Journal of Nabu

• Abstract:
• This research aims to identify the extent of the use of artistic education teachers of alternative evaluation methods, such as achievement files, observations, projects, and self -evaluation, and the impact of this on the level of academic achievement among students in art education subject. The corrective descriptive curriculum was used, and the research sample consisted of a group of teachers and teachers of art education in the primary stage, in addition to a sample of their students, and their number reached (100) male and female teachers and a suitable number of students

Research Summary
The necessities of life pushed man to be guided to different ways of living and to learn the foundations of the first industries that he practiced at that time, and here it becomes clear to us from the various effects left by the ancient era, including the requirements of the necessity of wearing what covers his body and protects him from different weather conditions. Man has colored and decorated fabrics, and wherever the origin of colored patterned fabrics was, it is clear that fabric decoration was a dynamic force in the history of human civilization. As a result of man’s love for change and the search for beauty, he extracted dyes from plant, animal and mineral sources while providing special and necessary stabilizers for the dye to remain on the fabric and not It disappears when washing, The research problem was determined by posing the following question: - (What is porous printing and do visual techniques contribute to making changes in the designs of women’s fabrics). The research also contributes, through its importance, to the following: -
1-It may contribute to the scientific and artistic benefit of students and those interested in the design and technical field in technical colleges and institutes.
2-The research also contributes to developing cognitive awareness of the dyes used in printing and knowing their specifications and properties in terms of color and degree of stability. The research also seeks to achieve the following goal: - Identifying the dyes used in printing fabrics and evaluating methods for selecting the best dyes according to their specific quality in terms of color quality and stability. The limits of the research were to employ porous printing in designing women’s fabrics printed on T-shirts with different types of materials (cotton, polyester, and blended) available in the local markets for the period 2024-2025 AD, which is the period for completing the research. The second section also included the theoretical framework that dealt with the following topics first: The concept Porous printing, second: the aesthetic function of porous printing, third: the display techniques of porous printing. After that, the most important indicators that resulted from the theoretical framework were extracted. The research procedures were determined within the third section by adopting the descriptive approach for the purpose of analyzing the sample models (3) from the research community, which numbered (30) design models. Duplicate and similar models were excluded, while showing the design content and color variables of the same design. The research tools were prepared, represented by the analysis axes form, based on the indicators of the theoretical framework. The research also included results, recommendations and proposals, in addition to a list of sources

Abstract :
The current research addresses "The Expressive Connotations of Animal Forms in Annette Corcoran's Ceramics." It comprises four chapters. The first chapter includes the methodological framework of the research, which addresses the research problem, its importance, and the need for it. The study of the expressive connotations of ceramic animal forms provides us with a comprehensive understanding of Annette Corcoran's ceramic work and its trends. Its objective is to identify the expressive connotations of animal forms in Annette Corcoran's ceramics. Its objective is to study the expressive connotations of animal forms in ceramic sculpture. The spatial scope is America - California, and the temporal scope is (2000-2017). The most important terms are also reviewed. The research problem focuses on the following question: What are the expressive connotations carried by animal forms in Annette Corcoran's ceramics?
The second chapter includes the theoretical framework and previous studies . The first section presents the following connotations :
1. Conceptual.
2. Expression in philosophical thought.
The second section deals with the expressive features of animal forms in contemporary American ceramics. The third chapter includes the research procedures through which the research community was determined (62) according to the descriptive approach, while the fourth chapter was devoted to reviewing the results. The expressive energy is accumulated with the structure of imagination in the animal forms executed on Annette Corcoran’s ceramic products to form a cognitive connection with the specificity of the semantic approach to the unity of the narrative animal subject and its various structures. The conclusions are that the nature of the expressive and symbolic meaning of the animal forms executed on Annette Corcoran’s ceramics is based on the relationship that connects the signifier to the signified and constructs the interpretive and hermeneutical meaning of the forms and their subjects based on the formulas of composition and condensation in their meanings, contents and levels, and the recommendations.

Abstract
Cinematography is considered one of the fundamental pillars of filmmaking, not merely as a technical tool for recording scenes, but as a comprehensive visual language capable of shaping meaning and deepening the aesthetic and psychological experience of the viewer. It is the medium that transforms the written script into vivid images, turning the film into a rich space of signification where lighting, composition, camera movement, color, and angles interact to create a visual narrative parallel to the dramatic text.
In this context, Gone Girl (2014), directed by David Fincher, presents a distinctive model of how cinematography can serve storytelling and amplify its psychological dimensions. The story, centered on the mysterious disappearance of a wife and the marital and media conflicts it uncovers, is transformed through visuals into a study of trust, deception, and emotional alienation. Here, cinematography becomes more than an illustrative tool; it emerges as an autonomous language that conveys the characters’ inner tensions and exposes the fragility of human relationships.
Lighting plays a central role in shaping the film’s atmosphere. Fincher relies on low lighting and heavy shadows to express mystery and psychological tension, while cold colors such as gray and blue emphasize emotional detachment. In contrast, warm tones appear in flashback scenes to suggest a false idealism, which is gradually exposed as events unfold. This chromatic contrast and deliberate use of lighting reinforce the duality of the narrative, placing viewers in a constant state of doubt toward the characters.
Camera movement is equally precise and deliberate: static shots convey stagnation, slow tracking shots build anticipation, while circular movements or handheld camera shots evoke chaos and instability. Thus, the camera becomes an active partner in conveying psychological conflict, rather than a mere recording tool.
Visual composition also plays a key role in highlighting the nature of character relationships. Characters are often positioned within empty or symmetrical spaces to suggest distance or false balance. The technique of “frame within a frame” is employed to emphasize isolation and surveillance, as seen in scenes where the protagonist appears on television screens, underscoring the media’s role as a powerful force in shaping public opinion.
Color itself functions as a visual strategy in the film. Blue and gray embody mystery and alienation, while red is reserved for pivotal moments such as murder and dominance, granting it symbolic weight. Costumes are equally deliberate: Nick’s dark clothing reflects confusion and ambiguity, while Amy’s shifting wardrobe colors signify her transformation from false intimacy to cruelty and control.
The film also gains depth from the creative collaboration between David Fincher and cinematographer Jeff Cronenweth. This partnership transcends mere technical cooperation, resulting in a distinctive visual identity recognizable even without knowing the director’s name. Cronenweth successfully materialized Fincher’s vision through austere cold lighting, meticulous compositions, and carefully calculated camera movements, making the image a faithful mirror of dramatic and psychological tensions. For his part, Fincher found in Cronenweth a partner capable of translating the subtlest details into a visual language rich with meaning. This collaboration endowed the film with a unique stylistic power, adding to their shared body of work including Fight Club and The Social Network.
Accordingly, this research aims to analyze the artistic features of cinematography in Gone Girl, employing a descriptive-analytical methodology to reveal how visual elements integrate in shaping the narrative and enhancing the psychological depth of characters. The significance of the study lies not only in its description of aesthetics but in its exploration of how they are employed within the filmic text, emphasizing the pivotal role of the creative partnership between director and cinematographer in constructing a coherent visual language.
The study concludes that cinematography in Gone Girl transcends aesthetic function to become a language in itself, reflecting inner conflicts and reshaping the story visually. This affirms that contemporary cinema is capable of blending technical precision with intellectual and artistic vision. Thus, the research represents a valuable contribution to film studies and serves as a useful reference for critics, scholars, and filmmakers in understanding the interplay between directorial vision and visual treatment.

