this sample was analyzed, as the researcher reached a set of results and conclusions, and finally the research concluded with a list of sources and references.

Abstract
The research dealt with the concept of reflection of images drawn by artists, with multiple methods, and how the recipient was affected by them, according to four chapters. The first chapter included: the methodological framework of the research: the research problem, the importance of the research, the need for it, and the research objective represented by (identifying reflectivity and its visual manifestations in contemporary painting), while the limits of the research were limited to studying works that contain images whose reflection appeared in water or mirrors – since (1954-2015) - and then the terms were defined. As for the second chapter: the theoretical framework included two topics: the first: reflectivity (reflection of images of shapes in mirrors and water). The second topic: reflection of the image in modern European art. The third chapter included the research procedures: the research community, the research sample of three models, the research tool, the research methodology, and analysis of the sample models. As for the fourth chapter, it included the results and conclusions of the research, recommendations and proposals.
Keywords: reflectivity, manifestations, visual

The current research specializes in studying the (Features of Black Comedy in Conceptual Art - Body Art as a Model). The research includes four chapters. The first chapter presents the research problem, which revolves around the following question:
What are the features of black comedy in conceptual art - body art as a model? What is its significance and the need for it? This is followed by the research objective, which aims to: identify the features of black comedy in conceptual art - body art as a model, in addition to the research scope and the definition of its terms. As for the second chapter, it includes the theoretical framework of the research and previous studies. The theoretical framework includes two sections. The first section is entitled: (Black Comedy: Meanings and Connotations), while the second section explores: (Approaches to Black Comedy in Conceptual Art - Body Art as a Model). The third chapter includes the research procedures, which include the research methodology, the research population, the research sample, and the analysis of the sample models, which amounted to (three) drawing models. The fourth chapter includes the results and conclusions reached by the researcher..

The researcher addressed the aesthetic characteristics of the "Basil Script" formations, using Ibn al-Bawwab as a model. The research was divided into four chapters. In the first chapter, titled "Methodological Framework," the researcher presented the research problem, which was articulated in the following question: "What are the aesthetic characteristics of the Basil Script formations?" The second chapter included the theoretical framework and previous studies, divided into two sections: the first section discussed "The Origin and Development of the Basil Script," while the second section focused on "The Aesthetic Characteristics of the Basil Script."
In the third chapter, titled "Research Procedures," the researcher employed a descriptive analytical method and selected samples purposefully. The fourth chapter encompassed the findings, conclusions, recommendations, and suggestions, followed by a list of sources and references.
The key findings and conclusions are summarized as follows: it was found that the most prevalent directional orientation of the Basil Script is the soft horizontal line in linear formations. Additionally, the conclusions indicated that reliance on the reading and recitation aspects as an aesthetic and functional dimension of linear formations was sufficient to endorse the Basil Script for transcribing the Holy Quran, noble Hadiths, prayers, and smaller texts. This is attributed to its fine, soft penmanship and its capacity to write in a simple sequential linear formation.

This research consists of four chapters. Chapter One the research problem, which was summarized in the following question: (What are the representations of critical realism in the drawings of the artist Honoré Daumier?) and the importance and need for the research, then the aim of the research: to identify the representations of critical realism in the drawings of the artist Honoré Daumier, and the objective limits of the research: the drawings of the artist Honoré Daumier executed with various materials and media, and the spatial limits: France, and the temporal limits: 1838-1862 AD, and to determine and define the terms.
Chapter Two is divided into two sections: the first discusses the methodology of critical realism in literature and art, and the second addresses the artistic and aesthetic foundations of the realist school. The chapter concludes with the indicators derived from the theoretical framework.
Chapter Three includes the research population, a sample of (5) artworks by Honoré Daumier, the research tools and methodology used, and a detailed analysis of the sample.
Chapter Four presents the findings, including:
1- Daumier's anatomical studies of his figures their bodies, facial expressions, and gestures demonstrate his high level of skill and craftsmanship in realistic drawing. However, he employs this diagnostic ability for critical purposes.
2- Daumier manipulates light and shadow with theatrical effect, using deliberate artistic techniques to highlight the most important figures while relegating less significant characters to the background through shadow.
The chapter also presents conclusions, such as:
1- Daumier’s paintings are devoted to exploring the conditions of people and investigating the negative aspects of society. They belong to a stream of realism that touches the lives of ordinary people and expresses their struggles with honesty and sincerity, without embellishment.

Abstract
This thesis examines the role of the fundamental elements of music—melody, rhythm, harmony, and texture—in Kurdish theatrical productions in the city of Sulaymaniyah between 2010 and 2025. Rooted in the long-standing historical relationship between music and theater as powerful tools of cultural expression, the research focuses on how musical elements deepen the emotional, narrative, and symbolic dimensions of theatrical performance within a context marked by artistic richness and socio-political transformations.
The central research question explores how integrated musical components—particularly those involving traditional Kurdish instruments and stylistic structures—contribute to enhancing dramatic expression and audience experience in Kurdish theatrical practice. By investigating the intersection of music and theater in this specific temporal and geographical setting, the study aims to provide a focused contribution to the broader discourse on Kurdish cultural performance.
Methodologically, the thesis adopts a qualitative approach, with analytical emphasis on the structural and functional roles of music in theater. The research particularly highlights expressive and aesthetic dimensions that contribute to the construction of meaning within theatrical productions.
Geographically, the study is confined to Sulaymaniyah and analyzes the musical practices of three prominent theater groups over a span of fifteen years. These case studies offer a unique lens through which to understand the evolution of music within Kurdish theater and its ongoing influence on the identity of theatrical works and their impact on contemporary audiences.
The thesis is organized into four main chapters: the first outlines the methodological and conceptual framework; the second presents the theoretical background on the relationship between music and theater; the third provides a detailed analysis of selected theatrical works in Sulaymaniyah; and the fourth concludes with key findings and recommendations for future research.

The current research studies chaos in postmodernist paintings, describing chaos as one of the characteristics of postmodern arts related to issues of artistic creativity in contemporary societies, as if the characteristic of chaos possesses other methods of artistic expression if it is not the visual discourse that postmodern works attempt to represent. This research contains four chapters: The first includes the methodological framework represented by the research problem, its objectives, importance, temporal and spatial boundaries, and determining the technical and procedural definitions. The research problem was based on the following questions: Does chaos theory constitute a striking phenomenon in postmodern arts? What are its representations at the levels of form, content, meaning, style, and technique? The second chapter includes three sections: The first: The scientific development of chaos theory and its elements. The second section: The conceptual use of chaos theory. The third section: Features of chaos in the visual experiences of postmodern artists. The third chapter contained the research procedures that included (the research community, the sample and the research tool, and the analysis of the research sample of (5) artworks. As for the fourth chapter, it included the research results and conclusions.

Research summar
First, this research is concerned with studying (the aesthetics of composition in Jabr Alwan’s drawings) by monitoring the artist’s expressive experience. It consists of employing artistic elements and foundations and how to formulate them in the painting with a new and different (aesthetic) vision.
The study included four chapters, the first of which was devoted to the problem of the research and an explanation of its importance, the need for it, and its goal, which was limited to identifying the aesthetics of composition in Alwan algebra drawings, within time limits that extended between 1975 - 2010. The chapter ended with identifying and defining the research terms.
As for the second chapter, it included three sections. The first section included two axes, the first of which dealt with (aesthetics conceptually), while the second section included (artistic composition), and the second section covered in its first axis (composition in the arts of modernist schools), While the second section was devoted to dealing with (composition in the arts of contemporary Iraqi drawing), while the third section included (the aesthetic theses of Jabr Alwan), and the second chapter ended with indicators of the theoretical framework and previous studies. As for thethird chapter, it began with collecting paintings by the artist (Jabr Alwan), which represent his aesthetic expressive direction. And ending with what was analyzed as models for the research sample, which numbered (5).
The fourth chapter contained the results, conclusions, recommendations and proposals, and the most important results reached by the research are:
1. Jabr did not rely on line to define shapes, but rather the element of color had a major and aesthetic role in embodying shapes and elements. Therefore, line had a secondary, auxiliary role in the painting. This was shown in the research sample models (5,3,2).
2. The artist used color boldly and frankly in his beautiful expressive paintings without prestige or fear. This also appeared in all samples of the research sample.
Based on the results reached by the researcher, we find a set of conclusions as follows:
1. Color is not subject to the subject in (algebra) drawings; Rather, it is subject to the will and freedom of the artist himself, and therefore the element of color for the artist forms an artistic presence with an aesthetic impact.
2. The progress and development in the use of ready-made manufactured materials and colors had an important shift in the course of the arts through diversity and transformation in performance, style and aesthetic aspects, which had a great and influential resonance in the artist’s expressive drawings.
The research concluded by presenting the sources in Arabic and English.

