Journal of Nabu

Abstract
The research entitled (Representations of Theosophy in Modern Painting – Abstraction as a Model) aims to monitor and investigate this theosophical concept and the extent of its relationship in the field of art, especially painting. The research included four chapters. The first chapter was devoted to stating the research problem, which resulted in the following questions: What are the basic principles of Theosophy that found agreement or recurrence with the principles of modern painting? How were these principles translated into visual practices, whether in the apparent structure or the deep structure of the modern artist? What are the limits and impact of this relationship on the paths of abstract painting? The second chapter included two topics: The first topic: Theosophy between meaning and concept, while the second topic dealt with a historical reading in modern art. The third chapter included the research procedures, as it defined the framework of the research community, and selected sample models amounting to (5) five artistic visual texts. The treatments for managing the research and analyzing the sample models were reviewed, while the fourth chapter dealt with the research results, their discussion and conclusions.

The optical commercial advertisement is represented by a set of visual structural patterns that the designer intends to arouse the recipient’s motivation and stimulate him, as they affect him behaviorally and work to change his attitudes towards the advertised material, as this advertisement can achieve aesthetic goals that are reflected in the stock of knowledge that the recipient enjoys, which leads to its arousal. In order to achieve compatibility between the advertising purpose of advertisements and their functional and aesthetic construction, the researcher therefore defined his research problem by raising the following question: What are the structural patterns of optical commercial advertisement designs?
Since the current research aims to (reveal the structural patterns of optical commercial advertising designs), the researcher therefore adopted the descriptive analytical method, as it is the most appropriate method to achieve the research goal.
The research population consists of optical commercial advertisements spread in various parts of the world that were designed in the year (2023/2024). The researcher was able to obtain (87) optical advertisements through the information network (Net), so he considered them a population for his research. A random sample was selected from the research population amounting to ( 3) Models. The researcher used a set of statistical methods and the most important results were extracted:
- The constructivism of designs revealed multiple patterns that adopted shape, color, texture, and light, which brought about a shift in the expressive connotations that appeared in the form of shapes.
The most important conclusions are:
- The designer practiced his activity within the general cultural and social framework of society, as he focused on achieving aesthetic pleasure and public taste through his design experiments, which appear in his products using various media, including light.

The topic of new media introduced new concepts and ideas in terms of approaching theatrical text writing. It expressed new ideas in the field of theatrical writing and literature in general, due to the technologies it provides that have helped in communicating with other societies, with the aim of understanding other cultures and the concepts they perceive, which were previously difficult for other societies to understand. This study comprises four chapters. The first chapter focused on the methodological framework of the research and included the research problem centered around the following question: What is new media in Arab theatrical text? The importance and need for this research stems from its study of the global theatrical text as a corpus of new media knowledge and how it is represented by each playwright, pointing to aspects of writing and the mechanism of approach and presentation that require clarification and deeper understanding. The need for this research stems from its potential to benefit those working and studying in the field of literature and theatrical criticism, including students at colleges and fine arts institutes, as well as those specializing in the field of theatrical writing. The aim of the research was to identify new media in Arab theatrical texts. The research was limited to the year (2016), the location (Egypt), and thematically, to studying new media in the text .
The theatrical era of the Arab world). The chapter concluded by identifying the most important terms contained in the title and defining them in language and terminology. The second chapter focused on the theoretical framework and the indicators extracted by the researcher from the theoretical framework. It included two sections: the first section: New media concepts, and the second section: The influence of the media on the Arab theatrical text. The second chapter concluded with the indicators resulting from the theoretical framework. The third chapter, the procedural framework, covered the research community, which included the theatrical text, and the research sample within the temporal and spatial boundaries. The research tool was the indicators obtained by the researcher from the theoretical framework. The researcher also used the descriptive analytical method, consistent with the current research methodology. The fourth chapter included the most important results obtained by the researcher from analyzing and discussing the sample, as well as the conclusions and recommendations.