Abstract

The research titled "Criticism of Reality in Contemporary Global Sculpture" consists of four chapters, the first chapter includes the research problem, which was defined by the following question: How have the practices of criticism of reality been embodied in contemporary global sculpture? The chapter also included the importance of the research, which came from the fact that it addresses one of the important topics that is directly related to society. In addition to the research goal, which was to reveal the criticism of reality in contemporary international sculpture. The limits of the research were determined by the study of sculptural works represented by the critique of reality. Analyze models as a representative sample of the time-bound community in the period between (2019-2022) and anywhere in the world.
The second chapter included the theoretical framework, which came with two topics, the first topic was entitled art and its relationship with society and the criticism of reality, while the second topic was entitled Art as a tool for criticizing reality.The third chapter included the research procedures and contained the research community that amounted to (30) sculptural works, the research sample that was represented by (4) sculptural works, the research methodology represented by the descriptive method, and the research tool, followed by the analysis of the sample samples. The fourth chapter included the results, conclusions, recommendations and proposals. Among the results of the research:
1. Contemporary sculptors have invested in the artistic composition with its various structural elements (mass, space, texture, color) as a direct critical means of conveying reality and revealing its crises.
2. There has been a strong tendency among contemporary sculptors to dismantle the traditional aesthetics of sculpture and replace them with shocking compositions as tools to demolish false values and reveal the depth of human suffering.

Research Summary
This research is concerned with the study of “The Artistic Image of the Linguistic Text in Contemporary Iraqi Painting.” It is organized into four chapters. The first chapter investigates the research problem, its significance, and defines the key terms used. The research problem addresses the fundamental transformations in contemporary Iraqi painting in terms of its styles and directions, influenced by the political, social, and cultural changes the country has undergone, as well as the Iraqi artist’s interaction with global trends in modern and contemporary art. Among the most prominent of these transformations is the emergence of the phenomenon of "the hybridization of the arts," particularly the interweaving of linguistic and visual texts within the visual artwork.
Language—whether poetry or prose—has become present within the visual composition of the pictorial artwork, such that words are no longer mere decorative elements but rather semantic components that establish a new aesthetic and epistemological structure. From this perspective, the research problem emerges: Do linguistic texts within contemporary Iraqi painting contribute to the creation of an independent and coherent artistic image? And does this interaction produce a new image that redefines the relationship between word and image within a visual artistic context?
As for the importance and necessity of the research, it lies in revealing the uniqueness of the Iraqi experience in contemporary art, particularly in integrating language within visual compositions. It also enhances the understanding of the aesthetic and intellectual reception of the artistic image in light of the interplay between textual (linguistic) and visual elements.
The research has a single objective: to identify the artistic image of the linguistic text in contemporary Iraqi painting. The research is limited to various artworks (on canvas or paper, executed in acrylic or Chinese ink) that include linguistic texts in either prose or poetry. The time frame is confined to the period between 2000 and 2025, which witnessed significant political and social changes in Iraq that were reflected in the experiences of Iraqi artists during that time.

Chapter Two (Theoretical Framework) consists of two sections: the first explores the development of the relationship between linguistic and visual texts in the arts, and the second examines the components of the artistic image between language and painting. Chapter Three presents the research procedures, defines the research population, and selects a sample consisting of three models. Chapter Four includes the research findings, the most important of which are:
1. Contemporary Iraqi art relied on integrating linguistic or poetic texts into the painting, granting the composition a semantic depth that goes beyond form to meaning.
2. The resulting artistic image from this interaction was not merely a visual-linguistic overlap, but rather a cognitive structure possessing independence in both composition and meaning.
Among the conclusions:
1. The Iraqi artist did not limit himself to traditional means of visual expression but sought to incorporate language to generate more complex and profound compositional structures.
2. The process of hybridization between visual and linguistic texts contributed to reshaping the concept of the image, which no longer serves merely as a mirror of reality, but rather as a fragmented discourse that merges the personal with the collective, and the spiritual with the material.

Abstract:
The research includes four chapters. The first chapter addresses the research problem represented by the following question: What is the impact of the material and moral mask on the performance of the theatrical actor? The chapter also included the importance of the research by shedding light on the study of the mask and the actor's performance between the moral and material mask. The need for it lies in the fact that it may benefit students and researchers in the field of theater. The chapter also included the aim of the research, which was limited to identifying the performance of the theatrical actor between the moral and material mask. The chapter included the temporal boundaries, which were determined by the period (2012-2020) and the spatial boundaries of the theatrical performances presented in Iraq. The subject matter was determined by studying the performance of the theatrical actor between the moral and material mask. The chapter concluded by defining the terms and defining them linguistically and technically. Chapter Two covers the theoretical framework and includes three sections. The first examines the origins of masks. The second section explores theories of acting and the moral mask. The third section examines some schools that have embraced masks and consistently trained their actors in their theatrical performances. Chapter Three includes the research procedures, including the research community and its samples, which were intentionally selected based on the data presented in the theoretical framework's indicators as a tool for analysis within a descriptive and analytical approach. Through viewing the three selected performances, the following plays were analyzed: (Masks and Reprimand). Chapter Four contains the results (including the following): 1. The mask represents an achievement in theatrical performances in general. Following the results, the chapter concludes with recommendations, suggestions, and a list of sources.