Abstract:

What most characterizes theatrical art is that it is an independent art form in its own right. From this concept، theatre is considered one of the highest forms of art due to the significant ideas it presents and the implications they carry. Theatrical art is a comprehensive art that encompasses all other arts on stage، and through various historical periods، it has maintained constant communicative interaction with visual formations، culminating in the twentieth century. This era represents one of the most critical turning points for experimental theatre، as it witnessed the emergence of influential artistic movements، directors، and technicians who worked under this significant principle. Experimentation in this context provided a broad space for lines، colors، and forms، enabling the emergence of countless possibilities for various artistic treatments—all contributing to the development of theatrical art and its elevation toward creativity and aesthetic excellence.
The researcher chose the topic “The Bauhaus and Its Reflection on the Design of Contemporary Iraqi Theatrical Performance Technologies” as the subject of this study، which was structured into four chapters.
The first chapter dealt with the methodological framework، which included the research problem، formulated as the following question: How can the Bauhaus aesthetically and artistically express itself through the interweaving of arts within the structure of the Iraqi theatrical scene? The significance of the research lies in its focus on shedding light on the concept of the Bauhaus and how it has been reflected in the design of theatrical performance technologies in Iraq، attempting to identify the most prominent features of these reflections and their aesthetic dimensions، as well as highlighting the various visual formations in the process of designing theatrical technologies.
The importance of the study also lies in its benefit to practitioners in the theatre field across its various specializations. The chapter also included the research objective: To identify the Bauhaus through its compositional representations and its reflection on the structure of theatrical scenery، via analytical studies of performances. It also defined the research boundaries، which were limited geographically to Iraq (Baghdad) and chronologically to the year 2015، based on justifications provided by the researcher، along with a definition of terms. The second chapter focused on the theoretical framework and previous studies، divided into two sections: The first section explored the epistemological foundations of the Bauhaus (its emergence and concept).
The second section addressed the cultural engagements of the Bauhaus.
The third chapter included the research sample، which was intentionally selected by the researcher. The fourth chapter presented the findings، including the most significant results.
1 It is possible to achieve or create a universal style through the integration of emotion and rationality.
2 Emphasizing simplicity and fundamentals enhances the artistic value of theatrical work by enriching the audience's experience and strengthening artistic communication.
The conclusions included:
1 The most distinctive features of the Bauhaus style are simplicity، experimentation، and a shift toward basic forms.
2 . One of the core foundations of the Bauhaus lies in the artistic-architectural synthesis and in laying down the principles of design fundamentals.
Finally، the researcher presented recommendations، suggestions، references، appendices، and the abstract in English.

Research Summary
Theatre has a fundamental role in blending cultures, creating a new culture, and dissolving traditional barriers through dramatic performances that transcend geographical and cultural obstacles. Contemporary theatre exercises an effective transformative force in enhancing understanding and respect for other cultures by consolidating cooperation and cultural exchange. The study included four chapters, the first of which defined the research problem, which was summarized in the following question: (To what extent do hybrid cultures influence contemporary Iraqi theatre?) and explaining its importance and its spatial, temporal, and thematic limits. The researcher defined the following terms (hybridization, culture, cultural hybridization). The second chapter formed a theoretical framework for the study, which included two sections: the first: the concept of cultural hybridization, and the second section: cultural hybridization in global theatre. The chapter concluded with the most prominent indicators that resulted from the theoretical framework. I devoted the third chapter to research procedures by adopting the descriptive method in analysis. I relied on the indicators in analyzing my sample, and concluded with the most prominent results I reached through analyzing the sample, and the conclusions that showed the influence of colonial culture on the literature of the colonized countries even after their independence. Keywords: Hybridization, Culture, Cultural Hybridization

Research Abstract
This research explores the impact of color gradients and visual rhythm on attracting attention in graphic design, particularly within the context of academic typographic composition.
The research problem emerged from observing a weak conceptual application of visual elements (color and rhythm) in the work of some graphic design students. This raised a central question:
To what extent do color gradients and visual rhythm influence the viewer's attention in graphic design?
The importance of the study lies in the need to enhance both theoretical and practical understanding of the aesthetic and communicative functions of design elements, especially in academic environments, to support the creation of more intentional and effective graphic compositions.
The study adopted a one-group experimental methodology, involving 15 female students from the Institute of Fine Arts. The students were trained to complete a graphic design project that combined both color gradients and visual rhythm.
An evaluation rubric with specific visual indicators was applied. The results showed that the use of experimental workshops helped improve students' awareness of the concepts of gradient and rhythm, and how to integrate them into graphic compositions with visual and communicative awareness.
The highest-performing indicators were associated with organized color gradients and visual rhythm, indicating the success of the educational experience in reinforcing these concepts among the students.
In contrast, the weakest indicator was “harmony of the gradient with the composition,” highlighting the need to further integrate visual concepts with communicative functions.
High variability in some indicators (as shown in the standard deviation) emphasized the need for personalized feedback to improve individual performance.
The data confirm that employing color gradients and visual rhythm clearly enhances the visual appeal of graphic design, but it also requires deeper integration with the communicative goals of the content.
It can be concluded that color gradients and visual rhythm are vital elements in creating attractive and effective graphic designs. A designer’s awareness of the function of these elements contributes to clearer visual messaging. Structured experimental training can make a significant difference in the quality of design outcomes.
The researcher recommends focusing on integrating form and content in design education, including dedicated modules on visual rhythm and gradients within design curricula.
She also suggests encouraging diverse design projects (e.g., cultural or awareness campaigns) beyond commercial branding, and providing continuous individual feedback and broader experimental applications with more varied samples.
Keywords: Color Gradient, Visual Rhythm, Attention, Graphic Design

Abstract
The present research addresses the topic of violence, whether on television or platforms that broadcast movies and series such as Cinemania and Netflix, including the series (Attack on Titan), which plays a dangerous role in inciting children to violence through horror scenes and dangerous movements that encourage them to violence and impersonate some of the characters in this series, as children tend to imitate others through their repeated viewing of these series. The problem of the research lies in the programs broadcast on television and digital platforms manufactured using drawing and animation techniques, which are closer and more influential on the minds and tastes of children through the diversity of content they provide in simple, diverse and interesting formats that keep them under their influence for long periods to satisfy their needs and desires. The importance of the research is to study the growing phenomena of violence among children, which has begun to become part of their behavior....
The research also aims to uncover the presence of these scenes in children\'s programs and series and address them, as they negatively impact children\'s behavior. The research also aims to legislate and enact laws that protect children and prohibit the broadcast of programs containing television violence in general. The researcher adopted a descriptive approach (content analysis) to arrive at results through which we can address these manifestations in those programs shown to children, including cartoon series. As for the most important research samples, the researcher relied on the first ten episodes of the first season of the series \"Attack on Titan,\" analyzing them and highlighting the most important scenes of violence that negatively impact children\'s behavior, whether verbal or visual. The research also reached a set of results, the most prominent of which was that this series contains scenes of violence, whether verbal, physical, or actual, which directly impacts children\'s behavior.