The concept of the "outsider" has preoccupied human thought, philosophers, and playwrights because it stood against the philosophy that dominated the spirit of the age, which said that human perfection is something that can be achieved. It presented the problem of contemporary man, addressing internal human issues that humanity shares and is entangled with. It portrayed the "outsider" character through his alienation, separation, and detachment from the bitter political, social, and economic reality and the suffering of society. It extended the probes of revelation to the darkest, deepest, and most hidden corridors of the psyche in its struggle for survival, and it infiltrated the rough and thorny aspects of life. This is what made the concept of the "outsider" associated with several contemporary theatrical trends and movements that adopted a theatrical path for the concept of the "outsider" at the level of the theatrical text. From here arose the idea of the current research, which includes four chapters: The first chapter dealt with the methodological framework that includes the research problem, which is centered in the following question: What are the manifestations of the outsider character in the contemporary Iraqi theatrical text? The importance and need for this research were established. The research aims to identify the manifestations of the alienated character in contemporary Iraqi plays. The research period is defined as 2020–2024, and the geographical scope is Iraq. The thematic focus is the study of the manifestations of the alienated character in contemporary Iraqi plays. The first chapter concludes with a definition of the key terms used in the research title.
The second chapter presents the theoretical framework and comprises two sections. The first section addresses the concept and philosophy of alienation, while the second section examines alienation in international plays. The second chapter concludes with a review of previous studies and the findings of the theoretical framework.
The third chapter focuses on the procedural framework (research procedures), including the research population, which consists of five contemporary Iraqi plays, and the research sample, which includes the play "Azeez." This sample was selected purposively. The chapter also includes the research methodology, the research instrument, and the sample analysis. Chapter Four addressed the results, conclusions, recommendations, and suggestions. Among the most prominent findings were:
1. The alienated individual expressed their detachment from homeland, place, situation, and society as a result of their feelings of isolation and lack of security and intimate cultural and social connections.
2. Alienation from human reality and its tragic circumstances led the alienated individual to believe in their own non-existence. The fear, terror, and inner turmoil caused them to experience nothingness and a disconnect from their true selves, leading them to fabricate a false identity and reject customs, traditions, values, and ideals.
The conclusions were:
1. The true problem of the alienated individual is their inability to accept their existence and their rejection of all the oppression, deprivation, persecution, and injustice they suffer, along with their tendency towards rebellion. This stems from their perception that human nature is inherently flawed, and it is their duty to confront this painful truth.
2. The "nonconformist" is a personality that withdraws from reality and identifies with the wishful thoughts that one weaves from the depths of their being. They are characterized by extreme introversion and withdrawal, and this trait is sometimes used to describe individuals with a tendency towards schizophrenia.
Then, the sources and references were listed.

Abstract:
The study comprised four chapters: Chapter One (Methodological Framework) was divided by the researcher into the research problem, the importance and necessity of the research, the research objective, the scope of the research, and a definition of terms. Chapter Two (Theoretical Framework) included the first section (The Concept of Performance Semiotics), the second section (Performance Techniques in Silent Theater), and a review of previous studies and indicators. Chapter Three consisted of the research population and sample. Chapter Four included the research results, conclusions, recommendations, and suggestions. Finally, there was a list of sources and references

The analysis of visual artworks is considered a foundational practice aimed at exploring the formal structure of the artistic composition, uncovering its symbolism and meanings to better understand the visual fabric that contributes to the interpretation of the painting. This research focuses on the aesthetic analysis of intertextual relationships between modern European painting and contemporary Iraqi painting. The study is divided into four chapters. The first chapter: includes the research problem, objectives, and boundaries—specifically - Topical boundary: studying the aesthetic structure of intertextual relations between modern European painting and contemporary Iraqi painting. Temporal boundary: the period between 1870 and 1999- Spatial boundary: Europe and Iraq- The second chapter consists of two sections: the first explores the concept and origins of intertextuality, while the second addresses the philosophy of aesthetics and its historical transformations. The third chapter presents the research methodology, including the population, sample, and analysis. The fourth chapter discusses the findings and conclusions, followed by recommendations and suggestions for future research. Key findings include: 1. The study revealed multiple intertextual overlaps between modern European painting and contemporary Iraqi painting, characterized by the use of expressive techniques derived from Western modernism within local Iraqi contexts. 2. The analysis demonstrated that Iraqi artists did not merely engage in visual borrowing but reinterpreted symbols and techniques, resulting in a visual discourse embedded in both Western and Eastern cultural references. Key conclusions: 1. The intertextual relationship between the two painting traditions is not simply one of influence, but a creative dialogue that reflects the dialectic of identity and cultural affiliation. 2. Understanding visual intertextuality enriches the reading of artworks by revealing the philosophical and aesthetic backgrounds shared by Western and Iraqi experiences