Abstract
Aesthetic awareness is a pivotal concept in understanding the contemporary theatrical experience. Performance is no longer merely a means of conveying dramatic content, but rather a visual and physical space that stimulates the recipient's aesthetic perception. This research aims to analyze the theatrical performance (broadcast via YouTube at the link above) to understand the mechanisms of shaping aesthetic awareness through the use of image, physical movement, and lighting, as elements that shape the aesthetics of the theatrical experience. Theater is a transformative, communicative, performative language, beginning with written language and then audible language. The director creates it using all the elements that support his artistic vision, all the way to the recipient, who completes that image (language) through reading it. It is the product of elements that come together in a harmonious way, forming the theatrical act. The production of theatrical discourse requires a method, mechanism, and techniques that enable the transformation of written texts into audible texts on stage. This requires a relationship with the recipient as an interpreter of the vast number of these texts, coupled with a political, social, intellectual, and artistic incubator. Experimental waves emerged, and their accompanying acceleration in the development and diversification of forms of theatrical discourse ranged between elevating the written text and diminishing it, although diminishing it was more prevalent. The auditory text became corrupted at the expense of the written text. In the theater, the nature of the writer, the reader, and the text, as well as the relationships between them, changed. All of this is conditioned by the recipient's role being more active, as a participant rather than a mere spectator. This was reflected in theatrical techniques, which are one of the components of the theatrical discourse space. These texts are composed of a set of texts—not just written texts—but also include visual and auditory elements (technics being one of them), which they contain as a whole, producing their own sign within the formative structure of the performance. Theatrical signs are distinguished by their ability to transform and transition from one aspect to another and from one state to another. Theatrical discourse is formed in an audible form, completed by the recipient's interpretation of it as a whole. Importance and Need for Research The importance of the current research lies in its study of modern techniques in theatrical presentation, examining the most prominent of these elements and their mechanism of operation, as they perform an integrative and aesthetic function in forming the theatrical image through radio. Furthermore, its importance, particularly in theatrical presentations, lies in the ideas and content they contain within their structural and formative elements, which constitute or constitute them. Furthermore, the subject has not been addressed in previous studies, particularly in theatrical presentation through radio. Therefore, the researcher found it necessary to study it. The need for it lies in the following: It will benefit students of the Department of Theater Arts, specializing in directing and theater techniques, by familiarizing them with the mechanisms of operation of modern techniques in contemporary Iranian theatrical presentations. Furthermore, it will benefit students of the Department of Theater Arts, specializing in directing and theater techniques, by familiarizing them with the history and origins of Iranian theater. Research Problem Contemporary artistic and philosophical discourse emerged in an era of decentralization and intellectual dialectical contradiction, produced by the outcomes of postmodernist thought, which pervades the collective thought of society. This discourse proclaimed a revolution against the slavish mind, which operates within a specific rational methodology and places humans within a structure and system governed by social laws and norms. This followed a series of influences and changes that affected human societies, including wars and political, economic, and social changes. This shifted life in general toward unrestricted and uncontrolled liberation, which was reflected in art and theater. Theater is the eloquent language expressing all the problems, changes, and developments within society. Modern and contemporary artistic theaters and directing methods emerged to challenge the frameworks, rules, and laws of theatrical art. Therefore, the process of breaking away from laws and regulations was one of the most important requirements of new artistic expression, because humans were no longer able to interact with the centralized and dominant forces that controlled them. Instead, they inclined their senses and emotions toward freedom and liberation, entering the world of imagination and the world of the unreasonable to achieve their desired goals. He dreams of it in his imagination, the depths of his soul, and his wishes. Directing schools tended toward this aspect, influenced by philosophies and intellectual and philosophical references that took this direction as their starting point. Most notable of these were the doctrines and movements that rebelled against reality and called for the destruction of all laws, customs, and foundations established by man and harnessed to serve his goals, whether social, political, or intellectual, and for building life on the rubble of this wreckage. Hence, the research problem emerges in the following question: What is the mechanism of convergence between artistic and aesthetic treatments in radio theatrical performances? Research Objective The current research aims to identify: 1- Aesthetic awareness in radio theatrical performances.

Research Summary:
The genealogical foundations of theater criticism have formed a link for cognitive communication in the field of theater criticism. Criticism has become a tool for evaluating and researching theatrical discourses and other literary cultures, based on the studied foundations of critical approaches in a comprehensive and logical manner consistent with the course of the work، Criticism in the analytical studio, and the research included four chapters, the first chapter (the methodological framework), which includes the research problem framed in the following question: ((How did the genealogical foundations appear in the criticism of theatrical criticism, the play (Zghanbut) as a model.
The importance of the research included studying the genealogical foundations in the criticism of theatrical criticism and the great importance it carries in critical studies, and the subject was not studied previously, in order to reach the goal of the current research, which is to identify (the genealogical foundations in the criticism of theatrical criticism, the play (Zaghnbut) as a model).
The research boundaries are spatial (Iraq) and temporal (2024). The objective boundaries focus on studying the genealogical foundations of theatrical criticism, using the play "Zaghnabot" as a model. This leads to identifying important research terms and a procedural definition.
The second chapter (the theoretical framework) consists of two sections: the first (philosophical genealogy), which includes an important tour of studying the nature of genealogy in the opinion of philosophers and sociologists. The second section is entitled (genealogical approaches to criticism of theatrical criticism), and the chapter concludes with indicators. The third chapter (research procedures), which consists of the research community and a sample، The research consists of one theatrical achievement, which is (Zghanbot). As for the research methodology: the researcher adopted the descriptive (analytical) method in the theoretical framework of the research, and the (criticism of criticism) method in analyzing the selected sample. The research tool: the researcher relied on the observer tool and indicators of the theoretical framework as a tool for research and analysis of the sample. As for the fourth chapter, it consists of results, conclusions, recommendations and suggestions, and it concluded with a list of sources and references.

Abstract:
Contemporary theatrical performances are witnessing intellectual and aesthetic transformations in reconsidering the relationship between theatrical space and the audience with the natural environment. Through these transformations, the concept of biophilia has emerged as one of the trends that draws inspiration from the idea of the innate and instinctive connection of humans towards nature, not only at the subject level, but as a sensory and aesthetic experience that is formed within the theatrical performance. This research came in four chapters, the first of which included (the methodological framework) the research problem through the following question: (What is biophilia and what are its formations in contemporary theatrical performance techniques?). The chapter also included the importance of the research and the need for it (as a study that sheds light on biophilia and its formation through theatrical techniques to create theatrical performances that have a vibrant aesthetic significance and mimic the natural environment, reaching the goal of the focus of identifying (biophilia and its formations in contemporary theatrical performance techniques). The research boundaries were limited spatially to Iraq (Baghdad) and temporally (2022), in addition to defining the terms. The second chapter (the theoretical framework) included two topics, the first of which was concerned with studying:
-1Moving lighting contributed to creating a visual environment through changing shadows, embodying the temporal dimension and weather fluctuations in nature, deepening the viewer's experience through their ability to immerse themselves in the biophilic theatrical scene.
- 2The use of natural elements through sound effects added a sensory, participatory dimension that helped create a vibrant theatrical environment and a relaxing atmosphere for the viewer.
This chapter also contains conclusions, recommendations, and suggestions, as well as a list of sources and references.
Keywords: (biophilia, formations, theatrical techniques, contemporary theatrical performance)

Research Summary:
This research is concerned with studying the diversity of acting performance in Asmaa Mustafa’s theatrical experience, as her acting performance was distinguished by the availability of all the atmospheres of life and interaction for the character, which tempts us to study its diversity, and the relationship of this diversity to the internal and external environments, the methods of its artistic, aesthetic and semantic realization, which did not receive the required attention from critics and researchers, included the research in four chapters. The first chapter included the research problem as well as the importance of the research, which provides a comprehensive study of the concept of the diversity of acting performance in the actress (Asmaa Mustafa), which is reflected in the characters that she performs in all their dimensions.
The research studies the play (Salma) as a model of the diversity of acting performance of the artist (Asmaa Mustafa), in which she presented a diverse theatrical performance through voice and body, to form a clear picture of her theatrical experience.