Research Summary
The current research addresses the topic of "Graphic Treatments in Contemporary Iraqi Nature Drawings." The research focuses on the graphic treatments and technical methods in contemporary Iraqi nature drawings. The research comprises four chapters. The first chapter focuses on the methodological framework of the research, represented by the research problem, which is defined by the following question: What are the graphic treatments in contemporary Iraqi nature drawings? The chapter also discusses the importance and need for the research, as well as the research objective, which is to "identify the graphic treatments in contemporary Iraqi nature drawings." The research scope is limited to studying the graphic treatments in contemporary Iraqi nature drawings for the period (2010-2020), specifically in Iraq. The first chapter concludes by defining the most important terms used in the research. The second chapter contains two sections, including the theoretical framework and its indicators, followed by previous studies. The first section addresses the graphic treatments of modernist trends and their impact on contemporary Iraqi drawing, including the most important schools working in the field of nature drawings. The second section addressed the artists' experiences in contemporary Iraqi nature drawings, including the artists' experiences in drawing Iraqi nature and the most important plastic treatments that have emerged in Iraqi nature drawings.
The third chapter included the research procedures, identifying the research community and its representative sample, concluding with an analysis of the research sample of (3) as a model of various artworks.
The fourth chapter included a set of results and conclusions, including:
1. The focus was on color rather than the line that defines the shapes in Iraqi nature drawings, in order to benefit from the properties of color in this and provide greater aesthetics and color.
2. The artist's interest in conveying reality as it is stemmed from the detail and beauty of Iraqi nature.
Conclusions:
1. The works were characterized by conveying the local reality of Iraqi nature and addressing the important themes depicted by the artist.
2. The artist relied on plastic treatments to address the shapes or elements in the works.

Art is considered a branch of knowledge and science, and a means of expressing various human emotions, in addition to conveying the customs, traditions, and beliefs of peoples. This is clearly evident in the symbolic significance of its artistic productions. Therefore, art is a necessity of life, possessing the ability to interact with the general development of humanity from ancient times to our present era, especially in the field of plastic arts.
Since antiquity, humans have used symbols to express their fears, desires, ambitions, and dreams, whether overt or latent in the corners of the human psyche, through various methods and styles. Instinct was the driving force behind the symbols of ancient humans, propelled by hidden feelings and emotions in the subconscious that moved them to create.
This reflects our current research problem, which is based on the questions: Are there symbolic significances in Aboriginal ceramics? And what are their reflections on contemporary Australian ceramics?
The importance of this research lies in the light it sheds on the symbolic significance of Aboriginal ceramics. This is within the research objective of identifying the symbolic significance in these ceramics and their reflection on contemporary Australian ceramics. The study is defined by the following limits:
• Thematic Limits: (vases, artifacts)
• Spatial Limits: Ceramics in Australia
• Temporal Limits: (2002-2014)
The research is structured within a theoretical framework as follows:
First Axis: * The Concept of Significance and its Mechanisms. *The Concept of Symbolism and its Mechanisms.Second Axis: The Intellectual Foundations of Aboriginal Art. Third Axis: Contemporary Ceramics in Australia (Folk and Contemporary).

The abstract
This research focuses on studying the technical effects on the ceramic surface resulting from variations in weight ratios. The aim of the study was to identify the technical effects on ceramic surfaces caused by changes in weight ratios
Chapter Two focuses on the theoretical framework, which is divided into four sections. The first section addresses the study of the concept of technique, while the second section is concerned with the study of frit glaze. The third section deals with coloring stain, and the fourth section focuses on matt glaze.
Chapter Three covers the research procedures, while Chapter Four presents and discusses the results. The main conclusions drawn from the study are as follows:
1. When coloring pigments constitute part of the main component of the glaze formulation at a ratio of 50%, a matt glaze is produced. The matting effect results from disturbances in the reflected light rays, causing them to interfere either near the surface or after being reflected a certain distance from it, which leads to their scattering and reduced intensity due to surface roughness and variations in surface topography in relation to light reflection.
2. Suspended materials in the molten glaze contribute to matting, as they cause scattering and disturbance of the reflected light due to the interference of light rays either near the surface or after being reflected a certain distance from it. This leads to scattering and reduced intensity.
3. Surface roughness formed on the glaze increases light scattering and consequently reduces its concentration.

The current research includes four chapters. The first chapter deals with the research problem, which is represented by the following questions: (What is the symbolism of the swastika? What are its historical and intellectual references that contemporary artists have relied on in their artistic productions? How has it been reinterpreted in contemporary visual art?) Then, it explains its importance and the need for it. The chapter also includes the research objective, which is Learn about the symbolism of the swastika and its interpretive connotations in contemporary art. The objective limits of the research were limited to studying the symbolism of the swastika in terms of its historical dimensions, connotations, and interpretations in contemporary visual art works, from (1980-2010) to the artworks of contemporary artists. The researcher concluded the first chapter by defining the most important terms included in the title of the current research. The second chapter included the theoretical framework, which consisted of three sections. The first section dealt with the concept of symbolism in aesthetic thought and human expression. The second section dealt with the swastika across civilizations: transformations of meaning and significance.
The third section dealt whith The swastika in contemporary visual art: between use and symbolic interpretationt
The second chapter also included previous studies and indicators of the theoretical framework.
The third chapter addressed the current research procedures, which included a statement of the research community, which numbered 40 artworks by contemporary artists. The research sample, which numbered 4, was chosen using the intentional method. The researcher also relied on the descriptive approach using content analysis.
The fourth chapter included the research results, conclusions, recommendations, and proposals.
Among the most important findings reached by the researcher are:
1. The historical and cultural symbolism of the swastika played an effective and controversial role in various works of contemporary visual art, contributing to the revelation of the beliefs and ideas held by artists. This was evident in all models of the current research sample.
2. Contemporary artists demonstrated a shift away from the negative dimensions of the swastika's symbolism, resulting in abstract, imitative forms with an implicit, high-spirited nature that are in keeping with the cultural contexts of contemporary artists, as in all models of the research sample.
As for the most important conclusions reached by the researcher, they are: The spiritual and religious nature rooted in the symbolism of the swastika played a significant role in directing its meaning and visual imitation according to the cultural and aesthetic context. Therefore, contemporary artists incorporated it into their symbolic and semantic encodings, moving toward an interpretive direction.

Abstract
The current research aims to explore the semantic levels in contemporary ceramics by analyzing the expressive, aesthetic, and semantic dimensions embedded in this field. The study consists of four main chapters. The first chapter is devoted to defining the research problem, its significance, the need for the study, and its objective. The second chapter (the theoretical framework) includes three sections: the first discusses the aesthetic dimension within semantic levels; the second focuses on the concept of semantics; while the third addresses contemporary Iraqi ceramics. The third chapter deals with the research procedures, Chapter Four focuses on the research findings, the most significant of which are:
1. Ceramics is employed as an expressive medium capable of representing human issues through visual vocabularies that range between realism and abstraction.
2. The content of the ceramic work is directly connected to the artist’s social, political, and cultural context, whereby the artwork becomes a semantic document that records events and reflects human, social, cultural, or other stances.
Among the most important conclusions are:
1. The structural formations in ceramics range between realism and abstraction. This diversity contributes to the expansion of semantic fields, allowing the artist to address sensitive and complex themes through various aesthetic forms.
2. The study emphasizes the importance of analyzing ceramic works through a semiotic approach, as it considers the symbolic structure essential for understanding the expressive depth of this art, moving beyond traditional formal analysis.

Abstract
This research examines "Male Dominance and Its Representations in Western Painting" across four chapters. The first chapter presents the methodological framework, defining the research problem through the question: "What is male dominance, and how is it represented in Western painting?" It also outlines the research objectives, significance, and key terminologies.
The study focuses on analyzing the concept of male dominance and its representations in European painting from the 4th century to the 17th century AD.
The second chapter includes the theoretical framework and previous studies, discussing the concept of dominance, its foundations and justifications, as well as the intellectual and artistic structure of Western painting.
The third chapter outlines the research methodology, covering the study population, the sample (five selected artworks), the research tool, and the adopted methodology. The fourth chapter presents the findings and conclusions, along with recommendations and suggestions. Main conclusions:
The effectiveness of implicit visual structures is closely tied to male dominance, as it clearly establishes the male figure’s supremacy within the artwork, either by positioning it as the dominant element or the focal point of the composition, using various artistic techniques.