This research studies [academic tension in school theater texts].
Stress affects the student’s personality, making him fearful and frustrated, unable to make the right decisions, and unable to achieve advanced academic levels.
Especially if the stress increases beyond its limits, it leaves negative effects on the student’s behavior and personality.
Research has shown that stress affects students’ intelligence, as it leads to a decline in their academic performance, creates psychological and physical pressures, and reduces the motivation to succeed.
School theatre has a great impact on developing students’ abilities, enhancing self-confidence, instilling a spirit of group cooperation, and motivating students to be creative and raise their academic level.
It is the main tool for self-development and personality integration, and it is the most successful modern educational method in the field of education. It works to transform the curriculum into a smoother and more enjoyable way in a dramatic way.
It develops scientific capabilities within the school while preserving the integrity of the Arabic language, developing imagination among students, and innovating the cultural life of the school.
And to provide them with new qualities such as a sense of responsibility, enhancing respect, and reducing psychological pressures such as tension, anxiety, and fear. It is a means of alleviating stress within the school, with a statement of the methods that help students get rid of stress. Such as relaxation, attention, exercise, and listening to music to get rid of negative energy and bring positive feelings that stimulate positive energy in students.
The research is divided into four chapters:
Chapter One (the methodological framework of the research) includes the research problem centered on the following question:
How to relieve academic stress in school theatre texts?
The research demonstrates its importance through studying academic stress through a psychological, social and educational study that reduces its pressure on primary school students and maintains the academic level.
The research aimed to identify (the study of academic tension and its mitigation in school theatre texts), while defining the spatial and temporal boundaries. The chapter concluded by defining the terms tension and school theatre.
The second chapter (the theoretical framework) dealt with three topics:
1- The concept of academic stress.
2- The importance of school theater and its role in reducing stress.
3- Methods for dealing with academic stress among primary school students, and indicators resulting from the theoretical framework.
The third chapter dealt with the research procedures, where the researcher defined the research community from (eight) theatrical texts.
The play (The Grand Prize) was analyzed as a research sample, and the intentional sample was chosen for its consistency with the research community. The researcher relied on the indicators of the theoretical framework as analytical criteria.
Chapter Four contains the researcher's findings in her research:
1. Stress is an obstacle to achieving goals and ambitions.
2. Encouragement and relaxation have an impact in reducing stress.
Conclusions:
1- The positive energy that school theater creates in its texts has an impact on reducing academic stress.
2- Enhancing self-confidence and willpower in order to reduce stress, then providing a list of sources, references, and a summary of the research in English.

Although significant progress has been made in employing modern technologies within contemporary interior spaces, there remains a noticeable gap in achieving a fully integrated and effective synthesis between technological advancements and design formations. Consequently, interior designers strive to examine these technological achievements—along with their associated design configurations—in shaping interior environments, with particular attention to the detailed concept of technological accomplishment in its design-oriented context. Emphasis is placed on the role of design formations in contemporary interior design, as they are considered fundamental concepts and among the most responsive to the evolving conditions of each era. They represent the visual outcome of the design process, expressed through their aesthetics and their alignment with functional purposes, upon which the design framework of contemporary restaurant interiors is established.

Through the researchers’ review of numerous restaurant designs, it became evident that clear components exist which enhance the effectiveness of technological accomplishment and the design formations it produces within contemporary interior spaces. Accordingly, the research problem is articulated through the following questions: What are the essential components of technological accomplishment? And what is its scientific role in realizing design formations within contemporary interior spaces?

The objective of this study is to identify the components of technological accomplishment and to explore its scientific role in shaping design formations in contemporary interiors. The research encompasses the theoretical framework and methodological procedures, employing a descriptive-analytical approach (content analysis). Finally, the study presents key findings, conclusions, recommendations, and future suggestions, along with a comprehensive list of Arabic and international references

The current research dealt with (employing the vocabulary of Chinese architecture in contemporary ceramic works, an applied study) in an attempt to study how to employ the vocabulary of Chinese architecture in contemporary ceramics. The researcher went to study this through four chapters. The first chapter is the research methodology, which includes the research problem, where the important question is how to employ the vocabulary. Architecture in contemporary work, and what are the mechanisms followed for employment, and secondly, the importance of research, as what is the importance of employing the vocabulary of Chinese architecture in contemporary work, and what are the goals of research in employing the vocabulary of Chinese architecture, and the limits of the research and what it produced, the temporal, spatial and objective limits, and the definition of research terms. The second chapter includes the theoretical framework consisting of two sections: the first Ancient Chinese architecture and the second topic: contemporary Chinese ceramics in terms of form and technique. The third chapter is devoted to research procedures, where 4 models were created and analyzed, and the fourth chapter includes the results, including. 1.The process of borrowing the vocabulary of ancient Chinese architecture into a contemporary work that gave it artistic value and a renewed vision characterized by the fusion of the present and the past .
2.Harmony and interconnectedness between the vocabulary of Chinese architecture and the general composition of the form, which is characterized by contemporaneity