Abstract The current research examines "The Effectiveness of Virtual Reality and Augmented Reality in Contemporary Global Art," which consists of four chapters. The first chapter addresses the research problem, which concludes with the following question: "What are the mechanisms and methods of employing virtual and augmented reality in contemporary global art?" The importance of the research lies in its ability to shed light on virtual and augmented reality technology and its impact on the visual arts. The need for this research lies in its ability to benefit fine arts colleges and institutes, as well as art libraries, thereby enriching the cultural knowledge of researchers and those interested in art. The study's objective is to " A-identify the effectiveness if virtual reality in contemporary global art, B Identify the Effectiveness of augmented reality in contemporary global art " The researcher then defined the research boundaries for the period from 2015 to 2025, and defined its most important terms . The second chapter includes the theoretical framework of the research, which includes two sections: the first section addresses virtual reality in contemporary art, while the second section examines augmented reality in contemporary art. The chapter concludes with the most important indicators resulting from the theoretical framework. Chapter Three included research procedures based on the research community, which included collecting diverse international works and sorting a selected sample of (4) artworks by international artists that incorporate virtual reality and augmented reality technology. A descriptive analysis approach was chosen using the observation tool. Chapter Four included the research results and their discussion. The researcher reached a set of conclusions, the most important of which were : 1-The difference between virtual reality and augmented reality in the field of art is that the former often requires the viewer to be present in galleries and museums due to the need to wear virtual reality equipment such as helmets, sensors, and the like. Meanwhile, augmented reality offers the opportunity to view artworks from anywhere using augmented reality applications by scanning QR codes. 2-Contemporary works are distinguished by their detachment from modern art and their reliance on advanced technology as a means of visual storytelling. 3-Virtual reality and augmented reality technologies have represented a qualitative leap in the process of interaction and immersion. Through them, contemporary artists have been able to engage the viewer in works of a modernist nature, after previously non-interactive art forms such as poster art during the modern period. The researcher reached a number of conclusions, the most important of which are: 1-Technological media, such as virtual reality and augmented reality, have often replaced traditional art forms and expanded presentation methods to broader and more comprehensive horizons than before, prompting contemporary artists to exploit these media to their fullest potential. 2-The artistic methods used in our era have changed, and presentation methods have become the most important part of artistic productions. Presentation methods and mechanisms, as well as the provision of interactive elements and the attraction of attention through the use of virtual and augmented reality, clearly influence the reception process, determining the importance and extent of the work's impact on the recipient. 3-Contemporary artists have resorted to reformulating modern art and its schools by utilizing technology, such as virtual and augmented reality, in the production and artistic narrative process. The study concludes with recommendations and suggestions and concludes with a list of sources.

Abstract
This study aims to evaluate the effectiveness of the humanistic teaching approach in developing artistic skills among elementary school students in the city of Babel, Iraq, in the subject of painting. The study involved forty second-grade students who were randomly divided into two equal groups, with 20 students in each group. At the beginning of the academic year, all students took a painting pre-test. At the end of the year, their paintings were evaluated by the same teacher for both groups. Statistical analysis revealed significant differences between the two groups in terms of progress, indicating that students taught using the humanistic approach performed better than those who received instruction through the behavioral (traditional) method. The independent t-test result was statistically significant (p = 0.000), favoring the experimental group (humanistic approach). The findings suggest that adopting a humanistic approach in art education, rather than relying on traditional behavioral methods, contributes to improving students’ attitudes toward artistic subjects and enhances their creativity both in art and in other aspects of present and future life.

Abstract:-
Nations celebrate their artistic and literal that are distinguished conceptually to boost the concepts of cultural identity and scientific cognition then being added to the deeds of nations, there are many deeds in the cultural progress that history glorifies them due to their importance and intellectual, stylish and innovative distinction, play text is one of these most important deeds that imitate the reality and criticized it and discover its contradictions by aesthetic conceptual methods that consider science, cognition and philosophy as ways of discussion and disputes to show needs of society and problems, then treat them by dramatic contemporary methods and the viewer being present, participant and critic.
The problem of the research was determined by the following question:-
What is the conceptual distinction in the texts of Iraqi stage?
The research includes in the second chapter two sections :- the first section is the conceptual distinction by concept, second section is the conceptual distinction in the stage art. The population of research was determined in the third chapter and included five Iraqi plays for the period (2024-2016) and analyzing two plays as analytical pattern to find out the results , they are ( Layla Matera) and ( Fantastic Drama Happened in 2030), most important results are :-
The conceptual distinctive text takes strategy of dissembling authorities, centers and refer to the collapse of subjective fact and exceed the reality.
The conceptual distinctive text based on social, cultural and conceptual transformations by growth of disappearing techniques by the hidden style and symbolic coding to the concept of refusing the eternity of authority and fragment of affiliation and dissembling of identity in the shed of bureaucratic hypotheses.

Abstract
This research examines the representations of religious discourse in Japanese painting during the Middle Ages (1185–1603) and is structured into four chapters. The first chapter addresses the research problem, its significance, necessity, objectives, and the definition of key terms. The current research problem emerged through an exploration of religious discourse in Japanese painting during the Middle Ages, leading the researcher to formulate the main question: What are the representations of religious discourse in Japanese painting during the Middle Ages? The second chapter presents the theoretical framework, consisting of two sections, previous studies, and the extraction of theoretical indicators to be used in analyzing the samples. The first section addresses philosophical approaches to discourse analysis and the features of religious discourse in ancient and medieval Japanese thought and art. The second section discusses the features of religious discourse in the schools of ancient and medieval Japanese art. The third chapter (Procedures) covers the research population, the sample of four works, the research tool, methodology, and the analysis of the samples. The fourth chapter presents the research findings, conclusions, recommendations, and suggestions. Key findings include:
1. Religious discourse was embodied through the concept of emptiness (Śūnyatā) in Zen Buddhism, expressing the idea that phenomena are illusory, with various artistic strategies used to convey this notion.
2. Emphasis on meditation (Zazen) as a means to enlightenment, reflected in painting themes.
3. Use of Kōan (paradoxical questions or statements) in paintings to provoke insight and challenge conventional thinking.

