Journal of Nabu

Abstract:
The current research, "Movement and Direction: Between Function and Aesthetics in the Two Minarets of the Holy Shrine of Imam Ali," attempts to uncover the concepts and value-based relationship between the movement and direction of the two minarets of the Holy Shrine of Imam Ali and their functional and aesthetic aspects.
The research comprises three chapters. The first chapter presents the research problem, posed as the following question: What is the relationship between the movement and direction of the two minarets of the Holy Shrine of Imam Ali, between their functional and aesthetic aspects? The chapter then outlines the importance and necessity of this study, in addition to:
Research Objective: (To identify the movement and direction between the functional and aesthetic aspects of the two minarets of the Holy Shrine of Imam Ali)
1. Research Scope: Temporal Scope: The period from 1742 to 2019 CE, due to the ongoing maintenance and gilding of the portico, minarets, and dome during the period from 2020 to 2026 CE.
2. Spatial Scope: (Iraq - the city of Najaf).
3. Thematic Scope: To explore the concepts of movement and direction and their effectiveness in relation to the functional and aesthetic aspects of the two minarets of the Holy Shrine of Imam Ali. This also includes defining the research terminology.
Chapter Two (Theoretical Framework) comprises three sections: the first, Functional and Aesthetic Aspects in Islamic Architecture; the second, Movement and Direction in Islamic Architecture; and the third, Examples of Minarets of Holy Shrines in Iraq. Chapter Three (Research Procedures) addresses: 1- The Research Population; 2- The Research Sample; 3- The Research Methodology: Descriptive Methodology using Content Analysis; and 4- Analysis of the Study Sample. The research concludes with the most important findings, conclusions, recommendations, and suggestions. The most important scholarly sources are also documented.

Abstract
The current research dealt with the study of (Women and Contemporary Art between Identity and Freedom in the Face of Oppression) and is divided into four chapters. The first chapter was devoted to explaining the methodological framework of the research, which was represented by the research problem that sheds light on how contemporary art contributes to empowering women to express their identity and their pursuit of freedom in light of the various forms of oppression. The first chapter also contained the aim of the research: to identify the role of contemporary art as a means through which women express their identity and aspirations for freedom, in light of the forms of social, cultural and political oppression they face. The research limits were limited to the works of contemporary Egyptian female artists from (2011-2025). The second chapter included two topics: the first topic dealt with (Women and Identity in Contemporary Art), while the second topic included: (Art as a Space for Freedom in the Face of Oppression). The third chapter included the research procedures. The researchers adopted the descriptive analytical approach in analyzing the research sample, which amounted to 3 plastic works by contemporary Egyptian female artists, with the help of the indicators that resulted from The theoretical framework is discussed. Chapter Four includes the most important findings: identity as a fragile entity vulnerable to collapse when freedom is confiscated, and oppression manifests itself through the obliteration of features and the fragmentation of the human form, reflecting the loss of the ability to express and adhere to oneself. The conclusions are: The three works used powerful visual symbols (the beard, the Nile, and the breaking of the bones) to depict an internal and external conflict between the self and the sources of authority.

This study demonstrates that Bohemianism is not merely a historical phenomenon or a social lifestyle, but rather a comprehensive intellectual and aesthetic framework based on the principles of individual freedom, rebellion against prevailing value systems, and the pursuit of authentic human experience in artistic expression. The research, within its theoretical framework, examines the origins and development of Bohemianism, exploring its intellectual foundations related to the rejection of social conformity, the affirmation of individual identity, and the embrace of the margins as spaces for creativity and liberation. It also explores its aesthetic foundations, which are based on breaking academic rules and embracing experimentation and spontaneity. In a related vein, the research addresses the transformations of contemporary Czech art in light of the political, social, and cultural changes that the Czech Republic has witnessed, particularly after periods of ideological isolation. These transformations contributed to creating a fertile environment for the emergence of artistic trends that reflect the spirit of Bohemianism as a contemporary discourse intersecting with issues of freedom, identity, and social critique. This research adopted a descriptive-analytical approach, selecting a purposive sample of four paintings by contemporary Czech artists. These paintings were analyzed visually and artistically to reveal representations of bohemianism on both intellectual and aesthetic levels. The results showed that these representations manifest themselves intellectually through themes of alienation, individualism, the exploration of marginalized identities, and implicit critiques of prevailing social structures. Aesthetically, they are embodied through stylistic experimentation, visual deconstruction, the use of expressive symbolism, and spontaneity in artistic expression. The study also revealed the dialectical relationship between the intellectual and aesthetic dimensions, where visual form is inseparable from its content. Rather, it becomes an expressive medium reflecting the artist's intellectual stances, thus transforming the artwork into a space for exercising creative freedom and confronting traditional constraints. Accordingly, the study confirms that Bohemianism in contemporary Czech painting is not merely a stylistic trend, but rather constitutes an integrated discourse in which intellectual and aesthetic dimensions intertwine within a single expressive structure, reflecting the transformations of contemporary artistic consciousness and its pursuit of redefining the relationship between art and life.

Research Summary
This research examines the representations of strange worlds in the drawings of Makki Imran. It comprises four chapters. The first chapter outlines the research problem, its significance, the need for it, and its objective: to identify the representations of strange worlds in Makki Imran's drawings. The research scope was defined as the period from 2014 to 2024 within Iraq. This chapter also defines the terminology used throughout the work.
The second chapter presents the theoretical framework, which includes two sections. The first section addresses the concept of strangeness and the concept of strange worlds. The second section examines the strange worlds in Makki Imran's works, culminating in the extraction of key indicators from the theoretical framework.
Chapter Three addressed the research procedures, including the research population (25 models), the research sample, the research instrument, the analysis of the research sample, and the research methodology, which relied on the descriptive approach (content analysis) and statistical methods. It concluded with the analysis of three sample models, representing the primary research sample, spanning the years 2014-2024, and encompassing the works of the artist Makki Imran.
Chapter Four presented the research results, conclusions, and recommendations. Among the findings:
1. It is evident that the artist Makki Imran employed a hybrid pictorial composition that blends the familiar and the unfamiliar, resulting in the "strange world" in his works. This is the outcome of a conscious symbolic transformation of existing elements into imaginative forms, as seen in samples (1) and (2).
2. The study revealed that the artist, Makki Imran, employs a modified physical and spatial vocabulary that transcends the boundaries of realistic representation. This reinforces the emergence of worlds with an independent visual logic, based on deconstruction and reconstruction, as seen in sample (3).

Among the conclusions of this study are:
1. That Makki Imran's "strange world" is not merely a formal tendency, but rather an aesthetic strategy aimed at reformulating reality through the gateway of imagination, and providing a space for expressing psychological and social tensions, as seen in the sample.
2. It became clear that the artist relied on deconstructing the structure of traditional form as a means of disrupting familiar patterns of perception, indicating his awareness of the power of distortion and transformation to reveal profound levels of human experience.

Since art is a human product in which the artist skillfully employs materials to continue a creative human experience, the material is one of the most essential elements of an artwork (material, form, and expression). It serves as both the shape and the tool that helps the artist create an aesthetic subject, defining the form of art and its method of composition. Thus, this research, titled "The Utilization of Waste in Contemporary Sculpture," was conducted, comprising four chapters.
The first chapter focuses on the research methodology, addressing the research problem, which revolves around the following question:
To what extent can waste be aesthetically utilized in contemporary sculpture?
The research aims to explore the possibilities of employing waste in contemporary sculpture, with its thematic scope centered on the production of contemporary sculptural works created by a group of contemporary sculptors using various waste materials. The research's temporal scope is (1990/2025), and its spatial scope is within the United States of America. Additionally, the chapter defines and clarifies key terms related to the study.
The second chapter (theoretical framework) consists of two sections:
● The first section: "Utilization of Waste in Modern Sculpture."
● The second section: "Utilization of Waste in Contemporary Sculpture."
The chapter concludes with key indicators derived from the theoretical framework.
The third chapter (methodology) addresses the research population, selecting a sample of three models, as well as detailing the research tools, methodology, and sample analysis.
The fourth chapter presents the results, including the following key findings:
1. Waste materials offer vast creative potential in contemporary sculpture due to their ease of formation and quick execution, providing sculptors with significant flexibility in shaping and assembling works.
2. Various types of waste materials, differing in texture, color, and nature, can be integrated into a single sculpture, resulting in rich visual diversity and aesthetic depth.
The conclusions drawn from the research include:
1. The use of discarded materials has contributed to breaking inherited constraints in sculptural composition, allowing artists to transcend traditional forms. By employing waste materials and diverse techniques, sculptors can express their conceptual visions in innovative ways that align with contemporary reality.