Abstract
Fabric design, as a field of art, is inherently linked to the intellectual and technical variables of the era. This drives the creative designer toward evolution and innovation to produce textile materials characterized by diversity, connectivity, and visual appeal. Fabric designers seek to utilize renewable artistic movements, including the Bauhaus school, to enhance their creative capacities and develop designs that achieve contemporary aesthetic and functional dimensions.
The Bauhaus school, established in 1919 in Germany, serves as a hub for merging fine arts with applied arts. It transformed the spiritual objectives of art into functional goals with an artistic spirit, grounded in simplicity, reductionism, and a return to primary geometric shapes and basic colors.
The principles of this school are manifested in contemporary fashion fabric designs through the marriage of art and technology, the emphasis on clarity and purity in design, and the exploitation of the relationship between form and space. Bauhaus art has succeeded in creating effective means to transcend stereotypical traditions and add a modern utilitarian aesthetic that aligns with the pace of contemporary development, making products more attractive. This is evident in the employment of straight and broken lines and abstract geometric shapes in women’s fabric designs, evoking impressions of strength, rectitude, and sharpness in garment styling. Furthermore, structural elements such as the point, line, and color play a pivotal role in constructing the visual form; the point provides a focal force of attraction, lines offer fluidity and movement, while primary and contrasting colors support the thematic and stylistic unity of the design.
The stylistic diversity emanating from the Bauhaus school aims to eliminate monotony and boredom through the innovation of varied compositional units that stimulate vitality and activity within the design space. The designer possesses the energy to draw inspiration from modern artistic movements, enabling the harmonization of forms with materials and fashion to achieve utilitarian, cultural, and symbolic objectives. Thus, the Bauhaus style in fabric design represents a sentimental medium carrying an aesthetically and functionally evaluative message that accords with modern requirements and fulfills the evolving desires of the recipient.

Research Summary:
This research addresses the concept of "self-postponement" in contemporary American ceramics. The research problem is defined by the following question: "How is the process of self-postponement implemented in contemporary American ceramics?" The research aims to identify self-postponement in contemporary American ceramics. The theoretical framework is divided into two sections: the first addresses the concept of self-postponement philosophically and critically, and the second explores artistic approaches in American ceramics. Three selected examples are then analyzed. The research concludes with a set of findings and conclusions, the most important of which is that the aesthetics of contemporary American ceramics arise from the effectiveness of self-postponement, which leads to a field of meaning specific to contemporary ceramic work…The following is a list of sources and references.

Summary
Addressing the topic of museums is a vital and important topic due to the intellectual, cultural and economic aspects it provides to the country. Given that this edifice represents a point of attraction for the world, the design must embody a specific idea through organizing and coordinating its structural levels mixed with creativity with a content that expresses the civilization and heritage of the country. Accordingly, the researcher presented the topic of his research entitled “Symmetry Content that expresses the civilization and heritage of the country, and accordingly the researcher presented the subject of his research entitled “The System and Characteristics of the Structural Levels of the Design Work (A Case Study of the Iraqi Museum Hall)”, and the methodological framework included defining the research problem with the following question: What does the system and characteristics of the structural levels of the design work depend on - the Iraqi Museum Hall in Baghdad (as a model)?.” While the importance of the research lies in its highlighting of the study of design patterns as well as the study of the characteristics of the structural levels of design work, relying on the importance of studying design systems that express the specificity and identity of the country. While it aims to reveal the researcher's study of the pattern and characteristics of the structural levels of the design work of the hall of the Iraqi Museum in Baghdad (as a model). The research study also included the theoretical framework axes as well as the research procedures represented by the research methodology based on the descriptive analytical approach (case study). Finally, the research study included extracting the most important results, conclusions, recommendations and future proposals.

Abstract
This research is concerned with studying The Dialectics of the Image in Iraqi Theatrical Performance: A Case Study of the Play Bayt Abu Abdullah. The study is organized into four chapters. Chapter One, the methodological framework, includes the research problem and its necessity, as well as the importance, objectives, boundaries, and definitions of terms (such as "image"). Chapter Two, the theoretical framework, consists of two sections in addition to the review of previous studies: the first section discusses the dialectics of the image according to philosophical schools and its relationship to space, while the second section addresses the dialectics of the image in contemporary performance. This chapter also includes previous studies and a number of theoretical indicators. Chapter Three is the procedural framework, which comprises the research sample, methodology, research tool, and sample analysis. Chapter Four presents the results and their discussion, through which the research arrived at certain conclusions, followed by recommendations, suggestions, and the list of references.

The study included four chapters, the first of which was to identify the research problem, which was summarized in the following question: (What is individuality and its manifestations in the play Nouria? And a statement of its importance and spatial, temporal and objective limits, and the researcher identified the following terms (individuality, performance, monodrama), and the second chapter formed a theoretical framework for the study, which included two sections, the first: conceptual individuality and came Second: individuality in the performance of the theater actor monodrama and concluded the chapter with the most prominent indicators that resulted from the framework of the fresh, and the third chapter was devoted to research procedures 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 individuality in the performance of the actress in the theatrical presentation, and finally the researcher developed recommendations and proposals and fixed the list of sources.