Research Summary:
This research is concerned with studying (the body and the continuity of communication): it includes four chapters, the first chapter is devoted to (the research problem: (There is no body in history that can facilitate access to the vision of aesthetics, despite the specificity of its historical difference, as there is no body that can be taken as a general reference, or ether, or memory of aesthetic communication, as the challenges of cultural communication with the body exist to leak its (erotic) factor as evidence of the relationship with the Western statement, Therefore, scientific logic resorts to measurement based on posing the question: "How is communication sustained through the body?" The importance of the research is evident in "the process of the body's interaction with and influence on social, political, economic, and religious relations, as cultural authorities that can be communicated with through consumption." The research has the goal of "understanding the body and the sustainability of communication." The second chapter includes (the theoretical framework) for two topics - the first: (the body’s movements in cyberspaces), while the second: (the body between the limits of imagination and reality). The third chapter is concerned with the research procedures, as it includes (the framework of the research community amounting to (20) American art posters, and the research sample includes (2) models analyzed according to the criteria of cultural sample communication. The researcher ends by giving results and conclusions.
Keywords:

Abstract

This paper is a thematic study of two plays that have tackled war. One play dated long back to the ancient Greek era in which Euripides wrote his 415 BC play The Trojan Woman whereas the other play The Woman was written in the 20th century, particularly in 1978 by the British playwright Edward Bond. The paper is to review how the two playwrights have approached the same Trojan war to reveal their own perspectives

Abstract of the research:
The current research dealt with the growing tension of the hero's character in the contemporary Iraqi theatrical text. The research consisted of four chapters. The first chapter dealt with the research problem, which was determined by the following question (What is the nature of the growing tension of the hero's character and its connotations in the contemporary Iraqi theatrical text?) and the importance of the research that emerged from the importance of the topic of tension and its growth and study as a common realistic case that affects the character, while the goal of the research was manifested in: (Identifying the nature of the growing tension of the hero's character and its connotations in the contemporary Iraqi theatrical text). The research boundaries were limited to (Iraq) spatially, and (2014) temporally, while the objective limit included studying the growing tension of the hero's character and its connotations in the contemporary Iraqi theatrical text. The researcher concluded the chapter by defining the following terms (tension, growing, character, connotation). The second chapter (theoretical framework and previous studies) included three topics. In the first topic, tension was studied conceptually, and in the second topic, the development of the hero's character in the global theatrical text. .Then the chapter concluded with the indicators that resulted from the theoretical framework. As for the third chapter (procedures), the researcher identified the research community and its sample, and took the indicators of the theoretical framework as a tool for analyzing the sample, while the fourth chapter included the research results, conclusions, recommendations and proposals. The researcher puts forward a number of the results she reached:
1-Tension and fear of the personality led to internal and external growth, as the personality grew internally through the movements of fear and loneliness, and this is what we contemplated with the character's course.
2-The effect of tension in the multiplicity of internal personalities, one after the other, a multiplicity conditional on many qualities, and these personalities differ in their different stereotypical forms, as we find that this personality is neither a child nor a young man, but a struggling project.

Abstract:
This research is concerned with studying (scenes of challenge in contemporary Iraqi painting), and it consists of four chapters. The first chapter includes a statement of the research problem, which is summarized by the question about scenes of challenge in contemporary Iraqi painting. The importance of the research The research aims to reveal the scenes of challenge in contemporary Iraqi painting and the limits of the research, which include the objective limits: which are the completed works that talk about challenge and surrender in contemporary Iraqi painting and the temporal limits: (1987-2022) and the spatial limits in Iraq. The second chapter / the theoretical framework of the research included two sections: the first section / the concept of challenge and the second section (manifestations of challenge in contemporary Iraqi painting). The third chapter (procedures) dealt with the research community, the research sample of (3) models, the research tool, methodology and analysis of samples. The fourth chapter included the results, including: 1- The embodiment of sudden events of images of challenge by Iraqi artists has great value in rejecting the injustice and oppression that Iraq was exposed to. 2- The Iraqi artist took the role of the historian who recorded the most prominent events that the country went through through contemporary Iraqi painting. The researcher also reached a number of conclusions, the most important of which were: 1- The reconciliation between the form of the work and its content is achieved through the diversity of technical methods to highlight images of challenge, whether the artistic challenge Apparent or implicit, through imitation of reality. 2- The artist used self-representation to express the challenge, adhering to objective rules despite the diversity of artistic styles.

Abstract
The current research addresses cultural privacy in the works of Iraqi female potters. This study focuses on the intellectual and cultural values in the works of Iraqi female potters. The research comprises four chapters. The first chapter addresses the research methodology, which addresses the research problem: What are the representations of cultural privacy in Iraqi ceramics? The research objective is to identify the representations of cultural privacy in Iraqi ceramics. The second chapter covers the theoretical framework and previous studies. It includes two sections: The first section addresses cultural privacy, the concept and terminology, while the second section addresses contemporary Iraqi female potters (style and technique). The third chapter addresses the research procedure, which includes the research community, the research sample, the research tool, and the research methodology. The fourth chapter includes the research findings, the most important of which are:
1. Cultural specificity was manifested through the simultaneous intermingling of social and religious concepts in the construction of the ceramic text, forming a unified whole in representing the objective aspect of the ceramic text.
2. Cultural specificity was represented through the social dimension associated with women, embodied in a symbolic
Conclusions
1. Mesopotamian and Islamic historical references played an effective role in representing cultural specificity.
2. The ceramic achievements of Iraqi female potters represented a kind of cultural integration between the past and the present. The research also includes a list of sources and appendices. Keywords Privacy, Contemporary Ceramics

- Abstract:
The research entitled (Diversity of Contemporary Iraqi Aesthetic Experiences Abroad) Studying artworks that follow nature and unconventional techniques.. It came in four chapters; the first chapter (methodological) contained the questions of the research problem (What is the diversity of contemporary experiences in the diaspora?); The aim of the research is to identify the diversity of contemporary experiences in the diaspora, and the objective boundaries are to address contemporary artworks by Iraqi diaspora artists executed with different materials and methods to simulate different topics, and the time (2003-2024) AD, and the place is the countries of Europe and America, and the definition of research terms.
The second chapter contained (the theoretical framework) and was divided into two sections; the first section (the concept of diversity in art philosophically) and the second section (contemporary experiences in the diaspora).
The third chapter (research procedures) dealt with the research community, its sample of (3) models, its methodology and sample analysis.
While the fourth chapter included the results and conclusions, the most prominent results reached by the research are:
1. The artist's alienation and migration had a great impact on his artistic experience, nourishing his concepts and symbols to reshape the concept of homeland, with different formulations. 2. The artist employed technology by employing video art within an installation artwork to emphasize in his works the real and virtual conflict. As for the conclusions, the most important of them are: 1. The experiences of expatriate artists show richness and diversity in expression, so that the experience of alienation overlaps with the challenges of life, making him in a constant search for renewal and innovation.

This study, titled (The psychological dimensions of childhood and its representations in Nikolai Bogdanov's drawings), is concerned with investigating the psychological dimensions of childhood, searching for them in the works of this artist, and studying them through methodological frameworks and following procedural methods that rely on philosophical and aesthetic approaches.