Abstract :
The current research deals with the employment of the vocabulary of cylinder seals and flat seals in the ancient Iraqi civilizations of Sumerian, Akkadian, Babylonian and Assyrian civilizations in chronological order with contemporary ceramic works, through contemporary vocabulary such as the printer, the scroll and the wheel, and they were employed according to a design structure that is characterized by modernity while at the same time taking into account the Mesopotamian heritage through form, style and color. The research consists of four chapters, the first is the research methodology, the second is the theoretical framework, the third is the research population and the fourth includes the research results

The most important disruption in the social structure of contemporary societies is the psychological and behavioral impact it has on the family. This phenomenon has been reflected in the discourse that shows a mirror of formation and its transformations, as the separation of the family is a major theme for the theater to highlight human relationships and their breakdown, characters inside and outside the family. Hence lies its impact on the recognized society on the following question: How was the phenomenon embodied in contemporary theatrical texts? The aim of the research is to identify the phenomenon of family disintegration in contemporary theatrical texts. The importance of the research and the need for it were documented, and the limit of the work was established to (2019 AD), after the (Iraq) aspect, while the topic came in the study of the topic of family disintegration in contemporary Iraqi theatrical texts. As for the first chapter, it is by defining the basic names in the title. The operational definition of family disintegration is: "a set of manifestations that confirm the state of split and lack of cohesion among family members, leading to the abandonment by all or most family members of their assigned roles that are essential for supporting family stability." The research reached a set of results, the most important of which was: that the diverse set of images appeared from Photoshop, the Arab tried to use viewpoints of social diagnostic diversity, while it presented similarly in: that it varied from the analysis of creative research to that the Arab theater did not highlight the disruption due to an internal defect that pertains to the family alone, and that the Arab theater shows the Arab family not due to a structural defect.
Keywords: Family disintegration, Iraqi theater, contemporary theatrical text, family honor, social phenomena, Iraqi drama.

Research Summary
This research, which examines cosmic symbols and their uses in the decoration of Islamic mosques, addresses the following research question: What are cosmic symbols, and how are they used in the decoration of Islamic mosques?
The significance of this research lies in its analysis of the semantic and symbolic values, patterns, and applications of cosmic symbols in the decoration of Islamic mosques, thus fulfilling the needs of specialists in the fields of art, philosophy, history, and architecture.
The research aims to identify cosmic symbols and their use in the decoration of Islamic mosques, and to define key terms such as "cosmic symbols" and "application." Chapter Two is divided into three sections: Section One: "Cosmology Conceptually," Section Two: "Cosmic Symbols Historically," and Section Three: "Cosmic Symbols in the Decoration of Islamic Mosques." The chapter concludes with indicators. Chapter Three details the research methodology, including the study population (62 decorative motifs), the study sample (3 samples), the research methodology, the research instrument, the sample, the statistical and mathematical methods, and the analysis of the selected motifs. Chapter Four presents the research findings, conclusions, recommendations, and suggestions. Among the findings are:
1- Muslim artists incorporated cosmic symbols into their decorative works, such as flowers, leaves, branches, and spiral lines (spiral perspective), which imbue existence with movement, growth, and renewal, as illustrated in samples (1), (2), and (3).
2- Beauty is achieved through the harmony of cosmic symbols with geometric shapes, such as circles and hexagons, as seen in sample (1). The almond-shaped mihrab decoration is also evident in sample (2).
Among the most important conclusions are:
Cosmic symbols in Islamic ornamentation were influenced by the abstract, metaphysical world, expressed in an aesthetic, philosophical, and spiritual form. Based on these findings and conclusions, the following recommendations and suggestions are offered, and the study concludes with a list of sources and references

Cultural patterns can serve as a source of inspiration, enabling individuals to derive their cultural roots, which provide them with everything needed to keep pace with development. Through these patterns, individuals reclaim their artistic memory to build a fundamental foundation that acts as a link between their past and present, enabling them to continue creativity and move forward toward progress.
ethno-dramaturgy in contemporary Iraqi theatrical performance? It also presents the research objective, which is to identify ethno-dramaturgy in contemporary Iraqi theatrical performance, followed by the significance of the research, the need for it, the research boundaries, and the definition of terms. The second chapter includes two sections. The first section conceptually explores ethno-dramaturgy, while the second section addresses the mechanisms of employing ethno-dramaturgy in contemporary global theatrical performances. This is followed by a review of previous studies and the indicators derived from the theoretical framework.The third chapter outlines the research procedures, including the research community, the sample, the tool, the methodology, and the analysis of the sample. The fourth chapter presents the findings, their discussion, conclusions, recommendations, and suggestions, followed by the sources and references

Abstract
This research examines the aesthetic and intellectual representations of personality traits in socialist artistic discourse. It comprises four chapters:
Chapter One is dedicated to outlining the research problem, its significance and necessity, its objective, its scope, and defining key terms. The research problem is summarized in the following question: What are the aesthetic and intellectual representations of personality traits in socialist artistic discourse?
The importance of this research lies in its benefit to those interested in the visual arts movement in general, through its findings and conclusions.
The researcher found a pressing need for this study, as the topic has not been explored in such detail previously, and to provide scholarly material that meets the needs of Iraqi libraries.
The research has a comprehensive objective: to identify the aesthetic and intellectual representations of personality traits in socialist artistic discourse. The scope of the research is limited to studying these aesthetic and intellectual representations of personality traits in socialist artistic discourse. Chapter Two comprised the theoretical framework and a review and discussion of previous studies. It addressed three main topics: the concept of personal characteristics; the concept of socialist artistic discourse; and the indicators derived from the theoretical framework and previous studies. Chapter Three detailed the research methodology, including the study population of 30 individuals and a sample of 3 models. This sample, representing 10% of the target population, was selected using purposive sampling. The chapter also outlined the research methodology, the research instrument, and the analysis of the sample models.
Chapter Four presented the research findings, conclusions, recommendations, and suggestions. Among the findings were:
1. Personal characteristics in artistic discourse are not merely entities within the artwork itself, but rather symbolic expressions reflecting the human experience within its social and political context. While socialist art celebrates humanity as a unified collective agent, the analysis of personality transcends the boundaries of artistic expression to reveal deeper structures related to identity, time, power, and belonging, as demonstrated in all the sample models. 2. The characteristics of the individual in contemporary socialist art are predominantly collectivist, sacrificial, disciplined, and realistic. They embody psychological traits such as trust, enthusiasm, justice, sociability, tolerance, love for others, and emotional warmth.
Conclusions:
1. The ideological and symbolic framework of socialist art emerged. Its purpose is to build collective consciousness, express self-identity, and foster collective, national, and individual identity. Emotions are positive and organized, or contradictory and chaotic. The relationship with society is characterized by harmony and belonging, or conflict and alienation.
2. The fundamental difference between the two trends lies in the nature of the relationship between the individual and society. Socialist art presents the individual as part of the whole.