Abstract
This research is a serious attempt to identify the stylistic transformations in Sirwan Baran's works. This allows art students and connoisseurs to explore this experience and develop a new perspective for reading it. This is due to its great importance in contemporary Iraqi painting, its historical integrity, and the duty to preserve and develop it to suit modern life. The researcher relied on several sources in his research, which in turn helped him undertake this research. This modest research comprises an introduction and four chapters. The first chapter addresses the methodological framework, while the second chapter addresses the theoretical framework in three sections. The first section addresses the concept of transformation in artistic styles, while the second section addresses the aesthetic foundations of contemporary Iraqi painting. The third section covers the technical and aesthetic diversity in Sirwan Baran's works. The third chapter addresses the research procedures, while the fourth chapter addresses the results, conclusions, recommendations, and proposals, followed by the most important sources and references

Abstract
The presence of irony and satire in Pop Art did not emerge arbitrarily, but rather as a deliberate response to the bleak realities imposed by the two World Wars—an era in which human value diminished, and commodities became the new standard of worth. Recognizing the critical and humanistic significance of this artistic phenomenon, the researcher undertook an investigation into irony in Pop Art, with a particular focus on its realistic features. Accordingly, the study was titled: "Irony and Realistic Features in Pop Art."The research aimed to define the conceptual framework of irony and realism within the context of Pop Art. The study was structured across four chapters. The first chapter addressed the research problem, its significance, and the scope of inquiry. The second chapter constituted the theoretical framework and comprised two key sections: a conceptual overview of irony, and an exploration of realism in Pop Art. It concluded with a synthesis of indicators derived from the theoretical review and previous studies. The third chapter detailed the research methodology, employing a descriptive analytical approach. The researcher utilized indicators from the theoretical framework to construct the analytical tool, which was applied to the examination of three selected artworks. In the fourth chapter, the findings revealed through analysis led to several key conclusions—most notably, that the relationship between irony and realism in Pop Art is integrative in nature, serving a critical function aimed at deconstructing and confronting contemporary consumer culture. Finally, the researcher offered recommendations and proposed directions for future complementary studies to further develop the topic.

This research investigates the technical production of underglaze pens and their applications on ceramic surfaces. The aim of the study was to explore the technical production of underglaze pens and their applications on ceramic surfaces.
Chapter Two presents the theoretical framework and is organized into two main sections. The first section addresses the scientific foundations of underglaze coatings, while the second focuses on coloring pigments and their material properties. Chapter Three outlines the methodological procedures adopted in the study, whereas Chapter Four provides the results along with an analytical discussion.
The key findings derived from the research can be summarized as follows:
1. The adopted formulation for producing underglaze pens demonstrated high efficacy in generating structurally homogeneous samples with adequate hardness for artistic applications.
2. The pens exhibited considerable mechanical strength, rendering them resistant to fragmentation and breakage, and enabling sharpening without compromising structural integrity.
3. The pens showed strong adhesion to ceramic bodies, with the possibility of modifying drawn lines prior to firing, thereby enhancing both the precision and adaptability of artistic execution.
4. The executed drawings retained their clarity and stability after the initial firing, indicating sufficient thermal stability without the need for additional fixation processes.
5. The pens displayed compatibility with transparent glaze coatings, maintaining color integrity and resisting flaking, which supports their integration within standard glazing procedures.
6. Surface smoothness of the ceramic body was found to be a critical factor in achieving precise linear definition, whereas surface roughness contributed to a noticeable decline in drawing accuracy.
7. The drawings preserved their visual stability following both the initial firing and the application of transparent glaze, confirming the pens, consistency across multiple firing stages.
8. The pens demonstrated the ability to generate distinct tonal gradations when layered, without producing unwanted color blending.

In recent years, there has been significant development in modern technologies, which contributed to the emergence of smart interior spaces that employ technologies such as the Internet of Things (IoT), Artificial Intelligence (AI), and automated control systems. These technologies are no longer limited to enhancing efficiency and comfort only, but also support sustainability, reduce energy consumption, and meet users’ needs in innovative ways. However, their success depends on achieving functional interdependence among the various elements to operate harmoniously within the space. In light of this, the research problem is manifested in the following question: How can modern technologies achieve functional interdependence in smart interior spaces?
The research objective is to clarify how modern technologies can be employed to achieve functional interdependence in smart interior spaces. Meanwhile, the first chapter includes its spatial and temporal boundaries, represented by interior spaces (living rooms in smart villas) in the United Arab Emirates and Qatar (the Arabian Gulf) for the period (2021 – 2023). The research also included the theoretical framework as well as research procedures, represented by the research methodology, which relied on the descriptive-analytical approach. Finally, the research included deriving the most important results, conclusions, recommendations, future suggestions, and the beneficiaries of the research.