This study consists of four chapters:
The first chapter (the methodological framework of the research): It includes first: the research problem, which raises the following question: What are the psychological dimensions of childhood in the drawings of the artist Nikolai Bokdanov? Second: The importance of research and the need for it. Third: The aim of the research: to know the psychological dimensions of childhood in the drawings of the artist Nikolai Bokdanov. Fourth: The limits of the research, which were limited to studying the artistic works of the artist Nikolai Bokdanov in Russia from the year (1895-1925). Fifth: Defining and defining the search terms.
The third chapter dealt with (research procedures): The research community includes (50) models and its sample of (5) artistic works, the descriptive and analytical research method, the research tool, and the use of mathematical and statistical methods, as well as the analysis of the research sample models.
The fourth chapter: includes the research results, conclusions, recommendations and proposals, and the most prominent results reached by the research are:
1. The colors were defined in two hues, green and brown, to indicate the intense sadness that prevails in the work due to poverty. As for the characters, they were characterized by their confused, sad, and mysterious character, which suggests deprivation of the painful memories that accompanied the artist in his childhood, as in model
2. The artist’s projections dominated his artistic works, and we notice this in his interest in drawing school children in the Russian countryside, full of inner sadness and sadness. The movement of the children’s heads was often directed downward, indicating brokenness, anxiety, and fear, as in the model
The research reached a set of conclusions, including:
1. The life that the artist lived had a significant impact on him suffering from psychological disorders. It affected their behavior and was represented in their artistic works through psychological connotations of line, color, shape, space and texture.
2. The artist excelled in depicting the changing role of children in society through an equal artistic relationship, and in a realistic way, immersed in sadness, anxiety, and fear.
The research ended with a list of sources, references, appendices, and a summary and title of the research in English.

Research Summary
There is a current study to understand the plan of eclecticism in contemporary Iraqi ceramics, and it may include four chapters, the first chapter of which is about the applied framework of the research, which is the research problem that was identified by answering the following questions: Is contemporary Iraqi an eclectic form of contemporary ceramic advances, and is it constructive? Iraqi only based on the diversity of ceramics and technology?
? The second chapter, which is the framework of consideration, contains three sections
They are: The first section - selectivity philosophically and conceptually. The second topic was: representations of eclecticism in contemporary Iraqi ceramics. Then the second chapter, in its theoretical framework, resulted in a set of indicators that benefited the researcher in directing her analysis of the research sample. The third chapter includes the research procedures, which are the methodology used and the research community, in addition to the research sample and the tool used in the analysis. Then sample analysis was followed by results and conclusions
Among the most important were:
1. Eclecticism appeared in contemporary Iraqi ceramics through the intersection of artistic genres and genres in multiple ways based on transferring or restoring forms, elements, and technical treatments according to appropriate selective mechanisms.
2. The areas of selectivity in contemporary Iraqi ceramics become clear through the correspondence and overlap of the formation systems and implementation mechanisms that the contemporary Iraqi potter resorts to in order to harmonize the contemporary ceramic work with the artistic and aesthetic heritage of ancient Iraqi ceramics, and this was clear in the sample model.
As for the conclusions:
1. Contemporary Iraqi ceramic products overlap with the products of pottery, ceramic sculpture, ceramic murals, and dyeing techniques or adding materials such as wood, plastic, metals, and other materials as an open field of application.
2. Structural treatments of contemporary Iraqi ceramic works indicate the presence of independent intellectual structural features that were achieved as a result of cultural communication.
It also includes the most important recommendations, proposals, sources, and a summary in English.

Abstract:
Since the beginning of advertising and its adoption of vocal calls, the use of ornate phrases and words, and gestures to promote and exchange goods, up to the seventeenth century and the emergence of pamphlets, posters, banners, and ship sides for advertising, it reached its peak of maturity in the nineteenth and twentieth centuries with the advent of modern printing and the spread of industry and large companies. In every transformation and development of advertising from one state to another, and according to each time period, there is a dominant element in the advertisements of that period, whether it is internal, such as design methods and systems and advertising theories, or external, such as modern technologies and programs, discoveries, and new materials, or prevailing ideas and ideologies. Therefore, those working in this industry need to be aware of the dominant elements in advertising, understand them, and keep pace with them in order to achieve the goal of advertising in a way that benefits society economically, intellectually, and socially, and to imagine and investigate its future. Advertising is one of the forms of communication in society, as it presents a specific message to the public. In light of the technological development occurring today, the doubling of production, and the intense competition in global markets, it has become necessary for producers to identify all means to maintain their presence in this large competitive field by understanding, perceiving, analyzing, and reassembling the data broadcast by the facts of this field of knowledge intellectually and technically, and trying to reach better opportunities for the future through research and studies on future development and its most important discoveries and trends. Therefore, we, as specialists and researchers in the advertising industry, must know the future of advertising and its predictions, what is the dominant element in it currently, and what it will be in the future to keep pace with the progress in this field, which indicates the availability of future alternatives for this industry, necessitating the development of our awareness and capabilities to keep up with the remarkable technological acceleration and to try to discover other applied fields of knowledge for the output of the current situation and to predict what this industry will become in the future, with artificial intelligence having entered its intellectual and executive structure. Therefore

Research summary
Meaning is an objective reality and a subjective field of knowledge that the designer lives and deals with, according to the diversity of scientific approaches, which in some of their aspects have revealed many of the moral aspects of man, which look beyond reason and experience, which is what the subjects of art in general and the arts of design (fabrics and fashion) need in their intellectual, philosophical and moral levels to a great extent, especially in how to benefit from the references of past thought and the nature of the present, and it has been determined The research problem is based on the following question: What is the diversity of connotations of visual forms in fabric and fashion designs? The importance of the research is evident in revealing the diversity of connotations of visual forms to arrive at an abstract language that carries symbols that form a purposeful aesthetic dialogue with the functional goals of fabric and fashion designs, which are apparent through the research objective: revealing the diversity of connotations of visual forms and the language and purposeful dialogue they constitute in fabric and fashion designs. The second chapter included the theoretical framework, which consisted of four topics. The first dealt with diversity and the concept of significance, the second dealt with meaning and design connotations, the third dealt with the technical foundations in fabric and fashion designs, and the fourth dealt with the formal connotations of fabric and fashion design. After that, the most important indicators resulting from the theoretical framework were extracted. The research procedures were determined in the third chapter by adopting the descriptive approach as an analytical method for the purpose of analyzing the sample models from the research community, which amounted to (16) designs, which were chosen intentionally at a rate of (25%), as their number amounted to (4) design models. As for the fourth chapter, it included the conclusions that the study reached and the results, the most prominent of which were: The elements of the composition achieved an influential role in the design structure, linked to the connotations of meaning and concept by virtue of The dialectical relationship between (visible and invisible), form and content, (overt and hidden), is the fundamental element of independent self-symbols in the final product (fabrics and fashion). The chapter also includes a number of recommendations and suggestions, as well as Arab and foreign sources.

The research addressed the intellectual and formative dimensions of Kazem Haider's body language, a model of the body's light, which has become a subject of inquiry and contemplation. The value of the body is no longer in its physical dimension, as was the case in ancient times. Rather, it has acquired new dimensions in terms of its aesthetic energies, its motor functions, and the various semantic fields expressed by its various constituent organs: the face, eyes, hands, and head. The current research contains four chapters. The first chapter includes: The Methodological Framework: The research problem, its importance, and the need for it. The current research problem was defined by answering the following question: What are the intellectual and formative dimensions of body language in the artist Kazem Haider? The aim of the research was to identify the intellectual and formative dimensions of body language (Kazem Haider as a model), including its boundaries in Iraq, for three decades (1950-1970(.
The second chapter, which contains three topics, addresses the body in the intellectual and philosophical context. The second topic addresses the concept of body language. The third topic addresses the artist Kazem Haider. The chapter concluded with indicators of the theoretical framework and previous studies.
The third chapter included the research procedures: The research community consisted by the artist Kazem Haider. Three works were chosen as models for the research sample, which were intentionally selected and distributed according to the time frame. The fourth chapter dealt with the research results, conclusions, recommendations, and proposals. (Some of the results were.
The most important findings of the research are the following:
1- Drawing inspiration from cultural heritage, which contributes to the employment of key concepts, such as drawing the main character in a large format and size, gives the work its local impact, creating an identity more in keeping with the nature of society, including the entire sample.
2- The artist's understanding of his society and environment, with its intellectual, spiritual, social, formative, and ritual dimensions, contributes to the crystallization of the work's concept in a manner consistent with the artist's technique and unique style, as in the entire sample.
The research concludes with research references, references, and sources.