Art criticism and analysis are not arbitrary acts nor forms of mere entertainment; rather, they represent a deliberate, scholarly, and artistic practice aimed at interpreting, evaluating, and elucidating the aesthetic qualities of artistic works while identifying areas of deficiency. Students in the Department of Art Education are central to this process, as they engage with artworks both as learners and creators. Recognizing the significance of this subject, the present study was conducted under the title: “Art Criticism and Analysis among Students of the Department of Art Education.” The study sought to investigate the students’ comprehension and application of art criticism and analysis. The research is organized into four chapters. The first chapter delineates the research problem, its significance, and its scope. The second chapter establishes the theoretical framework, addressing two key sections: the concept of art criticism and analysis—including definitions, methodologies, and types—and concluding with major indicators derived from the theoretical framework and prior studies. The third chapter outlines the research methodology, employing a descriptive analytical approach and utilizing the theoretical framework to construct the survey instrument. The fourth chapter presents the findings, notably revealing that female students outperformed male students, attaining the highest rank within the research sample with a relative difference of 18%. The study concludes with inferences, followed by recommendations, suggestions, and a comprehensive list of references and footnotes.

Abstract of the research:
Expressive folk dance tableaux have never been merely a means of entertainment; rather, they constitute a profound indication of deeply rooted musical–kinetic identity and serve as transmitters of a shared auditory, visual, and cultural memory. Any process of modernization must therefore be grounded in a thorough understanding of their expressive origins and draw upon their inherent musical logic and performance style from their authentic source, so as not to compromise their local specificity. The performances presented by the Iraqi National Folk Arts Troupe reflect a conscious and systematic renewal that begins with the popular kinetic foundations without rejecting them, adding new dimensions without stripping them of their folk essence. The balance between authenticity and modernity alone guarantees the preservation of the identity of expressive folk dance tableaux and ensures their continuity as a living cultural marker.
This research examines The Aesthetics of Theatrical Approaches to Expressive Dance Tableaux in the Performances of the Iraqi National Folk Arts Troupe (Al-Hajal Tableau as a Model). The study consists of four chapters.
Chapter One (Methodological Framework) addresses the research problem, formulated in the following question: What are the aesthetics of theatrical approaches in the performances of the Iraqi National Folk Arts Troupe?
contribution to documenting the artistic and cultural heritage of the National Folk Troupe and in highlighting the principal artistic and directorial methods employed in transforming these tableaux into integrated theatrical performances. The necessity of the research stems from its role in opening avenues for scholars to understand the relationship between dance and music, and between performative expression and theatrical representation. It also seeks to bridge the knowledge gap related to documenting and analyzing expressive dance tableaux as part of Iraqi artistic heritage.
The temporal boundaries of the study extend from 1971 to 2025, while the spatial boundaries are limited to performances presented in Iraq. The subject boundaries focus specifically on the theatrical approaches to expressive dance tableaux in the performances of the Iraqi National Folk Arts Troupe.
The chapter concludes with the clarification and operational definition of terms. The researcher defines theatrical approaches operationally as: the artistic convergence between theatrical performances and non-theatrical presentations that appear to approximate the theatrical form and its multiple elements—such as lighting, costumes, music, performance, and scenography—conveying various meanings. This convergence does not imply literal theatricality but rather an approximation to theatrical structure and aesthetics.


the researcher defines expressive dance tableaux as: a dramatic theatrical scene or segment of expressive dance in which movement, visual and rhythmic patterns, and human emotions are embodied through diverse artistic forms—visual and kinetic arts—without being confined exclusively to conventional theatrical performance.
Chapter Two (Theoretical Framework) consists of two sections. The first section examines the dramatic approach in both verbal theater and physical theater. The second section explores expressive dance tableaux in terms of concept and application within the visual arts. The chapter concludes with a review of previous studies and the indicators derived from the theoretical framework.
Chapter Three (Procedural Framework) identifies the research population as one performance from the Iraqi National Folk Arts Troupe presented in Iraq—Al-Hajal Tableau. The researcher employs the indicators derived from the theoretical framework as an analytical tool in examining the research sample. This chapter also includes the research methodology, research tools, and sample analysis.
Chapter Four presents the findings of the study, among which are:
The expressive folk tableau converges with expressive dance grounded in harmoniously structured rhythmic steps that are inseparable from the personality of the performer (the expressive dancer), whose identity is based on the signification of movement.
The expressive dance tableau closely aligns with physical theater, which does not rely on spoken dialogue or written text; rather, its expressive language is movement and the body as a substitute for conventional dialogue in conveying ideas and emotions.
The chapter also includes recommendations, proposals, a list of references, and appendices.

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Research Abstract
This research explores the "Representations of the Collective Equivalent in Contemporary Ceramics." It aims to uncover the aesthetic and philosophical mechanisms employed by the ceramicist to transform stable realistic icons within the collective consciousness into contemporary artistic achievements. The research problem addresses how the artist balances the "specificity of material formation" with the "universality of meaning" imposed by the Collective Equivalent, and how traditional narrativity is displaced in favor of formal and technical systems that engage contemporary thought.
The study adopts a descriptive-analytical approach to examine samples of contemporary ceramic works, analyzing them through dimensions of iconic structure, interdisciplinary fusion, and technical discourse. The research reached several key findings, most notably: that the Collective Equivalent in contemporary ceramics has evolved into an "ontological icon" transcending utilitarian function, and that the ceramicist deliberately suppresses "subjectivity" in favor of the "object’s" dominance to achieve democratic reception. The study concludes that the strength of contemporary ceramic work lies in its ability to "defamiliarize the mundane" and exploit the material contradictions of the medium (such as solidity versus liquidity) to redefine the human relationship with objects within a world crowded with contradictions and alienation.

The concept of the outsider is embodied in several concepts and implications that point to the same meaning and convergence in content. The outsider is the person who feels alienated and psychologically detached, a separation from the self. The conflict between the self and the object shifts from the external to the internal realm of the human psyche. The reason for this separation is the distance between reality and essence, and between reality and place. The problem lies not only in what exists, but rather in what does not exist as it should be. From this arose the idea for the current research, which comprises four chapters. The first chapter deals with the methodological framework, encompassing the research problem centered on the following question: What are the implications of the outsider in neighboring literary structures and contemporary Iraqi theatrical texts? The importance and need for this research were established. The research aims to identify the implications of the outsider in neighboring literary structures and contemporary Iraqi theatrical texts. The research is timed to cover the period between 2020 and 2024, geographically confined to Iraq, while the thematic focus is on the implications of the outsider in these structures. The first chapter, which examines the relationship between contemporary Iraqi plays and neighboring literary traditions, concludes with a definition of the key terms used in the research title.
The second chapter focuses on the theoretical framework and comprises two sections. The first section addresses the concept of the outsider in neighboring literary structures, while the second examines the outsider in international plays. The second chapter concludes with a review of previous studies and the indicators derived from the theoretical framework.
The third chapter details the procedural framework (research procedures). It includes the research population, consisting of five contemporary Iraqi plays, and the research sample, which comprises one contemporary play: "Playing on the Core." This sample was selected purposively to align with the research population, and the researcher justified the selection process to achieve the research objective. The researcher utilized the indicators of the theoretical framework as a tool for analyzing the samples, and the research methodology employed was descriptive-analytical. Chapter Four focuses on the research findings, the most important of which are:
1. The repercussions and horrors of wars, fueled by human suffering and subjected to the tyranny of rulers and the values of power, are reflected in the behavior of the "non-belonger" character. The deteriorating political situation produces a citizen who is "non-belonger," unfit to defend their identity and homeland.
2. The dimensions of the concept of "non-belonger" are embodied as a dominant theme in the dramatic structure of the events, relying on multiple dramatic approaches based on the principle of creating an underlying meaning that contradicts the apparent meaning.
The chapter also includes a number of conclusions, the most important of which are:
1. Some "non-belonger" characters exhibit psychological behavior in dealing with situations and events within the drama that resembles madness. The reality perceived by others is contrary to what the "non-belonger" character sees.
2. Some of the (outsider) characters possessed alien and disparate aspects, lacking identity and possessing unknown personalities. They appeared out of nowhere and attempted to sow discord among the characters, much like any occupier or colonizer, thus unleashing political dimensions within the structure of the theatrical text.
The researcher then presented several suggestions and recommendations related to the research topic, and concluded the study with a list of sources and references.