The Audiovisual media are an essential element in constructing the aesthetics of contemporary European Sufi theatre. They are no longer merely technical tools, but rather a symbolic and spiritual language that reshapes the theatrical performance space. In this field, Sufi music and recurring vocal rhythms are employed to revive the ritual of listening, while lighting, colours and digital projections are used to embody Sufi concepts such as annihilation, revelation and light.
This employment contributes to transforming the stage into a spiritual presence space, allowing the audience to experience an immersive experience that transcends traditional reception and embraces emotional participation, such that the audience becomes part of the theatrical presence. Furthermore, the combination of Sufi symbols and modern technologies reflects European theatre's ability to re-interpret Sufism with a contemporary spirit that combines spiritual authenticity and artistic innovation.
Thus, the aesthetics of audio-visual media in contemporary European Sufi theatre demonstrate that they are not merely means of dazzle, but rather aesthetic and spiritual bridges that transport the Sufi experience from its inner dimension to a tangible artistic space, enriching the contemporary theatrical structure and giving it a contemplative dimension that transcends the boundaries of entertainment to spiritual and aesthetic knowledge

Abstract
Iraqi painting in the twentieth century underwent profound transformations, extending from traditional imitation to modernity, influenced by deep intellectual, social, cultural, and political changes within Iraqi society. This study aims to examine the philosophical, aesthetic, and cultural implications of Faiq Hassan’s (1914–1992) works and to analyze his prominent role in the transition of Iraqi painting from traditional forms to modernity in a systematic and clear manner. Through combining Iraqi heritage elements with modern artistic approaches, Hassan established a new visual language that reflects Iraq’s cultural and social identity while aligning with global modern art trends and contemporary artistic developments. The research employs a descriptive-analytical methodology, analyzing a selection of his most significant works to uncover the artistic techniques, styles, and cultural symbols used, illustrating how each piece embodies the shift from traditional to modern painting. The study’s significance lies in highlighting Hassan’s role as a key figure in shaping modern Iraqi visual identity and providing a comprehensive analytical framework for understanding the relationship between tradition and modernity in Iraqi painting.
Keywords:
Faeq Hassan, modern Iraqi painting, visual identity, modernism, cultural heritage

Abstract :
The researcher’s study consists of four chapters . The first chapter includes the research problem , its significance, and the main objective , which is to explore how Iraqi theatrical directing engages with technology from both technical and aesthetic perspectives . The researcher also identified the spatial , temporal , and thematic boundaries of the study , and defined its key terms .
The second chapter presents the theoretical framework , which is divided into two sections . The first section discusses the historical development of theatrical directing , while the second focuses on the relationship between theater and technology in both global and Arab contexts .
The third chapter covers the research methodology , the research community , and the sample , which consists of selected Iraqi theatrical performances that have incorporated technological elements . These samples were analyzed according to the indicators derived from the theoretical framework .
In the fourth chapter, the research presents a set of findings and conclusions , followed by recommendations and suggestions. Finally , the researcher includes a list of references , and concludes with the title and abstract in English .

Abstract
The research, titled "Visual Color Preference According to the Big Five Personality Traits Theory Among Middle School Students," comprises four chapters. The first chapter presents the general framework of the research, including the current research problem, which can be summarized as answering the following question: What is the nature and type of relationship between visual color preference and the Big Five personality traits among middle school students? It also highlights the importance of the research, which lies in visual color preference according to the Big Five personality traits, and outlines the research limitations. The second chapter addresses the theoretical framework and contains two sections: the first covers visual color preference, and the second covers the Big Five personality traits. The third chapter details the research procedures, including the research methodology (descriptive correlational), the research population, and the sample. The researcher selected a random sample of 300 middle school students and applied measurement instruments to the sample after establishing their validity and reliability. The fourth chapter presents the results, and based on these findings, the researcher formulated a set of conclusions, recommendations, and suggestions.

Abstract
Line is a fundamental element in visual art in general and graphic art in particular, as it reveals the artistic vision and highlights the importance of the subject matter. Its application varies, whether using soft or rigid lines, or a combination of both, to achieve harmony and creative expression. A work of art is incomplete without its lines. The emergence of printing was linked to seals in Sumerian civilization, then spread to later civilizations, evolving from flat to cylinder seals, eventually reaching modern states and preceding civilizations such as Japan, India, China, and the Islamic world, and finally Europe in the eleventh century. This development was not a return to primitivism but rather an advancement towards a contemporary culture, where twentieth-century artists drew upon ancient experiences to forge a renewed aesthetic and technical concept. Thus, printmaking has become one of the most prominent arts of the modern era due to its ability to spread and its intellectual and cultural influence. With the unique character of graphic art, which has given calligraphy a distinguished place, making its study a fundamental pillar for understanding this art and its development, the current study, entitled "The Aesthetics of Calligraphy in Contemporary Iraqi Graphic Art," comprises four chapters, as follows: Chapter One: The methodological framework of the research includes a review of the research problem, which revolves around the following question:
What are the aesthetics of calligraphy in contemporary Iraqi graphic art? The study then addresses the importance of the research and the need for it, and the research objective, which included identifying the aesthetics of the line element in contemporary Iraqi graphic art. The study then defines the scope of the research, including the thematic, spatial, and temporal dimensions. The researcher chose the period from 1960 to 2018 to encompass the research problem from its beginnings. The list of terms that were defined is then provided. The second chapter is the theoretical framework of the research, which includes three sections: the first section: the value of expressive lines and their symbolic significance in composition; the second section: graphic techniques and their role in shaping the line element; and the third section: the environment and its role in formulating the visual discourse of contemporary Iraqi graphic art. The second chapter in the theoretical framework then yielded a set of indicators that helped the researcher in guiding her analysis of the research sample. The third chapter includes the research procedures, which consist of the research population, the research sample, and the methodology used in the analysis, which is the descriptive method. Then the analysis of the research sample is followed by the fourth chapter: the results, conclusions, recommendations, and suggestions. The researcher reached a number of conclusions, the most important of which are:
1. Line is important in the artistic composition of graphic art, due to its fundamental role in defining shapes, separating spaces, diversifying textures, and harmonizing the artistic elements.
2. Line represents a fundamental axis in the structure of contemporary Iraqi graphic art, as it constitutes an indispensable aesthetic and expressive element.