Abstract
The current study, titled "Manifestations of the Story in Ancient Iranian Pottery (The Story of the Prophet Joseph, peace be upon him, in the Well as a Model"), examines the interconnectedness between the story of the Prophet Joseph (peace be upon him) and ancient Iranian pottery art. The Qur'anic story of the Prophet Joseph (peace be upon him) played an influential role in the cultural and civilizational structure of Iranian pottery. It had clear manifestations and a visible form in Iranian wall pottery, giving the story of Joseph (peace be upon him) a unique character in terms of style, presentation, objective narration, and concepts. Its uniqueness lies in the fact that it is the subject of an entire surah (chapter) that presents the life of its hero, along with secondary heroes who work with him. Perhaps devoting an entire surah to a single story reveals its implications, which should be noted for their highly evocative aspects related to the most important human motivations. We have realized the importance of this story and its impact on ancient Iranian pottery. Therefore, numerous studies and research have sought to study Qur'anic stories to highlight the critical rules and standards in the aesthetic construction of the Qur'anic story, which can be used to establish an Islamic critical vision based on the distinctive characteristics of Qur'anic stories. Iranian artists, especially potters, have been interested in the story of the Prophet Joseph (peace be upon him) because it carries a distinct character, and is considered the best of stories. The thesis therefore comprises four chapters. The first chapter contains the general framework of the research, which includes the research problem, which includes the question: "What are the manifestations of the story in ancient Iranian ceramics (the story of the Prophet Joseph (peace be upon him) in the well as a model)?"
Then the chapter discusses the importance and need for the research, which contributes to finding manifestations of the story of the Prophet Joseph (peace be upon him) in ancient Iranian ceramics and the Quranic references to this story. This is a new study in this field of visual art. The aim of the research and the boundaries of the research, including the thematic boundaries, included the ceramic works executed in ancient Iranian ceramics, which included the theme of the story of the Prophet Joseph (peace be upon him), the temporal boundaries between the second half of the thirteenth and fourteenth centuries AH, and the spatial boundaries of the ceramic murals produced in the Islamic Republic of Iran. It concluded by defining the most important research terms.
The second chapter includes the theoretical framework of the research and previous studies and is divided into three axes: the first is "A reading of the intellectual concept of the story," while the second is "Representations of the story in ancient Iranian ceramics." )
The third chapter includes the research procedures, including defining the research community, identifying the research sample, and analyzing the sample using a descriptive approach, including a case study. The fourth chapter includes the results, conclusions, recommendations, and proposals. The most important findings include:
1. The story contains incidents that the author has transferred from real life and arranged in an artistic and literary manner, distinguishing him from other writers. It is worth noting that some of the events mentioned in some stories are fictional, but they do contain connotations that touch on reality in some way, such as when the author invents events and characters to paint a future image of real-life events.
2. This work is not merely a decorated ceramic panel; rather, it is a complex visual text that reflects how religious narrative has been transformed into a symbolic format, making the story a means of communication between the arts, storytelling, and the spirit.
Conclusions
1. The manifestations of the story of the Prophet Joseph, peace be upon him, in ceramics are achieved through the design and formulation of the work in a unique style.

Abstract
Movement in the mime theatre show is one of the complementary elements in creating the aesthetic composition of the show, as it interacts with the rest of the components of the mime show, to draw the features of the aesthetic image for the recipient. The research was divided into four chapters. The first chapter, which is (the methodological framework), included the problem of the theatrical research, which was represented by “What is the effectiveness of movement in the Iraqi silent mime theatrical performance?” Then, the importance of the research that sheds light on movement and its effectiveness in the Iraqi silent mime theatrical performance and the aim of the research, which aims to identify movement and its effectiveness in the silent theatrical performance, then determining the boundaries (temporal, spatial, objective) and determining the research terms and procedural definitions contained in the title of the research. The second chapter included two topics, the first of which is movement conceptually and included three axes: the first is (movement in global cultures), the second is the combination of the movement system of the mime actor, and the third is the various movement dimensions. The second topic included the movement formation in silent theater among directors, in which the researcher reviewed the concept of movement and its role globally and Arab among mime artists and directors. The third chapter, which is (the procedural chapter), consisted of the theatrical performance specified by the time period (2022), where the researcher chose the theatrical performance (The Citizen / by director Hussein Malthus). The researcher relied on the indicators of the theoretical framework as a tool. For analysis, the fourth chapter presented the most important results of the analysis of the selected sample, after which the researcher reached a set of conclusions according to the results that appeared, recommending at the end of the chapter a set of recommendations and suggestions, then a list of research sources and a summary in English.

Abstract
The research addressed hyperrealism in contemporary Iraqi painting (Muzahim Al-Nasiri as a model). The research consists of four chapters: The first chapter focused on the methodological framework, including the research problem, which was defined by answering the following question: Has hyperrealism been achieved in contemporary Iraqi painting (Muzahim Al-Nasiri as a model)?
The research objective was to identify hyperrealism in contemporary Iraqi painting (Muzahim Al-Nasiri as a model) for the year 2020-2021. The first chapter concluded by defining the terms. The second chapter included two sections: the first section addressed hyperrealism in contemporary Iraqi painting, while the second section addressed the applications of hyperrealism in the works of Muzahim Al-Nasiri, in addition to the indicators resulting from the theoretical framework. The third chapter addressed the research procedures, including the research community, which was defined as more paintings. The research sample consisted of (3) works. The researcher concluded by analyzing the samples. The fourth chapter reviewed the research results and conclusions.
1- The hyperrealism in the works of artist Muzahim Al-Nasiri was closely related to the artist's psychology. In most of his works, or parts of a single work, it was interspersed with expressive realism and symbolic realism, blended with hyperrealism. This is because the artist does not merely convey reality literally, but rather reshapes it according to his own personal vision.
Among the conclusions are:
1- The artist Muzahim Al-Nasiri used his ability to simulate reality, executing his works with precise detail.
The research concluded with recommendations, suggestions, research references, and research sources.

Abstract
This research deals with the study of (the visual adjacency of color in American ceramics) (Peter Bienx) as a model. The research contains four chapters. The first chapter includes the research problem, which includes the following question: (What is the visual adjacency of color in the works of the potter Peter Bienx?) The aim of the research was to identify the visual adjacency of color in Peter Bienx's ceramics. The second chapter (the theoretical framework) includes two sections. The first is concerned with the study of color in science and art, while the second section deals with the visual adjacency of color and the structure of artistic composition. The third section deals with the technical treatments of color in American ceramics. The third chapter is concerned with the research procedures and sample analysis. The research community and sample, which numbered (3) ceramic works, included. The researcher relied on the descriptive (analytical) approach in analyzing the research sample and achieving its goal. Chapter Four includes the most important findings, including: - The visual juxtaposition of color in Peter Beunics' ceramics is based on the mechanism of color contrast that can be created by discordant, contrasting, or harmonious colors, by placing each color next to another color that is different from it in terms of temperature, intensity, or gradation of light value. As for the conclusions reached by the research: - The visual juxtaposition of color in American ceramic productions expresses subjective dimensions closely linked to his expressive needs and aesthetic aspirations. Color has become the means through which he activates his visions and personal experience, giving the ceramic works a contemporary character that reflects the potter's interaction with issues of self and surroundings simultaneously

Research Summary :
The current research addresses "The Aesthetics of Dynamic Organization in Modern Sculpture." The aesthetics of dynamic organization in modern sculpture were studied through the idea of highlighting the aesthetics of dynamic organization and revealing the true features of the sculptor's orientations in modern sculpture, as well as the artistic elements of sculptures and the relationships between them, whether artistic or thematic. The philosophical perspectives that addressed the subject of beauty varied. The study was divided into four chapters. The first chapter included the research problem, its importance, and its objective, which was summarized by revealing the aesthetics of dynamic organization in modern sculpture. The research boundaries: the thematic boundaries are the study of sculptural works in modern sculpture; the spatial boundaries are Italy and Russia; and the temporal boundaries are (1913-1929 AD).
The chapter concluded with a definition of terms. The second chapter included the theoretical framework and two sections. The first addressed beauty philosophically, while the second section studied dynamic organization in the work. Sculpture. The second chapter concluded with the indicators resulting from the theoretical framework, as a tool for analyzing the research sample. The third chapter included the research procedures, including the research community and sample, the research methodology, the research tool, and the analysis of the samples, which numbered (3) sculptural works, chosen intentionally from a research community of (12) sculptural works. The researcher adopted the descriptive-analytical approach, as it was compatible with the specificity of the current research, based on the indicators resulting from the theoretical framework as a tool for analyzing the research sample. The fourth chapter contained the research results, the most prominent of which were:
1- The sculptural works represented a prominent dynamic organization through the use of curved and slanted lines.
2- Through his sculptural works, the sculptor created a visual rhythm that moved the viewer's eye in all directions.
3- Through the slanted and curved lines, the sculptor emphasized enhancing the sense of movement and flow rather than stagnation.
Finally, the researcher reached conclusions, followed by recommendations and suggestions, with a summary in English