Abstract of the research:
In Arab theater, humor was not merely a means of entertainment and laughter, but rather an artistic tool for expressing numerous societal issues and revealing the true nature of contradictions through a satirical style accessible to the audience. Several pioneers of theater contributed to solidifying this trend by establishing theatrical troupes and presenting comedic works with clear social and critical themes. This research focuses on studying the methods and manifestations of humor in the performance of the Arab theatrical actor, using the play "Interrupt" as a model. The current research comprises four chapters: the first chapter (methodological framework) includes the research problem, which is the following question: What are the methods and manifestations of humor in the performance of the Arab theatrical actor? The first chapter highlighted the importance of the research, which stems from its focus on humor techniques in the performance of Arab stage actors. It sought to clarify the concept of humor from a philosophical perspective, revealing its types and manifestations within theatrical performance. The chapter also explored the origins of comedic performance within its Arab and Western contexts, linking it to forms of popular entertainment and other elements that contributed to shaping comedic consciousness before the emergence of modern theater. Furthermore, the chapter emphasized the need for this research as it contributes to the development of Arab theatrical literature through a study combining theoretical foundations with applied analysis. The research objective was defined as identifying humor techniques and their manifestations in the performance of Arab stage actors. The scope of the research was limited to the period from 2013 to 2023, geographically to performances presented in the Arab world, and thematically to identifying humor techniques and their manifestations in the performance of Arab stage actors. The chapter concluded with a definition of key terms, providing linguistic, technical, and operational definitions. Chapter Two (Theoretical Framework) was divided into three sections: the first section clarified the philosophical concept of humor, and the second section addressed comedic performance in Arab theater. The chapter concluded with a

review of previous studies and the indicators derived from the theoretical framework. Chapter Three discussed the research procedures, including the research population and the sample, which was selected purposively based on the indicators derived from the theoretical framework. This sample served as an analytical tool within the descriptive (analytical) method, analyzing the selected performance (Interbit). Chapter Four presented and discussed the research findings, the most prominent of which were:
1. The comedic performance relied on wordplay and auditory misunderstanding as a means of generating laughter, achieved by creating humorous linguistic paradoxes.
2. Social satire and verbal irony emerged as key tools for generating humor. Satirical dialogue and colloquial language, accessible to the audience, were used to critique social realities while simultaneously eliciting laughter.

This study, titled Features of Fantasy and Horizon of Expectation Disruption in the Folk Drawings of Sadr al-Din Amin, investigates the characteristics of fantasy within this artist’s body of work. It comprises four chapters:
Chapter One – Methodological Framework: Addresses the research problem, namely: What are the features of fantasy and horizon of expectation disruption in the folk drawings of Sadr al-Din Amin? It also covers the study’s significance, objective, scope — limited to the artist’s works produced in America between 1999 and 2015 — and key terminology.
Chapter Two – Theoretical Framework and Prior Studies: Encompasses two sections: fantasy between the real and the surreal, and the aesthetics of contemporary folk painting, followed by key indicators drawn from the theoretical framework and previous literature.
Chapter Three – Research Procedures: Covers a research population of 30 models with a sample of 3 artworks, adopting a descriptive-analytical methodology alongside statistical tools and sample analysis.
Chapter Four – Findings and Conclusions, most notably:
1. The artist draws his symbols from his surrounding environment and local mythology, blending botanical, animal, and human forms to reconstruct primal or ritual scenes as a means of recovering collective memory through a visually symbolic and abstract language.
2. The artworks carry embedded structures reflecting an unconscious desire for stability, shaping a world drawn from the artist’s deep social unconscious.
Key conclusions include:
1. The artist’s imaginative process operates beyond rational logic, emerging from the unconscious — and must be perceived accordingly by the viewer.
2. The depth of the artist’s imaginative space enabled him to produce narratively rich works that reimagine surrounding reality, thereby disrupting the horizon of expectation.

Abstract:
The dialogic theory, formulated by the great Russian scholar and theorist Mikhail Bakhtin, is one of the most influential critical and theoretical concepts of the twentieth century. It offered a radical alternative to the monologic perspective that dominated literary and artistic texts at the time. In its essence, dialogism is not merely a stylistic technique signifying the increasing number of dialogues between characters; rather, it is a philosophical and aesthetic vision of existence itself. It posits that meaning is not born in isolation or within a closed, individual consciousness, but is formed in the intersubjective realm—that is, within the space of interaction and debate between multiple, diverse, and sometimes even contradictory voices. Bakhtin developed his theory primarily within the context of novel analysis, but his concepts have transcended the novel genre to encompass other genres. From it, it appears in general and in children's theater in particular, where the dialogue is revealed in specific aesthetic forms and the nature of the child recipient and his shaped awareness. This research came in four chapters, the first of which, i.e. (the formal framework), prevents the research through the following question: (What is dialogue and what are the aesthetic formations in children's theater texts?), and the chapter also includes the basics of the research and the need for it (where the study of the light on dialogue and its aesthetic formation within so far, and how the texts will develop after the emergence of the new dialogue, and that the two are considered among the most important innovations in the modern century, leading to the derived goal, which is to distinguish on (dialogue and its aesthetic formation in the structure of the text directed to the child) As for the scope of the research, it was limited spatially to Iraq (Baghdad) and temporally (2023 in addition to defining the terms. As for the second chapter (the theoretical framework), it included two sections, the first of which dealt with studying (dialogic conceptually), and the second section came with studying (dialogic in the structure of the text directed to the child.

ABSTRACT
This study examines psychological burnout and its reflection on the characteristics of drawings among students at the College of Fine Arts, as a contemporary psychological phenomenon that affects students’ emotional and academic performance, particularly in artistic disciplines that rely on self-expression and creativity.
The study aims to identify the relationship between the level of psychological burnout and the formal and expressive features of students’ artistic drawings, as well as to determine the key visual indicators through which students’ psychological states can be inferred. The researcher adopted a descriptive-analytical method by analyzing a sample of (15) drawings, including (5) males and (10) females, using a content analysis tool developed based on relevant psychological and artistic literature.
The findings revealed a significant relationship between levels of psychological burnout and certain artistic features, such as line distortion, imbalance in composition, limited color variation, and a tendency toward symbolic or withdrawn expressions. The results also indicated relative differences between males and females in their visual expression related to psychological states.
The study concludes that drawing can serve as an effective projective tool reflecting students’ emotional condition, which allows for early detection of burnout symptoms. The research recommends paying greater attention to the psychological well-being of fine arts students and adopting supportive and counseling strategies to reduce burnout.