This research focuses on the topic of "Abstraction and Experimentation in Contemporary Iraqi Painting." It comprises four chapters, the first of which addresses the research problem, posed by the question: How are abstraction and experimentation embodied in contemporary Iraqi painting? The chapter also discusses the importance and objective of the research (to define abstraction and experimentation in contemporary Iraqi painting). The scope of the research is limited to studying the concepts of abstraction and experimentation in Iraqi painting during the period 1999-2025. This is followed by a definition of key terms. The second chapter (the theoretical framework) includes two sections: the first examines "Abstraction and Experimentation in Art," while the second focuses on the paintings of Iraqi artists (experiments and abstractions). Chapter Three (Research Procedures) included the framework of the research community, the research sample of (4) drawn models selected purposively, the research instrument, and the analysis of the sample models. Chapter Four (Research Results, Conclusions, Recommendations, and Suggestions) included the following key findings:
1. The expressive and symbolic values inherent in the forms have deepened. The visible object no longer imposes pressure on the artist but rather subjects it to a subjective vision that guides the forms to adopt abstract formal relationships.
2. The prevalence of the design style among many Iraqi artists, its integration with abstract styles, and the act of experimentation have resulted in impactful formal formulations that have enhanced the maturity of the aesthetic meaning of the ideal and the sensory

Abstract:
This research examines (The Anthroposophical Imagination of Caricature in Jean Gérard's Prints), and it is organized into four chapters. To begin with, the first chapter addresses the research problem, its importance, necessity, aim, limits, and the identification and definition of the terminologies contained in the title. Furthermore, the second chapter presents the theoretical framework entitled (Axiology: a vision or a reality) and discusses the axiology in each of the Holy Quran, Al Hadith Al-Sharif, and contemporary Iraqi art. The third chapter focuses on the research procedures, including the research community (which amounted to 28 visual artistic works), the research sample (which amounted to 3 contemporary Iraqi works), and the analysis of the sample. Finally, the fourth chapter outlines the research findings, conclusions, recommendations, and suggestions.

Artistic expression among children with disabilities reveals the psychological and social symptoms and pathological conditions they suffer from. Based on their importance as a social group that should be active, the research title is: (Artistic expression in the drawings of children with special needs), the study included four chapters, the first of which was the methodological framework, where the research problem was represented by the following question: (What is artistic expression in the drawings of children with special needs?), in addition to stating its importance, purpose, limits and defining the terms, and the second chapter formed a theoretical framework for the study, which included two topics, the first: artistic expression, and the second: Children with special needs, and concluded the chapter with the most prominent indicators that resulted from the theoretical framework, and devoted the third chapter to the research procedures by adopting the descriptive approach in the analysis, and relied on the indicators in analyzing its sample, and concluded in the fourth chapter by establishing the most prominent results that she reached through analyzing the sample and considered it an expression for determining the conclusions of her research, and the researcher mentions among them: The expressions of children with special needs in their drawings were consistent with their age, with simplicity and clarity present in all the drawings.