Given the lack of buildings in our beloved country that include interior halls whose design treatments include a design synergy between reality and virtuality for its components, using a modern technical method, and to contribute to providing research that helps in reducing part of the knowledge gap in this aspect, this research titled “Synergy between reality and virtuality in the design of the digital interior environment” came and the research problem was formulated: What are the mechanisms for achieving synergy between reality and virtuality that work to improve digital interior environments? The research also aims to "reveal how and where virtual reality requirements are integrated with physical elements in digital interior environments." The first section included the concept of reality in interior design, while the second section addressed virtualization techniques in digital interior environments. The third section addressed the mechanisms of synergy between reality and virtuality in the digital environment, followed by indicators and research procedures. The research sample consisted of three digital models in restaurant buildings, using modern technologies of our current era and at the level of projecting virtual three-dimensional shapes into interior space with high accuracy. The research reached a set of conclusions, including:
1. Viewer awareness depends on the nature of virtual displays in digital interior environments, as they stimulate the viewer to increase their cultural awareness for learning and enjoyment. However, achieving this is based on synergy between reality and virtuality in these environments, based on the level of immersion.
2. Achieving immersion is linked to the type of digital technologies used, the extent to which virtual display devices provide three-dimensional or higher embodiment, the type of display perception tools, and the nature of the virtual display content.

Abstract
The morphological characteristics of plant leaves constitute a profound visual reference for ornamental design systems that aim to harmonize aesthetics and functionality, owing to their intrinsic features of symmetry, branching, and intricate geometric structures¹, This study investigates the influence of leaf morphological analysis on the development of environmentally oriented ornamental design solutions, fostering sustainability and aesthetic enhancement within urban and architectural contexts², Employing a descriptive-analytical methodology, the research examines selected natural leaf specimens and correlates them with international design applications inspired by nature such as canopies, terraces, and shading devices to demonstrate the potential of translating leaf forms into environmentally conscious ornamental solutions of high functional and aesthetic merit³, The study concludes with recommendations advocating for the integration of natural principles into environmental ornamental design strategies as a pathway toward innovation and sustainability⁴.

The first chapter, the methodological framework, included the research problem, which posed a question about the mechanism of circulating satirical simulation in the drawings of the artist Paul Kosinski. The importance of the research was about the sarcasm that addresses social, political and cultural topics embodied in the artist's works. The aim of the research included revealing satirical simulation in the drawings of the artist Paul Kosinski, while the boundaries of the research included the artist's drawings between the years 2004 and 2018. The second chapter, the theoretical framework and previous studies, dealt with the first section of the concept of satirical simulation, while the second section contained satirical simulation in the modern and post-modern eras. In the third chapter, the research procedures were included, which included the research community (70) paintings by the artist Paul Kosinski with satirical dimensions, from which the researcher drew (9) drawings to be models for the analysis process, as they dealt with the research topic and its objectives, relying on the descriptive analytical method. The researcher concluded the fourth chapter with the results and conclusions, then the proposals and recommendations.

Artistic productions in cinema and television embodied the data of real life and the virtual world through multiple tools that contributed to attracting recipients and arousing their interest in simulating various topics, as it was considered a medium for cultural communication and intellectual exchange between nations and peoples, conveying civilisation and history in creating worlds that convey a picture of the past, present and future to create a set of historical documentation and influence in various social, cultural, political and economic axes, as well as awareness and learning. The aesthetic and expressive employment through the elements of the cinematic language was an important element in the manufacture of the final composition of cinema and television to enhance the general atmosphere through the dramatic escalation through characters, time and place in the manufacture of dramatic narrative events and the manufacture of the plot in collaboration with the rest of the elements of the moving image, among which an expressive connotation emerged in the production of the method of arousing anticipation and the manufacture of crises in cinema and television by establishing excitement and suspense in the internal and external conflicts of the characters participating in the event and achieving dramatic crises and climaxes with the emergence of their narrative generation, to contribute to complicating situations and gradually building the

Abstract :
The educational process with the third millennium witnessed a great revolution in the strategies, methods and methods used in learning, which led to a noticeable change in the performance of the educational act in general. This amazing development is an epistemological break with the traditional educational methods and performance that no longer respond to the requirements of the age, Its ability to keep pace with these developments and keep pace with the global education systems.
Among these strategies is what is known as active learning, which is one of the modern trends now. It aims to achieve the maximum growth that every learner can attain in every aspect of mental, psychological and social development. It increases cognitive abilities and helps in the development of life skills. The student's ability to retain information and active learning as a modern educational strategy includes many educational methods within the framework of what is known as modern teaching strategies or modern teaching methods. Therefore, we will discuss in this paper one of these strategies, This type of strategy aims to develop the educational work through improving the performance of the learner and achieve the quality of education, because it has a role in the development of creative thinking skills of students and contribute to increase students' awareness of their abilities and gain self-confidence that helps them to improve their level of education and overcome the problems of life in general, Teaching the skills of creative thinking and developing their creative attitudes is one of the basic objectives of teaching. However, until the teaching methods are successful in the development of creative thinking, it is necessary to have a suitable environment and a qualified teacher. For, and we will look to cooperative learning and its role in the development of creative thinking.

Research Summary:
The study included four chapters, the first of which was to identify the research problem, which was summarized in the following question: (What is the directorial treatment of the introductory scene in the discourse theater the play of the black hour ? And a statement of its importance and spatial, temporal and objective limits, and the researcher identified the following terms (treatment, scene, initiation), and the second chapter formed a theoretical framework for the study, which included two sections, the first: Directed treatment between theory and practice, and the second came entitled: the introductory scene in the discourse of the theater globally and Arably, and concluded the chapter with the most prominent indicators that resulted from the framework of the view, and the third chapter was devoted to research procedures by adopting the descriptive approach in the analysis, and adopted indicators in the analysis of her sample, and concluded to highlight the results reached through the analysis of the sample, and the conclusions, which showed the directorial treatment of the theatrical presentation, and finally the researcher developed recommendations and proposals and fixed the list of sources.

3D music represents one of the most significant technological advancements in the field of sound, having reshaped the relationship between the listener and the audio–visual space by simulating the natural spatial distribution of sound. This transformation has elevated it from a mere auditory technique to a perceptual tool that enhances emotional engagement in immersive environments. This study aims to analyze the role of 3D music in enhancing auditory and visual realism by examining its technical characteristics and perceptual applications in cinematic and interactive models. The research focuses on understanding the mechanisms of sensory interaction generated by spatial sound distribution and its integration with visual elements, while also exploring the cognitive and emotional functions of music in contexts such as cinema, virtual reality, and live performances.
Structured into four chapters, the first chapter outlines the general framework of the research, presenting the central question: What role does 3D music play in enhancing auditory and visual realism? This question is addressed through defining the study’s significance, objectives, and methodological boundaries, including a clear articulation of key terms in alignment with the studied phenomenon and its cognitive context. The research seeks to identify the technical features of 3D music and analyze its integration with visual or interactive elements within artistic productions, while also examining its impact on perceptual and emotional responses in immersive environments like cinema, VR, and live shows.
Chapter Two includes two sections: the first traces the historical and technical evolution of 3D music, from early auditory experiences to advanced systems such as Ambisonics and Dolby Atoms, analyzing the shift from monophonic sound to immersive formats. The second section focuses on the practical implementation of 3D music across various domains - cinema, gaming, virtual reality, and live performances—highlighting its role in enhancing sensory perception and immersion through spatial audio techniques.
Chapter Three is devoted to research procedures, employing a descriptive–analytical methodology to study the content of selected samples, aiming to meet the research objectives and examine the interplay between 3D music and audiovisual elements. Chapter Four presents the study’s main findings, among which the following stand out:
1-Realistic spatial sound distribution contributes to transforming the auditory experience into a dynamic perceptual structure that reshapes the listener’s awareness of space.
2-3D music demonstrates a strong capacity to enhance emotional and visual perception, particularly in immersive settings.
The study concludes with a set of evidence-based conclusions and recommendations, followed by a comprehensive list of references and sources cited throughout the research.