Abstract:
This research examines the impact of the Ice-Breaking Strategy on academic achievement from the perspective of Fine Arts professors, highlighting the importance of adopting modern teaching strategies that enhance interaction within the classroom environment. The first chapter presents the methodological framework of the study, including the research problem, its significance, objectives, limitations, and the definition of key terms. The second chapter is devoted to the theoretical framework and consists of three sections. The first section discusses the concept of active learning and its importance in the educational process. The second section examines the Ice-Breaking Strategy in terms of its concept, objectives, and its role in enhancing classroom interaction. The third section addresses the concept of academic achievement and the factors influencing it. The third chapter presents the research procedures, including the research methodology, population and sample, the research instrument and its validity and reliability, as well as the statistical methods used for data analysis. The fourth chapter presents and interprets the results, which indicate a positive relationship between the Ice-Breaking Strategy, enhanced classroom interaction, and improved academic achievement

Abstract of the research:
The current research dealt with the of monologue and the of personal soliloquy in contemporary Iraqi theatrical discourse The research consists of four chapters. The first chapter addresses the research problem, which is defined by the following question: What is monologue and soliloquy? And how were they formed narratively and subjectively in contemporary Iraqi theatrical? discourse the importance of the current research lies in highlighting the narrative of monologue and the subjectivity of soliloquy in Iraqi theatrical discourse as one of the elements of the play, and as a verbal and visual tool on the stage The aim of the research is to identify the narrative of monologue and the subjectivity of the character’s soliloquy in contemporary Iraqi theatrical discourse. The research is spatially defined in Iraq and temporally in 2014 Objectively, the narrative of the monologue and the subjective soliloquy of the character in contemporary Iraqi theatrical discourse (A Lover at Home Time), in addition to the terminological and procedural definitions included in the research The second chapter comprised three sections: the first addressed monologue and soliloquies conceptually, the second examined the narrative of monologue in global theatrical discourse, and the third explored the subjectivity of soliloquies in global theatrical discourse The chapter then concluded with the indicators resulting from the theoretical framework. Chapter three included the research population and sample, and used the indicators of the theoretical framework as a tool for analyzing the sample. Chapter four contained the results, the most important of which are:
1. The monologue was able to raise negative issues in society through its social and political arguments that worked to criticize and reform society.
2. The monologue is presented in the form of a soliloquy and dramatic dialogue with two different voices, one being the main external voice and the other the internal voice that he presents to others.

This research studies the use of recycled polyethylene and polypropylene waste in modern infrastructure projects. It explores the technical and aesthetic potential of these materials after recycling and incorporating them into the infrastructure. The research addresses the plastic waste under study, from its collection and sorting to its grinding into a powder of a specific particle size. This powder is then mixed with various binding materials such as synthetic resin, cement, and cement dust to create a cohesive composite mixture.
The researcher adopted the experimental method as the basis for studying the samples and analyzing their results. This method comprised ten main axes, encompassing the stages of field and laboratory work. These stages included selecting and preparing the research samples, preparing the experimental mixture schedule, and finally, applying the necessary physical and chemical tests to determine the most suitable mixture for producing the infrastructure work. The importance of this research lies in its embodiment of the applied dimension, aiming to transform the problem of plastic waste As one of the contemporary industrial and environmental problems - to a productive technical resource that contributes to the development of local raw materials and their use as a creative and economic resource within the field of fine arts. This section is dedicated to presenting the results, conclusions, and recommendations reached by the researcher based on experimental procedures and laboratory analysis of the research sample. The applied results demonstrated the feasibility of using recycled polyethylene and polypropylene waste in creating contemporary infrastructure works, contributing to supporting sustainable art trends and reducing the environmental impacts resulting from the accumulation of plastic waste. Laboratory results also revealed that sample (D) was the best among the other samples, exhibiting a high capacity to withstand hardness and flexibility tests, as well as resistance to erosion and mechanical corrosion. This makes it the most suitable mixture for use in constructing infrastructure works with durability and aesthetic stability. In conclusion, the research demonstrated that practical experience has made it possible to employ recycled plastic waste as an effective sculptural material, opening new horizons for the diversity of contemporary art. The study also contributed to enhancing artistic and religious awareness among artists and the community regarding the importance of investing in recycled materials to produce artworks that carry an aesthetic.

Abstract
The theatrical works of Ali Abdul-Nabi Al-Zaidi represent a significant cognitive and aesthetic achievement that reflects the values and contradictions of contemporary Iraqi society. This research aims to identify the "Axiological Contradictions in the Theatrical Texts of Ali Abdul-Nabi Al-Zaidi." The study is structured into four chapters: the first chapter outlines the research problem, importance, objectives, scope, and definition of terms. The second chapter presents the theoretical framework and related studies, divided into two sections: the first explores axiology conceptually, while the second investigates axiological contradictions within theatrical texts. The third chapter details the research methodology and procedures, and the fourth chapter presents the findings and conclusions.
The study reveals a profound tension between divine justice and the harsh earthly reality, positioning characters in a state of perpetual protest—not only against human injustice but also confronting the metaphysical realm, holding it responsible for the discrepancy between human creation and suffering. The research concludes that Al-Zaidi's drama does not oppose religion itself, but rather criticizes the exploitation of religious discourse as a tool to justify oppression.
The researcher recommends that playwrights and theatre practitioners utilize the irony revealed by these findings as a dramatic technique to challenge taboos and expose societal realities, rather than resorting to overt didacticism, which undermines the aesthetic power of the text. Furthermore, the study proposes conducting future research on the manifestations of axiology in children's theatre.

Abstract
The study comprised four chapters. The first chapter defined the research problem, which was represented with the following question: "What is introspection in the characters of Iraqi theatrical texts?" It also outlined the importance of the research and its spatial, temporal, and thematic boundaries. The researcher defined the two terms "introspection" and "character" then provided an operational definition of introspection. The second chapter presented the theoretical framework of the study, consisting of two sections: the first section (the conceptual framework of introspection) and the second section (introspection in the characters of theatrical texts). The chapter concluded with the most prominent indicators resulting from the theoretical framework. The third chapter was dedicated to the research procedures, employing a descriptive approach in analyzing the sample. The researcher arrived at the most significant findings through sample analysis and conclusions, which demonstrated the presence of introspection in the characters of theatrical texts. Finally, the researcher presented recommendations and suggestions and established a list of sources.

Abstract
The present study addresses cognitive distortion and its relationship to adolescents’ drawings. The research consisted of four chapters. The first chapter addressed the research problem represented by the following question: (What is the relationship between cognitive distortion and adolescents’ drawings?) It also included the significance of the research and the need for it, in addition to the research objective, which is to identify cognitive distortion and its relationship to adolescents’ drawings.
The limits of the study were determined temporally for the period (2025-2026), and spatially in Iraq / Diyala Governorate / Baqubah District Center. The study population included male and female students aged (16) years, in addition to defining the terms used in the research.
The second chapter included the theoretical framework and previous studies, and was divided into three sections. The first section addressed the concept of cognitive distortion and its relationship with knowledge and perception, while the second section discussed the psychological characteristics of adolescents and the emotional and cognitive features that distinguish this stage. The third section dealt with adolescents’ drawings as an expressive field reflecting the adolescent’s psychological and emotional experiences, as it represents the context to which the research belongs.
The third chapter presented the research procedures, including the research sample selected from secondary school students aged (16) years. A cognitive distortion scale in its primary and secondary forms was adopted, in addition to constructing a tool for analyzing adolescents’ drawings. This chapter also included a description of the tool, the procedures for verifying its validity and reliability, as well as the statistical methods used to process and analyze the data.
The fourth chapter included the presentation and interpretation of the results, as well as the conclusions, recommendations, and suggestions. The results revealed several indicators, the most important of which were:
1. The presence of a statistically significant relationship between cognitive distortion and adolescents’ drawings.
2. The appearance of distortions in proportions and balance, as well as distortion in some parts of the human figure in drawings associated with a high level of cognitive distortion.
3. The tendency of some male and female adolescents to use symbols or unrealistic shapes that reflect their perceptual and emotional perceptions.
The study reached a set of conclusions and recommendations emphasizing the importance of paying attention to adolescents’ drawings as a psychological

Violence is one of the significant themes that contemporary playwrights have employed to express their theatrical visions. Contemporary theatre has relied extensively on the concept of violence and its representation on stage. Theatre director Muhannad Hadi is among the directors who portrayed violence in the play Dispute, through which he expressed his rejection of the concept of violence in both the script and the performance. He presented violence directly on stage by depicting theatrical characters immersed in violence and its consequences, including killing and destruction. This study examines the image of violence as portrayed by Muhannad Hadi and analyzes how he presented it in the play Dispute.