Abstract
It is certain that the constructiveness of semantic formation and its embodiment in the cinematic film space is one of the important requirements that contribute to enriching the cinematic discourse and enriching its contents and hidden agendas and deepening its intellectual structure. Since cinema is the most influential communication channel in society with its broad capabilities to influence the awareness of recipients and in directing public opinion and with its great potential to transmit ideas and convey political proposals and social values, the importance of the political narrative film has emerged as a result of what its cinematic space and its visual formations contain of connotations, symbols, signals and signs, which contributed to the interest of politicians, decision-makers and filmmakers in investing in it as an important tool for spreading political and ideological awareness and various ideas that stem here from the audio-visual system, where the influential capabilities of sound and the expressiveness of the cinematic image with its mental and symbolic connotations and visual connotations that derive their presence and formation according to the activation of the semiotic approach and its employment in the multiple film formations. According to this meaning and content, the research was divided into four chapters. The first chapter dealt with (the methodological framework), which included the research problem, which was represented by The following question is asked: What are the ways in which the semantic formation is embodied in the structure of the political narrative film? It also included the importance of the research and the need for it, and then the aim of the research, which is to reveal the ways in which the semantic formation is embodied in the structure of the political narrative film. As for the second chapter (the theoretical framework), it included three topics: The first topic: semantics and cinematic form. The second topic: cinema and politics. As for the third topic, it is: semantic work in the structure of the political narrative film. The researcher came out of this framework with indicators that were adopted as a tool for analyzing the research sample. As for the third chapter, it contained (research procedures), then after that, the fourth chapter included (results and conclusions), and finally, a list of sources.

This research examines ancient Babylonian complex forms, focusing on the psychology of form and mythology, and their connection to complex forms. The influence of mythology on the human self takes on different aspects, including a sense of connection to the universals of existence. It borrows images of living beings and transforms them into a creative system, a tool of creative structure throughout the history of fine art. Babylonian art, in essence, was one of the most important intellectual means of transforming the chaos of illusion into perceptible and tangible images. Therefore, the system of Babylonian statues, relief sculptures, mural paintings, and pottery serves as an expression of the transformation of the energy of thought from merely naming things to forming symbolic concepts. All models were created as an application of ancient, complex shapes in contemporary ceramic models, in accordance with the researcher's design vision. The influence of ancient Iraqi civilizations on the researcher's ideas and culture made these civilizations a source of inspiration for his ideas, which led to their embodiment in contemporary ceramic works. The researcher recommends using the ribbon and rope shaping technique to create ceramic works with complex shapes, as shaping using these methods is the best way to embody such works.

The research entitled (Technical Treatments in the Visual Discourse of Comic Art) deals with the nature of comic art since the moment of its emergence on the artistic scene as an art that emerged in the United States of America. This research contains four chapters, the first of which is the methodological framework of the research represented by the research problem that is embodied through answering the following question (What are the technical treatments in the visual discourse of comic art) The research boundaries were limited to comic art for the period extending from 1920 to 1980 AD and the spatial boundaries were limited to (the United States of America). The first chapter concluded with a definition of the terms specific to the study in question. The second chapter contains three sections. The first deals with "The Concept of Technology" in general. The second section, entitled " Visual language ," addresses the most important philosophical views in the technical field. The third section deals with "Comic Art," its methods and techniques. The third chapter deals with the research procedures, which focus on the research community, which comprises (71) visual texts. Samples, totaling (6) artworks, were intentionally selected. The researcher adopted the descriptive and analytical approach to the research. The fourth chapter presents the results, conclusions, recommendations, and proposals. Among the most important findings are:
1- There are technical treatments for "Comic Art" at the level of the elements of artistic composition, through (shape), (color), and (line), which have been present since its inception until the eighties.
2-Comic Art" paved the way for the emergence of "digital art" and was considered the first step towards entering the world of technology.

Abstract
The concept of emanation is one of the important terms that moved from its initial philosophical and literary field to the field of theatrical arts, to form a bridge for cognitive, human and religious communication between various cultures and over time. The term is no longer just a metaphor but has become an analytical tool for understanding dynamism and has become one of the terms dealt with in theatrical texts and other literary cultures, in accordance with the orientations of the writers and their eras. The research included four Chapters, the first chapter (the methodological framework), which includes the research problem as it is framed in the following question: (What are the connotations of cognitive overflow in Shakespeare’s theatrical texts). The importance of the research included studying the overflow in the global theatrical text and the connotations it carries in critical human, philosophical, and religious studies, leading to the goal of the current research, which is to identify the connotations of overflow in Shakespeare’s theatrical texts. As for the limits of the research: Spatially (England) and temporally (1610), the objective limit focuses on studying the flow in Shakespeare’s theatrical texts, leading to defining the important research terms. As for the second chapter, the theoretical framework consists of two sections, the first (the flow in Western philosophy), and includes a review of the nature of the flow according to the opinion of Western philosophers, and the second section bears the title of flow in the global theater, and includes the experiences of many international playwrights, and the chapter concludes. With indicators, as for the third chapter, the research procedures, which consists of the research community and the research sample, which consists of one theatrical text (the play The Storm). As for the research methodology, the researcher adopted (the analytical approach) in the theoretical framework of the research. As for the research tool, the researcher relied on the indicators of the theoretical framework in analyzing the sample. As for the fourth chapter, it consists of results, conclusions, recommendations, and proposals, and concludes with a list of sources and references