A Historical Study on the Impact of Piano Construction
This study offers a historical investigation into the impact of piano construction, highlighting the key performance breakthroughs that distinguished it from its predecessors—the clavichord and harpsichord (both keyboard-based instruments). It follows the emergence of a technological need that led to the innovations introduced by Bartolomeo Cristofori in 1700, beginning with the pioneering hammer mechanism and the revolutionary incorporation of the iron frame, along with their mechanical and acoustic consequences These developments brought forth a musical instrument marked by expressive depth and sonic dynamics, which in turn gave rise to new performance practices and pedagogical and artistic approaches. These advancements facilitated novel compositional patterns and nurtured a holistic methodology in music education while also influencing the everyday presentation of music and contributing to the socio-musical heritage

Abstract
The environment is considered a vital source of inspiration in contemporary art, offering rich symbols and expressive dimensions adaptable to visual aesthetics. Accordingly, this study focuses on exploring environmental aesthetics as manifested in the works of Iraqi artist Hashim Hannoon by tracing his stylistic integration of figuration and abstraction. The significance of this research lies in analyzing how Hannoun employs environmental elements to construct a visual language that merges emotional and realistic sensibilities, contributing to the enrichment of art education and visual taste among students. The study aims to reveal the expressive mechanisms through which the artist represents environmental themes and to analyze the aesthetic and symbolic dimensions of his selected paintings. A descriptive-analytical method was applied to four representative artworks, analyzing them visually and formally. The findings indicate that Hannoun skillfully transforms environmental features into vibrant symbolic forms, harmonizing human presence with place in cohesive visual compositions, while utilizing color as a tool of emotional communication. The study also confirms his ability to create a contemporary visual discourse that fuses childlike simplification with symbolic abstraction, offering viewers a rich aesthetic experience. Ultimately, the research concludes that Hannoun’s work represents a unique artistic perspective rooted in memory and emotion rather than photographic realism, opening new possibilities for expressive representation in contemporary Iraqi art.

Reading the visual image is one of the intellectual and cultural issues that fall within the context of the culture of aesthetic awareness. The individual's previous experiences and experiments with the forms around him are not achieved unless he has a mental image through which the individual can revive his imagination to reach the stage of innovation to produce innovative aesthetic forms, as it is the basis of social construction and cultural and aesthetic awareness to include topics from social and cultural life, contemporary technical and technological artistic skills, which deal with all mental processes (knowledge - attention - perception - imagination - mental imagery - memory - thinking) for the individual (learner) who practices digital formation skills. Therefore, the research problem crystallized, which can be summarized by the question: Is it possible to build mental images of digital formation and how to manifest them in the education of aesthetic awareness? The research aimed to "reveal the constructivism of the mental image of digital formation and its manifestations in nurturing aesthetic awareness." The theoretical framework included two chapters. The first chapter addressed the constructivism of the mental image of digital formation, while the second chapter addressed nurturing aesthetic awareness. The research adopted a descriptive study approach to arrive at a set of results, conclusions, recommendations, and proposals. Among the most important results are:
1.Aesthetic constructivism, whose symbols are often invoked in the forms latent in memory, requires culture, aesthetic awareness, and life experience in selecting ideas that can be emulated in digital artwork.
2. Digital technology, in its various forms, allows for the production and display of artwork in a variety of ways, which requires the artist to possess a broad imagination and a keen aesthetic sense in order to be able to produce creative digital artwork.

Research Summary
This research aims to identify the effect of the modeling method on the mastery of drawing skills among students in the Department of Art Education.
The study was applied to a sample of (30) male and female students from the third year of the College of Art Education at the University of Babylon. The sample included (15) males and (15) females.

The research used a cognitive achievement test and a skill performance evaluation form to achieve the desired objectives. The achievement test is characterized by apparent validity and reliability according to the Cronbach's alpha scale, with a reliability coefficient of (0.86). The skill performance evaluation form also has apparent validity and reliability, with an inter-judge agreement rate of (0.86).

Film production has witnessed significant developments due to the introduction of technology into all stages of film production, including the use of visual effects within film scenes, particularly effects created using computer software. Their importance lies in deepening the intellectual connotations of the image, in addition to their aesthetic and dramatic values. Therefore, the aim of this research is to identify how visual effects are employed and their role in the aesthetics of montage. The researcher selected the film "Avatar" as a deliberate sample. He adopted a descriptive and analytical approach and prepared an observation form as a research tool. This form was designed in light of the theoretical framework indicators and the sources and literature used in the theoretical framework. After the experts approved the research tool, the method of using visual effects in scenes from "Avatar" was analyzed, and several results were reached, the most important of which are the following:
1. Modern cinema relies on visual effects, especially those that can be added during the editing stage.
2. Visual effects contribute to controlling the rhythm of the shots and the visual and intellectual enjoyment they achieve.
3. The use of visual effects is linked to the ideological aspect of the director and his efforts to achieve the message he seeks to convey to the recipient through aesthetic values and artistic.

Abstract
Ithas become clear to many concerned and technical specialists that the concept of dream has, since ancient times, acquired wide and large scopes in the arts, especially in cinema, where it is considered an inspiration and a mine for the majority of cinematic films, and its areas of work have become intensive as an aesthetic and artistic visual achievement that is influential and important through its production of a huge amount of realistic and imaginary cinematic images that are linked to their inclusion of various forms, symbols, signs, connotations and multi-dimensional psychological suggestions that reflect in their proposals the repressed inner desires or unconscious fears, as they sought to create and form an aesthetic, sensory and emotional visual experience. Because of the importance of these dream images and their visual and psychological impact, the methods of their embodiment and ways of their appearance in the cinematic film have diversified, whereby the dream industry and its cinematic realization have crystallized between aesthetic creativity and craftsmanship and through rules and visions that stem from the director’s feelings based on his imagination, artistic visions and intellectual philosophy, as the process of embodying dreams in the cinematic film has represented here the mental ability to create and innovate different The flowing images emanating from the subconscious channels that harmonize the recipient's imagination and subconscious mind, and then work to attract his interaction and identification with interpretation, explanation and analysis, which support the cinematic film form with capabilities and potentials that motivate it to perform its aesthetic, psychological, dramatic and expressive functions. Accordingly, and in accordance with this meaning, the research was divided into four chapters: The first chapter (the methodological framework) included the research problem, which was represented by the following question: What are the aesthetic aspects that contribute to the representations of dreams in the structure of the cinematic film? It also included the importance of the research and the need for it, and then the research objective, which is to reveal the aesthetic aspects that contribute to the representations of dreams in the structure of the cinematic film. The second chapter (the theoretical framework) included three topics: The first topic is: The concept of dreams and the philosophy of dreams. The second topic: Dreams and cinema. The third topic is: Embodying the representations of dreams in the structure of the cinematic film. The third chapter contained (research procedures and sample analysis). The fourth chapter included (results and conclusions), and finally a list of sources .