Research Abstract:
The research titled “Intellectual Openness and Its Relationship to the Accelerated Technological Momentum of the Contemporary Industrial Product” addressed the concept of momentum in industrial products, along with the intellectual and aesthetic foundations discussed in the study. This was based on the research problem defined by the following question:
What are the implications of intellectual openness on the design of industrial products in light of accelerated technological momentum?
The research aimed to identify the effectiveness of intellectual openness in designing industrial products characterized by rapid technological momentum. After examining cases of intellectual openness in the design of technologically advanced industrial products, and clarifying their design strategies and intellectual dimensions, the study reached several conclusions, The most prominent:
Intellectual openness in interactive products has emerged through form, function, and technology. The advancement of technology and the integration of artificial intelligence have contributed to transforming the shape of industrial products beyond traditional forms, in addition to developing existing functions and introducing new ones.
Technological momentum in industrial design is considered a continuously driving force, through which modern technologies contribute to enhancing both the form and function of industrial products. Each technological advancement reinforces innovation, accelerates the pace of development, and achieves a more efficient integration between performance quality and aesthetic value.

The research entitled “The Aesthetics of Tree Painting in the Works of Artists Jana and Jass” addressed the concept of aesthetics and its reflection in art, as well as its influence on artists in examples of contemporary painting limited to the works of artists Jana and Jass. It consisted of four chapters: The first chapter focused on the methodological framework of the research, represented by the research problem that highlighted the aesthetics of tree painting, its mechanisms, and the materials used to implement modern techniques on it, and its relationship to the artist, his nature, his psychological states, and his environment. It also examined the aesthetic treatments he used and the ways he enhanced his art on trees, taking advantage of the tree trunk, its cracks, and its shape. The research problem was summarized as follows: What are the aesthetics of tree painting in the works of artists (Jana and Jass)? The research objective also included: Identifying the aesthetics of painting on trees in the works of artists (Jana and Jass). The scope of the research was limited to studying the products of the art of painting on trees, executed using different methods, techniques, and materials. The second chapter contained two sections. The first was “An Introduction to the Concept of Aesthetics,” which explains the intellectual and philosophical propositions of aesthetic theory, the reflections of beauty on art, and the ways in which they are interrelated. The second section, “Painting Trees Intellectually and Structurally,” focuses on ways of approaching the form of trees throughout history and in different civilizations, as well as presenting the experiences of artists (Jana and Jass). The third chapter deals with the research procedures, including the research community and the available artistic models. The research community included 32 works of art, from which three models were selected. The research relied on the indicators resulting from the theoretical framework as criteria for analyzing the research sample, by analyzing models of the artists' works.

Research summary :
The current research dealt with exploratory thinking and its relationship to the skills of analysis and art criticism among students of the Department of Art Education - College of Fine Arts - University of Babylon. The research consisted of four chapters, as the first chapter included the research problem which revolved around the following question: What is the relationship of investigative thinking to the skills of analysis and art criticism among students of the Department of Art Education - College of Fine Arts - University of Babylon ? The importance and necessity of the research were then discussed, followed by its objective. The boundaries (thematic, spatial, and temporal) were defined, along with definitions of the terms used in the research title and operational definitions. The second chapter comprised two sections. In the first section, the researcher addressed the concept of art criticism. The second section discusses the relationship between exploratory thinking and the development of analytical and critical art skills among students in the Department of Art Education. The chapter concludes with the indicators resulting from the theoretical framework. The third chapter is dedicated to the research procedures, the research population, the research sample, and the research tool. The fourth chapter contains the results reached by the researcher. This chapter also includes the conclusions, recommendations, and suggestions, and concludes with a list of sources and references.

This research examines the psychological dimensions of implicit patterns and their manifestations in contemporary Iraqi feminist painting in light of modern critical approaches. It comprises four chapters. The first chapter outlines the research problem, its significance, the need for it, its objectives, its limitations, and defines key terms. The research problem focuses on the implicit patterns in the works of Iraqi artist Suad Al-Attar. The central question of this research is: Do the psychological dimensions of contemporary Iraqi feminist painting include implicit patterns? And how are these patterns manifested within the framework of modern critical approaches? The importance of this research lies in identifying these implicit patterns and analyzing their symbolic and psychological reflections on the artwork. The second chapter presents the theoretical framework and a review of previous studies. The first section examines the concept of implicit patterns in cultural criticism, the second section explores the psychological dimensions of artwork (the unconscious, symbolism, and identity), and the third section discusses key contemporary critical approaches. The chapter concludes with indicators that serve as criteria for analysis. Chapter Three outlines the research methodology, defining the research population and the nature of its representative sample. It concludes with an analysis of the three artworks selected using a descriptive-analytical approach and purposive sampling. Chapter Four presents the research findings, conclusions, recommendations, and suggestions.

Research Summary:
Medieval art is filled with imagery depicting acts of humiliation, torture, and execution. These artistic representations often highlight either the brutality of pagans toward early Christian missionaries or the severe punishments imposed by religious authorities on individuals deemed sinners. Such punishments were justified as necessary for maintaining religious principles and moral integrity
This study is structured into four chapters. The first chapter introduces the research problem, focusing on the central question: How is sadistic imagery portrayed in medieval artwork? It also discusses the study’s significance, objectives—mainly to examine the concept of sadism and how it appears in medieval artistic expressions—along with defining key terms and setting the scope of the research.
The second chapter is divided into two main sections:
1-Sadism in Philosophical and Psychological Thought
2-Artistic Trends in the Medieval Period
Additionally, this chapter presents theoretical insights and a review of previous scholarly works related to the topic.
The third chapter outlines the methodology, detailing the research population, selected sample, tools used for analysis, and the overall approach. The study focuses on five artistic depictions of torture from the medieval period, which are examined in depth.
The final chapter presents the findings and conclusions. Key insights include:
1-Medieval artistic narratives often depict violent punishment—such as executions, dismemberment, and mutilation—not merely as punitive measures but as acts believed to offer spiritual redemption to the condemned.
2-Many artworks show tortured individuals with calm and submissive expressions, reflecting a belief in suffering as a path to purification. The imagery suggests that these figures accept their torment as part of their spiritual journey.
Among the conclusions drawn:
1-The visual representation of suffering conveys elements of masochism, as victims appear to embrace pain willingly, seeing it as a means of absolution from their sins
2-The study concludes with recommendations, proposals for further research, a bibliography, and a summary in English

The most distinguishing feature of theatrical art is that it is a self-contained art. Based on this concept, theatrical art is considered one of the sublimest types of arts due to the significant ideas it presents and their subsequent implications. It is a comprehensive art that encompasses all types of arts on stage across different eras, which has granted theatrical art permanent connectivity for visual image formations. The twenty-first century represents a major leap toward investing in contemporary technology, particularly Artificial Intelligence (AI) techniques, which have opened infinite horizons in artistic treatments. This has contributed to developing theatrical performance and elevating it to new creative and aesthetic realms that merge human physical energy with the precision of digital algorithms.
The researcher chose (Employing Artificial Intelligence Techniques in Designing Iraqi Dramatic Dance Performance - Applied Research) as the subject of the study. The researcher divided the study into four chapters:
The first chapter focused on the (Methodological Framework), which included the research problem defined by answering the following question: (How can AI techniques be employed in designing Iraqi dramatic dance performance in a way that aligns with the dramatic text and develops the structure of expressive movement?). The importance of the research lies in the fact that it addresses the knowledge gap in Iraqi academic studies regarding the employment of AI in performing arts. The chapter included the research objective: (Identifying the effectiveness of employing AI techniques in designing Iraqi dramatic dance performance). It also defined the research limits, spatially in Iraq and temporally (2025-2026), as well as defining the terms procedurally.
The second chapter, (Theoretical Framework and Previous Studies), was divided into two sections. The first section dealt with (The concept of Artificial Intelligence and the possibility of its employment in theater and dance), while the second section discussed (Theatrical Dance or Dramatic Dance) and the dialectical relationship between design and performance. The third chapter included the (Research Procedures) and the research sample, which was intentionally selected by the researcher to conduct the experiment.
The fourth chapter was devoted to presenting the Results reached by the researcher, most notably:
There are statistically significant differences in favor of the post-performance (AI-based) in developing the diversity of the movement sentence and the fluidity of transition.
AI helped reduce the physical and intellectual effort for both the designer and the performer by generating accurate initial design proposals.
Then the Conclusions, including:
AI emerged as a supportive analysis and design tool within the creative process rather than a total replacement for the human element.
The ability of intelligent software to analyze movement and organize space effectively contributes to enhancing the dramatic structure of the dance scene.
Finally, the researcher set forth recommendations, suggestions, references, and appendices, followed by the abstract in English.