Abstract
This research addresses the topic of design integration in the works of the Spanish potter Enrique Mestre, seeking to uncover the nature of design integration that characterized his artistic production. The first chapter addressed the research problem, which revolved around the question: What is the nature of design integration in the works of the potter Enrique Mestre? It also included the research objective, significance, and limitations, as well as linguistic and technical definitions of the basic concepts.
The second chapter formed the theoretical framework of the research and contained two main sections: the first addressed the concept of integration from multiple perspectives, and the second reviewed contemporary Spanish ceramics as the context to which Enrique Mestre's production belongs. The chapter concluded by extracting the theoretical indicators relevant to the research.
The third chapter presented the research community, methodology, and analytical tool, in addition to analyzing a selected sample of the potter's works. The fourth chapter presented the results and conclusions reached by the research, along with recommendations and proposals that could contribute to the development of future studies in this field.

Introduction
This research examines the effectiveness of Habermas's public sphere theory in studying the process of communication through discussion and dialogue in society, which shapes the open space between its various strata and highlights its clear impact on the structure of society. The research studies the effectiveness of the public sphere in the visual arts, particularly postmodern art, and the impact of the public sphere as manifested through the effectiveness of dialogue across cultural transmission between peoples, forming a dialogue at the level of visual discourses that engage the viewer through the transmission of these texts and the impact of the artist as sender and the broad scope of his or her rhetorical and cultural thought through public sphere dialogue. The research also discussed the impact of scientific and technological developments that have accompanied human life and which, in turn, have been reflected in contemporary artistic productions . The current research, entitled ‘The Public Sphere and Formal Transformations in Postmodern Art’, addressed this issue. The first chapter presented the research problem, which led to the following questions
1 - Did the theory of the public sphere in social action influence contemporary art, especially at the level of formal transformations?
The first chapter also covered the importance and necessity of the research, its objectives and limitations, and the definition of terms. The second chapter presented the theoretical framework and was divided into two sections. The first was entitled ‘The Idea and Concept of Communication in Postmodern Art.’ The second section was entitled ‘Artistic Trends in the Postmodern Movement.’ The third chapter presented the research procedures. The research community included 30 works, and the researcher selected three works as a sample for the research. The researcher relied on the research tool based on the indicators resulting from the theoretical framework as a tool for analysing the research sample, followed by the analysis of the research sample. The fourth chapter presents the results, conclusions, proposals, and recommendations. The most important findings are as follows:
2- The intellectual dialogues generated by philosophical schools of thought, such as idealism, materialism, existentialism, and pragmatism, contributed to the emergence of references adopted by artistic trends. This is because they relied on changes in philosophical schools of thought, which brought about transformations of varying degrees in knowledge patterns and systems, which in turn influenced the development of a map of laws specific to each trend according to the philosophical concepts it adopted.
Among the conclusions are:
3- The public sphere emerged clearly and with different dialogues that were influential in shaping postmodernism and contributed to the diversity of visual systems and media.

Abstract
This research examines the radical transformations in contemporary ceramic art, particularly in Europe, where ceramic art has transcended aesthetic and craft traditions toward expressive and critical forms. The study focuses on the concept of "epistemological rupture" as it appears in the works of European ceramicist Alberto Justus, and demonstrates how this concept expresses cognitive and intellectual shifts that reflect new patterns of thought and modern philosophical concepts.
The research theoretically discusses the concept of rupture as proposed by Bachelard and its relationship to changing patterns of artistic knowledge. It then moves on to an empirical study of Justus's works, which use material and ceramics as expressive tools, violating traditional patterns and raising philosophical questions about power, knowledge, and identity.
The research concludes that Justus's works embody an epistemological rupture through his departure from classical aesthetics and his use of material as a critical tool, reflecting intellectual and artistic transformations in contemporary ceramic art. The research recommends integrating this concept into curricula for analyzing contemporary art and art education.

Abstract:
The current research focuses on studying furniture and space through the exploitation of space, as well as developing solutions and concepts for redesigning and repurposing furniture. This includes the exploitation of buses and converting their furniture into residential spaces. The research problem emerged with the following question: What are the design capabilities that contribute to transforming passenger bus furniture into residential furniture? The importance of the research lies in its presentation of design foundations (theoretical and applied). Its components are derived from scientific research and analysis to benefit from them in developing the capabilities of designers and specialists. The current research aims to provide specialized knowledge through the possibility of completely transforming and changing the function of furniture in a place, transforming it from a service space for transporting passengers to furniture for a residential facility. A design proposal is also being prepared. The theoretical study included the concept of transformation. Chapter Three covered the research methodology and procedures, relying on a case study and description through a questionnaire prepared by the researchers, followed by an analysis of the case. Finally, Chapter Four contained the proposed design, which illustrated the furniture for three spaces: the bedroom, the kitchen, and the living room.

Search summary:
Sufi manifestations constituted a starting point for s
elf-refinement within a process of continuous research and exploration for performance foundations with visual ritual concepts in its spiritual adoptions that enhance the type of physical performance of Sufism in terms of the intellectual and aesthetic employment of the body and what it can transmit through its precise and coded movements that combine the basic issues to touch the conscience of the recipient as a whole with the Sufi fold with its characteristic.
The research included four chapters, the first dealt with (the methodological axis), including the problem in its question (What are the manifestations of Sufism in the performance of the Iraqi theatrical actor?(, While the importance of the research in his search for Sufi thought as part of an aesthetic structure that has religious and philosophical dimensions has not been addressed previously as a physical performative concept in theatrical performance, and the goal of the research is (Sufism and its manifestations in the performance of the Iraqi theatrical actor) , As for the limits of the research: spatially to include the theatrical performances presented in Baghdad, and temporally from (2000-2013). As for the topic, it is determined by studying the body and its Sufi manifestations in the performance of the Iraqi theatrical actor in terms of Sufi philosophical data and its artistic manifestations in the theatrical performance. The chapter concluded by defining the terms.
The second section (theoretical research framework) included two sections, the first concerned with studying Sufism (origin and function) and dealing with the emergence of Sufism, and the second section concerned itself with studying (Sufism and its manifestations in the global theatrical performance), dealing with the most important theatrical performances that employed manifestations of the Sufi body in their performance contexts, and the chapter concluded with the indicators that the researcher reached.
The third included the research procedures, including the community from which the research was composed, which included (7) theatrical performances presented in Baghdad theaters for the period (2000-2013), and the research sample (A Dream in Baghdad) was chosen intentionally. The chapter also included the research methodology, the research tool, and sample analysis. The fourth was concerned with discussing the results, conclusions, recommendations and proposals of the research and then concluded by citing the sources.