The current research topic addresses "psychological burden and its representations in modern European art." The current research consists of two chapters. The first chapter is devoted to explaining the research problem, its importance, need for it, its objective, and its limits, then defining the terms used within it. The current research problem concludes with the following question: What is psychological burden and its representations in modern European art?
The research aims to identify representations of psychological burden in modern European art. The researcher followed a descriptive and analytical approach.
The research boundaries included spatial boundaries (Europe), temporal boundaries (1930-1951), and thematic boundaries (oil paintings.
The second chapter includes two sections. The first section is devoted to the development of the concept of psychological burden, while the second section addresses only modern European art. Chapter Three included the research community, the research sample, the research methodology, and the analysis of the models.
Among the most important findings of the research:
1- Many recent studies have explored strategies that enable individuals to confront burdens rather than escape them, thus connecting this personality to reality and the surrounding environment.
2- The artwork can be considered an abstract artistic expression that explores the world of the bean and its inner meanings in an unconventional and simple manner that conveys profound expression.
3- It carries connotations and meanings related to the psychological state of children.
4- It raises questions about the concept of aesthetics in children's art and modern art.
Then, the most important conclusions reached by the research:
1- The artist uses a simplified cubist style that aims to represent the child's view of the world and the things around them by focusing on basic shapes and neglecting complex details.
2- Psychological burden poses a real threat to an individual's life as it affects thinking, behavior, social relationships, and reduces the ability to concentrate and make decisions.

Research Summary:
Identifying clothing across the ages is a daunting task, whether through a society's outward appearance, its interaction with contemporary civilizations, or its attitudes toward them. The research includes a study of the development of traditional fashions and their types within the available cultural heritage. Clothing is used to highlight beauty, increase attractiveness, charm, and influence others. In some societies, it was also used to indicate the social status of individuals, with each class distinguished by its own clothing in terms of materials, colors, sewing methods, and wearing. It is no exaggeration to say that clothing is one of the most important material cultural elements and one of the best indicators of a society's status, conditions, and circumstances. The research includes a study of traditional fashions across the ages and the influence of Iraqi cultural heritage on modern Iraqi fashions, particularly Babylonian and Assyrian, in addition to Arab-Islamic fashions. The research also includes the derivation or design of fashions inspired by these traditional fashions. The research includes fashions produced by an Iraqi fashion house inspired by traditional fashions, their modifications, and the addition of some artistic additions, resulting in the production of advanced models with a civilized and contemporary character.
Based on the above, the research resulted in the following question:
Does the use of traditional heritage play an important role that reflects a civilized image on women's fashion designs? The current research aims to employ traditional heritage in women's fashion design.
The researcher followed the descriptive analytical approach, as it is the closest to achieving the desired goal of the research. The research community consists of heritage sources for Iraqi fashion design in the ancient Iraqi civilization, which were employed in women's fashion designs at the Iraqi Fashion House. These sources comprised (25) samples. The researcher intentionally selected four samples, some of which were duplicated and others had been severely damaged.
The research yielded a set of results:
1. Drawing from natural resources appeared to be the primary source of fashion design from ancient Iraqi civilizations.

The current research deals with the study of technical variables and their role in developing interior spaces, many ideas and concepts in which technical variables varied in the design process, so the research problem was embodied in the following question ((What is the effectiveness of technical variables and do they have a role in developing the design of interior spaces?)) Therefore, the objectives of the research were: revealing technical variables and their effectiveness in the functional and aesthetic aspects of designing interior spaces, The first chapter included defining the research problem and the need for it, and defining its literary and scientific
terms. The second chapter included a detail of the framework. The theory relied on by the researcher, which consists of two sections: the first is technical variables and their reflection on the design process, while the second section is the interrelation between technical variables and the development of interior spaces.Through these investigations, a review of the results was reached, from which the theoretical material of the three investigations was summarized, and then the conclusions reached by the researcher from studying the internal spaces of cinema in Baghdad, and then presenting recommendations and proposals for future research.

Search summary: The theatrical performance, with its aesthetic components, travels to form an aesthetic space formed by the directorial treatment with its technical tools that create another world towards creation and innovation in a dynamic relationship with the theatrical performance, which is the foundation of that directorial treatment, which changes from one show to another and thus requires a special type of theatrical performance that In turn, it is consistent with the principles of these directorial treatments, and in this theatrical work becomes a collective work with its intellectual and aesthetic dimensions in a unified discourse that achieves integration in the theatrical performance. In the performances of Ahmed Mohamed Abdel Amir, the dynamic, interactive relationship between the directorial treatment and the acting performance formed a fertile and changing ground for It is characterized by stability. Therefore, the research included four chapters, the first of which dealt with (the methodological axis), including the problem in its question (How is the dynamic interaction between the directorial treatment and the acting performance manifested in the theatrical performances of Ahmed Mohamed Abdel Amir?), while the importance of the research in its search for the dynamic relationship between the directorial treatment and the performance The representation in the performances of Ahmed Mohammed Abdul Amir, and the aim of the research is (to reveal the dynamic relationship between the directorial treatment and the acting performance in the performances of Ahmed Mohammed Abdul Amir), as for the limits of the research: spatially to include the theatrical performances directed by Ahmed Mohammed Abdul Amir presented in Iraq, and temporally from (1999-2012), as for the subject, it is determined by studying the dynamics of the interaction between the treatment The acting performance in Ahmed Mohammed Abdel Amir’s theatrical shows, and the chapter concluded with defining the terms. The second chapter (the theoretical research framework) included two topics. The first was concerned with studying (the dynamics of interaction between directorial treatment and acting performance in the global theatrical show), and the second chapter was concerned with studying (the intellectual and aesthetic references of director Ahmed Mohamed Abdel Amir). The chapter concluded with the indicators that the researcher arrived at. The third chapter included the research procedures, including the community from which the research was formed, which included(8) theatrical performances presented in Iraq during the period (1999-2012), and the two research samples, namely (Waiting for Kozan) and (Crystal), were chosen intentionally. The chapter also included the research methodology, the research tool, and the sample analysis. The fourth chapter dealt with the results, conclusions, recommendations, and proposals of the research, and then concluded with a list of sources.

Education is a comprehensive and integrated process, the success of which depends on the type and nature of the educational situation's elements related to the teacher, the educational content, and the methods by which it is organized and achieved. Hence, attention was given to everything that enhances the coherence and harmony of these elements and ensures that learners' learning is achieved in a manner that can be observed, measured, and its results predicted. From this standpoint, this research aims to identify a proposal to construct an educational program based on the Van Hiele model and to demonstrate the achievement and development of visual perception in the subject of art history among students of fine arts institutes in Iraq. To achieve the research objectives, the researcher adopted the experimental approach, targeting the research community, which consisted of first-year students at the Fine Arts Institutes in Baghdad and the Fine Arts Institute in Karbala. A sample of (60) students from the Fine Arts Institute in Baghdad was drawn from this community and distributed randomly and equally between two groups: an experimental and a control group, with each group consisting of (30) male and female students. The researcher used two measurement tools, the achievement test and the visual perception test, with the program being adopted.
1 = ere are statistically significant differences at the 0.05 level between the average scores of the experimental group students and the average scores of the control group students on the post-achievement test, in favor of the experimental group.
. 2 _ There are statistically significant differences at the 0.05 level between the average scores of the experimental group students on the pre-post visual perception test, in favor of the post-test.
. Based on the research results, the researcher reached several conclusions, as follo 3 _
. 1 _ The existence of an educational program designed according to the Van Hiele model in students' achievement and the development of their visual perception by stimulating students' abilities to comprehend ideas, exchange opinions, knowledge, understanding, and consolidate information in their minds.
. 2 -There is a relationship between the Van Hiele model and visual perception, as both are consistent in their steps with detailed reading of visual forms, achieving meaning-
Saved Based on the researcher's conclusions, the following are recommended:
. 1 _ Adopt the current educational program for teaching art history subjects to first-year students at the Institute of Fine Arts in Baghdad.
. 2 _ Develop learners' visual perception in areas of life that require familiarity with visual representation and visual reading.
In light of the researcher's recommendations, the most prominent of which are :
. 1 _ Conduct a study to determine the impact of a proposed interactive learning environment based on the Van Hiele model on the achievement and critical thinking of middle school students in the art department in art history.
. 2 _ Conduct a study to determine the effectiveness of the Van Hiele model in acquiring artistic concepts and visual thinking among students in the Department of Art Education