The research addresses the dialectic of theatrical space between the imagined and the embodied in Abbas Al-Tajer's theatrical performances. The research problem was identified by the following question: "Is space established in Al-Tajer's work as a reflection of the textual imagined?" The research objective was to identify the reflections of the textual imagined and the mechanisms of operation of the embodied theatrical space in the performances of director Abbas Al-Tajer. The theoretical framework was divided into two sections: the first dealt with space in philosophical and aesthetic thought, and the second section covered the dialectic of constructing theatrical space between the imagined and the embodied, followed by the indicators derived from the theoretical framework. Meanwhile, the procedural framework included the research population consisting of fifteen theatrical performances directed by Abbas Al-Tajer between 1992 and 2025. The research sample was the play "Nay Iraqi," which was selected purposively, in addition to the research methodology, research tool, and sample analysis. Subsequently, the research concluded with a set of results and conclusions, the most important of which are: the theatrical space was formed as a closed semantic structure, where the textual imagined failed to produce an actual alternative, to be absorbed within the embodiment imposed by the performance; and the imagined was realized through the body, turning physical performance into a tool for writing space, as movement, bending, alignment, and ascending produced meanings parallel to the dialogue. Finally, the list of sources and references was presented.

This study examines the manifestations of the complex female character between playwriting and theatrical direction in the play The Hymn of Waiting, treating it as a model that reveals the interaction between textual construction and directorial vision in producing the character’s meaning within performance. The significance of the study lies in the fact that the female character can no longer be read as a marginal element or a fixed pattern within the dramatic text; rather, it has become a multi-layered structure in which psychological, social, and intellectual dimensions intersect, while its meaning is completed on stage through performance, space, sound, light, movement, distribution of masses, and other scenographic elements. Accordingly, the study formulates its problem in the following question: How is the complex female character manifested between playwriting and theatrical direction in The Hymn of Waiting?
The objective of the study is to identify the manifestations of the complex female character between playwriting and theatrical direction in The Hymn of Waiting. The study is limited temporally to the year 2024, spatially to Iraq/Baghdad/the National Theatre, and thematically to reading the manifestations of the complex female character between playwriting and theatrical direction in The Hymn of Waiting as the research model. The two researchers adopted the descriptive-analytical method and relied, in the research tool, on a set of indicators derived from the theoretical framework after being condensed to suit the nature of this extracted article. These indicators include: viewing the complex female character as a structure based on binary tensions such as margin/center, breakdown/resistance, and body/spirit; reading it through a network of signs that includes the body, space, light, sound, silence, and rhythm; and examining the role of direction in rewriting the female character through visual composition, movement organization, and scenography.
The previous studies were limited to two Iraqi studies only. The first was Russul Khalfa Kadhim Al-Bakri’s study, “Feminist Criticism and Its Representations in the Iraqi Theatrical Text: The Play Sabaya Baghdad as a Model,” which helped establish a local horizon for reading feminist representation within the Iraqi dramatic text. The second was the study by Nidaa Hatem Khudair and Mohammed Fadheel Shannawa, “The Aesthetics of Narrating the Female Body in Theatrical Performance,” which contributed to tracing the female body as a sign producing meaning in the theatrical performance. Thus, the present study positions itself in the area connecting text and performance, that is, between playwriting and direction, through one Iraqi sample only.
The analysis revealed that The Hymn of Waiting is structured around the idea of waiting and salvation through a complex dramatic and visual form, and that the female character is not presented as a fixed given or an isolated role, but rather as an open signifying presence generated by the interaction between the text and the directorial vision. This was evident in the choreographic formations, the use of the curtain as a collective body, the fragmentation of bodily parts, the repetition of movement rhythm, the ticking of the clock, the cinematic perspective, the light spots, the bodily masses, and the contrast between white and black. The analysis also showed that the female body in the performance emerged as an independent visual text, and that the complex female character was built on moving binaries such as restraint/liberation, body/spirit, and margin/center. Therefore, the woman was no longer a secondary element within the performance, but rather a signifying center through which the meanings of waiting, salvation, fragmentation, and the search for survival were generated.
The study reached several results, the most important of which are the following: the female character in The Hymn of Waiting is defined as a structure in which psychological, intellectual, and symbolic dimensions intertwine; its complexity is built upon moving binaries, especially restraint/liberation and body/spirit; and playwriting established the character’s semantic basis through the idea of waiting and salvation, while direction reconstituted it visually and kinetically within the performance space. The study also concluded that the complex female character cannot be read through the text alone, but through the interaction between playwriting and direction within theatrical performance, and that contemporary Iraqi theatre is capable of shaping a complex female character through ritualistic and visual formation without relying solely on direct dialogue.
In light of these results, the study recommends benefiting from the integration between playwriting and direction in studying the female character, giving greater attention to the female body and scenography as two fundamental elements in producing its meaning within theatrical performance, and carefully documenting contemporary Iraqi theatrical performances because they provide significant applied models for studying the manifestations of the complex female character. The study also proposes further comparative research between Iraqi dramatic texts and their performed productions, independent studies on the female body as a visual text, and research into the effect of scenography and theatrical ritual on constructing the female character in Iraqi theatre after 2003.
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This research examines the formal system in the ceramic works of artist Haider Raouf, viewing it as an integrated aesthetic and expressive framework that highlights formal and symbolic values within the artwork. Raouf's formal system serves as an organizational framework relying on the deliberate employment of basic design elements, such as the line manifested in organic curves inspired by natural and heritage forms; color applied in layered strata that generate visual depth reflecting cultural contradictions; texture resulting from the interplay of rough and smooth surfaces to impart a sense of movement and time; and mass constructed through hierarchical or dynamic structures that achieve visual balance transcending traditional symmetry toward expressive tensions enhancing symbolic connotations. These elements are not presented randomly but organized within deliberate structural frameworks, such as recurring rhythm or asymmetrical balance, contributing to a visual harmony that blends stasis and motion, and accentuates internal tensions mirroring cultural and social conflicts in the contemporary Iraqi context.
Furthermore, it explores how these systems intersect with cultural and environmental references, particularly the Iraqi heritage, to form a visual discourse blending authenticity and contemporaneity. The artist draws inspiration from Islamic ceramic ornamentation and Sumerian forms, reimagined in a modern language addressing issues of identity and memory amid contemporary transformations. The research concludes that the systems of manifestation in Haider Raouf's ceramics extend beyond the formal aspect to express profound intellectual and aesthetic visions, rendering the ceramic work an effective medium for communication and impact, reflective of the artist's unique experience within the contemporary Iraqi art scene striving to reconcile roots and modernity.

The research topic focuses on the utilization of living elements in contemporary sculpture. it became evident that there is a profound relationship between human thought and sculpture, as well as a connection between technological and biological developments and the visual arts. In this pursuit, the idea of incorporating living elements into sculpture emerged within the visual artist's practice, and was soon materialized in sculptural works—beginning with penicillin mold and extending to the embodiment of genetic codes. The artist, in employing living elements in sculpture, strives to reveal the wonder of art and its aesthetic dimensions, interwoven with contemporary thought and knowledge.