Abstract
This research dealt with (The Aesthetics of Geometric Tendencies in the Sculptures of Artist Jorge Oteiza ),which contained four chapters the first of which was concerned with explaining the research problem ,which was determined by answering the following question :
What is The Aesthetics of Geometric Tendencies in the Sculptures of Artist Jorge Oteiza? Led
A specific reading ? Then comes the importance of the research to contribute to highlighting the Aesthetics of Geometric Tendencies in the Sculptures of Artist Jorge Oteiza? Led sculpture , and also
the current research is a serious attempt to clarify the Aesthetics of Geometric Tendencies in the Sculptures of Artist Jorge Oteiza. It also contains the objective of the research , which : Know the Aesthetics of Geometric Tendencies in the sculptures of Artist Jorge Oteiza .As for the limits of the research , it was limited to the study of stereoscopic works in which the Aesthetics of Geometric Tendencies in the Sculptures of Artist Jorge Oteiza (1988- 1958 ) , in addition to defining some of the terms contained in the research . The second chapter , it included the theoretical frame work and the indicators that resulted from it . The theoretical frame work contained three sections . The third chapter dealt with the research procedures , which contained the research community , which amounted to (50) sculptural works . The fourth chapter contained the results and conclusions , in addition to the recommendations and suggestions .

ABSTRUCT
The current research deals with (the role of educational design science in developing the teaching process from the point of view of professors in the Department of Art Education). The research contained four chapters: The first chapter dealt with the methodological framework of the research represented by the research problem, which was defined by the following question: (What is the role of educational design science in developing the teaching process from the point of view of professors in the Department of Art Education). The aim of the research was (to identify the role of educational design science in developing the teaching process from the point of view of professors in the Department of Art Education). The research boundaries were limited to the spatial boundaries: Iraq, University of Babylon, College of Fine Arts, Department of Art Education. The temporal boundaries were the period of the academic year (2024-2025). The objective boundaries were represented in (studying the role of educational design science in developing the teaching process from the point of view of professors in the Department of Art Education). The second chapter represented the theoretical framework, and consisted of two sections. The first section dealt with the concept of educational design. The second section dealt with the concept of teaching. The third chapter dealt with the research procedures. It included the research community, its sample, the research tool, and the analysis of the research sample. Chapter Four includes the research results and conclusions, as well as recommendations and suggestions. Among the most important findings are:
1. Instructional design contributes to eliminating randomness and improvisation in educational situations, maximizing the investment of time, effort, and money, and contributing to organizing the inputs of the educational process to ensure effective teaching outcomes.
2. Instructional design contributes to the correct formulation of teaching policy, diagnosing the educational conditions of the teaching process, and identifying the strengths and weaknesses of curricula.
Among the conclusions are:
1. Instructional design helps eliminate randomness and improvisation in educational situations, maximizing the investment of time, effort, and money, and organizing the inputs of the educational process to ensure effective teaching outcomes.
2. Instructional design works to formulate a sound policy for the teaching process and helps teachers confront educational situations with high confidence in their abilities.
Chapter Four also includes a set of recommendations and suggestions, and the study concludes with a list of sources and references.

Research Summary:
Bullying is a form of harassment committed by an aggressor who possesses greater physical or social power and dominance than the victim. Bullying may take various forms, such as spreading rumors, threatening, harassing, and assaulting others.
The current research includes four chapters, as follows:
• Chapter One (The Methodological Framework of the Research) included the research problem, represented by the following question: What is bullying in the texts of the writer Ali Al-Abbadi (The Play "Vomiting") as a model? The chapter also emphasized the importance of the research by highlighting the topic of "bullying." This chapter also included the "Research Objective," which was limited to identifying bullying in the texts of the writer Ali Al-Abbadi (The Play "Vomiting") as a model. The research scope was limited to theatrical texts published between 2010 and 2020. The chapter concluded by defining the term "bullying."
• Chapter Two addressed the theoretical framework. In three sections:
The first section addressed bullying concepts. The second section addressed bullying: (a) psychologically, (b) socially, and (c) socially. The third section addressed bullying: (a) globally, (b) Arab-Iraqi. The chapter concluded with previous studies and indicators resulting from the theoretical framework. The third chapter addressed the research procedures, represented by the research community and its samples, which were selected using a poem, such as the play (Vomiting) by Ali Al-Abadi, relying on the indicators resulting from the theoretical framework in the analysis, using a descriptive and analytical approach. The fourth chapter contained the findings reached in the research, including:
1- Bullying is considered a phenomenon that is not specific to any particular group. It is a phenomenon that has existed across eras and times.
2- The Iraqi playwright focused on the phenomenon of bullying through the exposure of poor, destitute women to injustice, oppression, and bullying in society, and attempted to reflect this in his theatrical texts.
As for the conclusions, we summarize them as follows:
1- The phenomenon of bullying has been widespread from ancient times to the present day.
2- The Iraqi playwright focused on creating diverse and varied characters who have been subjected to injustice, persecution, and bullying by society in some of his plays.
The chapter concludes with a set of recommendations and suggestions, a list of sources and references, and a summary of the research in English.

Abstract
This study, entitled “The Semantic Transformation in the Paintings of Pablo Picasso” examines the artistic and symbolic development in his works across multiple creative phases, focusing on how these transformations contributed to new concepts in modern art, particularly Cubism and Abstraction. The study aims to analyze Picasso’s artistic stages to understand the nature of semantic shifts in symbols and meanings and to identify the historical and social factors influencing his creative vision. Findings reveal that semantic transformation is reflected in the shift of subjects from isolated individuals in the Blue Period to social groups in the Rose Period, and in the use of color, from cold, melancholic tones to warm, intimate hues. The study concludes that these transformations mirror Picasso’s psychological, social, and artistic evolution, with the meanings of color and subject progressing from sorrow to intimacy and ultimately to abstraction and Cubism, redefining form and reality while advancing the visual language of modern art.

Abstract

The analysis of pictorial artworks is a complex cognitive and aesthetic practice that aims to explore the formal structures and symbolic meanings embedded within the artwork, as well as to understand the visual and contextual relationships that contribute to shaping its meaning. This study is dedicated to analyzing pictorial compositions through the lens of Erwin Panofsky’s theory, which is considered one of the most prominent approaches in the field of art criticism and visual analysis.
The research is structured into four chapters. The aim of the study is framed by the following boundaries:
• Subject boundaries: The analysis of pictorial artworks in light of Panofsky’s theoretical strategy, relying on specialized artistic sources.
• Temporal boundaries: The time period between 1889 and 1937.
• Spatial boundaries: Modern European painting.
The second chapter is the theoretical framework, consisting of two sections. The first addresses approaches to aesthetic response and reception, while the second focuses on the strategies of Panofsky’s theory.
The third chapter presents the research procedures, including the research population and sample, as well as the analysis of the selected artwork.
The fourth chapter includes the research findings and conclusions, in addition to recommendations and suggestions.