The research entitled "Color Purity and Its Aesthetic Manifestations in the Paintings of Mark Rothko" examines the artist’s experience as an advanced model in abstract art, focusing on the manifestations of color purity as an aesthetic value that transcends the formal dimension toward perceptual and emotional levels. It also traces the influence of historical and artistic contexts, particularly the transformations following World War II, in shaping Rothko’s artistic vision. The research is divided into four chapters. The first chapter (the methodological framework) includes the research problem, formulated as: (What is color purity and its aesthetic manifestations in the paintings of Mark Rothko?) The chapter also presents the research objective, which is to identify color purity and its aesthetic manifestations in Rothko’s paintings, along with its objective limits concerning artworks based on pure color relations executed on canvas, the temporal scope from (1949–1964 AD), and the spatial scope in the United States, in addition to defining key terms. The second chapter (the theoretical framework) includes two sections: the first addresses purity conceptually and philosophically, while the second explores manifestations of purity in European painting, concluding with the indicators of the theoretical framework. The third chapter presents the research procedures, including a sample of (3) selected works, the methodology, research tools, and analysis of the sample. The fourth chapter presents the results and conclusions. Among the main findings: 1- color purity in Rothko’s work is not a static state but an act of liberating the viewer’s consciousness, transforming art from a visual material into a pure emotional state in which the essence of human existence appears in its most refined form. One of the key conclusions is 1- the redefinition of the relationship between color and the viewer as a medium for a contemplative and existential experience that evokes states such as anxiety, serenity, and inner immersion.

This research aims to construct a proposed educational design model based on the Theory of Multiple Intelligences for teaching the subject of school theatre, in an attempt to elevate the level of education and achieve the desired educational goals in artistic fields that require the activation of intelligences in an integrated manner. The objective limits were confined to constructing the proposed model, the spatial limits to the University of Babylon / College of Fine Arts, and the temporal limits to the academic year 2025-2026.The research followed the experimental approach. The research population consisted of (120) male and female students from the third stage in the Department of Art Education at the College of Fine Arts, while the research sample amounted to (24) male and female students chosen non-randomly. The researcher adopted an expert evaluation form as the main tool to measure the effectiveness of the proposed model.

The research reached a number of results, most notably presenting an integrated diagram of the proposed educational model that takes into account multiple intelligences in teaching school theatre. The research recommended the necessity of adopting instructional designs based on modern theories, such as the Theory of Multiple Intelligences, when preparing curricula, and encouraging teachers to employ educational theatre to develop students' thinking, expression, and social interaction skills. The research also suggested constructing a training program for teachers according to this theory, and a similar instructional design for developing artistic creativity among students of the Department of Art Education.
(Note: The keywords were not included in the Arabic text provided, so they have been omitted from the English version. If you need to add keywords such as "Instructional Design, Theory of Multiple Intelligences, School Theatre," please let me know.)

This research focuses on developing a curriculum for the subject of "Dramatization of Curricula" based on the inquiry-based learning strategy. The study is divided into four chapters. The first chapter outlines the research methodology, including a presentation of the research problem, which centers on the following question: What is the proposed curriculum for the subject of "Dramatization of Curricula" based on the inquiry-based learning strategy? The importance and necessity of this research are highlighted by its focus on the inquiry-based learning strategy as a modern approach to curriculum development. The research aims to develop a curriculum for the subject of "Dramatization of Curricula" based on this strategy. The study is limited to three parameters: time, place, and subject matter. The time frame is limited to the academic years 2024-2025, while the place of study is the University of Babylon, College of Fine Arts, Department of Art Education. The thematic scope of the study focused on developing a proposed curriculum for the course "Dramatization of Curricula" based on the inquiry-based learning strategy for fourth-year students in the Department of Art Education. Chapter Two comprised two sections: the first addressed the concept of curriculum, while the second discussed the inquiry-based learning strategy. The chapter concluded with indicators of the theoretical framework and a review of relevant previous studies.
"Chapter Three addressed the research procedures, where the researcher outlined the steps for developing the proposed curriculum. The process began with identifying the needs of both society and students as a fundamental starting point for deriving the objectives. Subsequently, the researcher formulated the general and behavioral objectives (cognitive and psychomotor). To ensure scientific rigor, a questionnaire was developed and presented to a panel of experts and specialists for validation. Based on their feedback and observations, the final version of the objectives was established. Following this, the developmental procedures were completed by selecting appropriate teaching methods and defining the content elements, instructional media, and accompanying activities, as well as learning resources, leading to the design of comprehensive evaluation methods for the curriculum finally, determining assessment methods. Chapter Four contained recommendations and suggestions. The researcher offered several recommendations and suggestions, along with a bibliography and a summary of the research in English.

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The present study, entitled “Visual Integration Mechanisms between Al-Wasiti’s Paintings and Iraqi Contemporary Scenes for Producing Mural Models Using Mosaic Technique,” examines visual integration mechanisms as a contemporary artistic approach aimed at reorganizing relationships between images within a unified visual structure that combines traditional references with contemporary Iraqi visual scenes. This is achieved through two interrelated levels: a cognitive level associated with perception and imagination, and a technical level related to execution methods and visual processing techniques, with the aim of producing contemporary mural formulations characterized by integration and coherence.
The research is structured into four chapters. The first chapter addresses the methodological framework, including the research problem, significance, and objective, which focuses on identifying visual integration mechanisms and their application in producing mural models, in addition to defining the research boundaries and key terminology. The second chapter presents the theoretical framework through three sections: the first discusses visual integration in ancient civilizations and its cognitive and technical mechanisms; the second examines the stylistic characteristics and visual strategies in Al-Wasiti’s paintings; and the third focuses on mural art, its techniques—particularly mosaic—and its role within architectural space.
The third chapter outlines the research procedures, including defining the research population and sample (Al-Wasiti’s paintings and contemporary Iraqi scenes), adopting an applied methodology for execution and a descriptive approach for analysis, along with the production of practical models using the mosaic technique.
The fourth chapter presents the findings, which confirm that visual integration between Al-Wasiti’s paintings and contemporary Iraqi scenes constitutes an intellectual structure for re-producing the image within a contemporary context through the deconstruction of visual references and their reorganization into new mosaic-based configurations, transforming the process into an aesthetic practice that moves beyond representation toward meaning production. The findings include:
- The mechanism of visual analysis is embodied in deconstructing the image into its chromatic, formal, and symbolic components, allowing each element to be recontextualized within a contemporary visual framework. Recomposition, in turn, establishes new relationships between elements within a unified space based on interaction and adjacency rather than replication, producing a hybrid visual structure.
- Mosaic mural models become the final manifestation of the visual integration process, where cognitive mechanisms merge with material techniques in reshaping visual memory within an open interpretive space.
- Omission functions as a cognitive mechanism in simplifying the visual structure by removing non-essential elements, enhancing the image’s adaptability for reintegration and reconstruction.
The study concludes with several key findings, most importantly:
- Visual integration is based on deconstructing elements from Al-Wasiti’s imagery and contemporary scenes and reconstructing them into a unified structure that generates a new relationship between heritage and present as a process of meaning production rather than retrieval.
- The mosaic medium, despite its limitations in representing fine details, plays a positive role in reshaping mental imagery through simplification and abstraction. This limitation transforms into a constructive force that enhances semantic density and clarifies the overall structure, achieving harmony between material and final visual conception.
Finally, the study recommends further exploration of visual integration mechanisms in contemporary mural arts, the enhancement of mosaic and digital techniques in reinterpreting Iraqi visual heritage, and incorporating these topics into curricula of fine arts colleges.