Key findings include:
1. Art criticism is a fundamental element of the fine arts, contributing to the analysis and interpretation of artworks, which enhances the understanding of their formal structure.
2. Panofsky’s theory seeks to connect visual compositions to the cultural and historical contexts in which the artworks were produced.
Conclusions drawn from the study:
1. Panofsky’s theory contributes to linking the artwork with its intellectual, cultural, and historical contexts.
2. The theory supports an academic understanding of visual art, moving beyond superficial interpretations.
The fourth chapter also includes a set of recommendations and suggestions, and the study concludes with a list of sources and references.

Summary
Contemporary theater has witnessed a remarkable shift toward relying on visual images as an effective language that has surpassed conversational language. This theme has spread to comedy as a theatrical genre with an evolutionary context in the field of theatrical performances. Thus, visual comedy has become a solid comedy with abundant connotations that allow for reception, communication, and interpretation.
From the visuals of the contemporary theatrical show (costume) which was used in various ways to enhance the visual images that overlap successively with other visual elements of the show to produce new connotations according to the cultural and social reference.. for the recipient, and the comedy show is more demanding because since the emergence of comedy it needs a professional actor who is skilled in his tools, especially the body.
The costume is the second body of the actor, so it had an important impact on the comedic theatrical performance, as the costume supports the actor psychologically and kinetically, enhancing his performance energy. Therefore, it was necessary to delve into the field of comedic costume and the extent of its impact on the actor’s performance, so this was the problem of the research. To achieve the goal of the research in revealing the relationship of the costume to building comedic characters to serve those working in the field of visual theatre.
Contemporary comedians, specifically fashion designers, the researcher defined a set of terms, namely (impact, visual comedy) and gave an operational definition for each of them. The theoretical framework consisted of two topics as follows: the first topic (visual comedy and theater), the second topic (fashion as a generator of visual comedy). Then the researcher wrote indicators for the theoretical framework.
As for the third chapter (research procedures), the research sample was chosen, which is the play (Yes, Godot) and it was analyzed and a set of results were drawn from it. From the indicators of the theoretical framework and the research results, the researcher reached the conclusions that are ((the contemporary visual comedy costume has a satirical language, as it contains a semantic stock generated from repeating the model (stereotyping),
The contradiction between form and content, which was played by the actor’s mechanical movement, his entry into the dramatic action, and giving the actor a state of (impersonation) that leaves its impact on his performance of the characters as well as on the recipient’s reading

Abstract
This academic study addresses the artistic and technical aspects of contemporary song production through an in-depth analysis of the three basic stages of audio production: recording, mixing, and mastering. These stages were approached using an analytical and applied approach that combines theory and practice, with the aim of demonstrating how contemporary audio engineering techniques can reshape traditional songs and give them a new presence in line with the demands of the contemporary digital audience. For the practical aspect, two songs from two different musical heritages were selected: the first, )Wir Wer Ba Bizanem(, by the artist Tayir Tawfiq, represents a model of Kurdish folklore, and the second, )Ya Badr La Tagheeb(, by the artist Yas Kheder, reflects Arab popular music. The two songs were remixed using modern production tools, including increasing the tempo, introducing layers of electronic sound, enhancing low frequencies, and applying effects such as reverb, delay, and chorus, while preserving the aesthetic structure of the original songs.
The research relied on a review of specialized audio technology literature, along with a comparative analysis based on technical audio criteria (frequency spectrum, dynamic distribution, vocal clarity, etc.). It also relied on descriptive and analytical tools to explain how these modifications affect the sound quality, appeal of the final product, and its suitability for modern listening environments such as clubs and concerts.
The study concluded that careful technical processing, supported by a deep understanding of the original musical identity, enables the production of songs that preserve their cultural authenticity while simultaneously presenting them in an innovative and modern way. The study recommended the need to enhance integration between sound engineering skills and the cultural understanding of musical material, as well as the importance of developing specialized educational curricula in this field to provide the artistic market with talent capable of technical innovation while preserving the artistic essence.

The study aimed to highlight the role of security media in supporting the work of the National Center of Meteorology (NCM) during crises and natural disasters. This was based on the theory of media dependency. A survey methodology was used, with the study specifically targeting 219 university students, using a questionnaire. The study results revealed that security media, in all its forms, is one of the most prominent means of disseminating information immediately and directly during crises and natural disasters. Through its various media, it enables the dissemination of awareness-raising media in various forms, reaching all segments in a manner that suits them. It also contributed to effective communication with the public, enabling the NCM to respond quickly to public inquiries and provide accurate and up-to-date information directly. This enhanced confidence in the NCM's work, thus raising awareness and improving response, thus containing the crisis and reducing losses. This was confirmed by statistical results, which confirmed a direct correlation between security media and enhancing the work of the NCM. For the audience, the study's recommendations include providing useful English-language content for residents who are not fluent in Arabic. A specialized team with the necessary translation skills and knowledge of meteorological vocabulary should be appointed to provide accurate and understandable translations that meet the needs of the target audience.

Research Summary
The current research represents an important step in addressing the issue of color variation and its role in enhancing visual discourse in modern women's textile designs. Color diversity is a powerful communication tool, given the attractiveness and excitement it creates for fabrics. Therefore, the designer's use of color stems from his need to explore visual impact to arouse the ideal instinct for vision and reconcile aesthetic and functional goals. He relies on color as a tool capable of enhancing visual discourse, stimulating interest through its contrast or harmony, and its ability to express ideas. From this perspective, the researcher addressed the question that constitutes the problem of her current research:
• Does color variation play a role in enhancing visual discourse in modern women's textile designs? The importance of the research lies in focusing on the effectiveness of difference in modern fabric designs and creating the power of visual stimulation and excitement through the research's contribution to demonstrating the role of difference in enhancing visual discourse in modern fabric designs and presenting it to specialists and workers in the field of design. The objectives of the research lie in revealing the effectiveness of color difference and its role in enhancing visual discourse in modern women's fabric designs. Regarding the objective limits of the research on color difference in modern printed women's fabric designs, the spatial availability in local markets, and the time period within the period 2024-2025. The terms were identified and an operational definition was established for each term. This concerns the first chapter of the research, which consists of four chapters. Regarding the second chapter, which consists of two sections, the first addressed the concept of difference and the concept of color (diversity - contrast - contrast) in women's fabric designs. Regarding the second section, it discussed the concept of visual discourse in design and then addressed the topic of the symbolic significance of color and its role in enhancing visual discourse in women's fabric designs. The third chapter dealt with the research procedures, as the researcher followed the descriptive survey method (content analysis), and the research community was represented by (16) diverse models related to modern women's fabric designs, and (4) models were chosen intentionally at a rate of 25% of the total research community, and their selection came according to what serves the research objectives. After that, the models were analyzed and discussed. Then, the fourth chapter dealt with the research results and conclusions, among the most important of which: It appeared through the analysis that the designer relied on the effectiveness of the color difference of the vocabulary with the intention of excitement and drawing attention to the fabric, which enhanced the effectiveness of the communicative discourse at a rate of 100%, i.e. for all the researched models. Then, the research was attached to the list of sources.