Fnon Al-Rafidayn Journal

Children’s theater plays a vital role in shaping children’s personalities, fostering creativity, and supporting their holistic development, particularly in early childhood. Unlike traditional learning through books, theatrical experiences rely on visual and performative elements that engage children emotionally and intellectually, making them more receptive to educational messages.


The element of the uncanny represents a distinctive aesthetic and conceptual dimension in theatrical performance, transcending conventional structures of character, language, time, and space. It is realized through fantastical characters and symbolic representations that enrich the theatrical experience and facilitate the communication of deeper meanings. This makes it an effective tool in children’s education and cultural formation.


This study investigates the employment of the uncanny in children’s theater performances, focusing on the play The Seven Jewels of the Princess as a case study. The research addresses the following question: How is the element of the uncanny employed in children’s theater performances? The study aims to identify the mechanisms and functions of this element within the theatrical context.


The research is limited to performances presented in 2019 at the College of Fine Arts for Children, University of Mosul. It adopts a descriptive-analytical approach, examining the selected sample through a structured analytical framework.


The study is organized into four chapters: the first outlines the research problem, significance, scope, and key terms; the second presents the theoretical framework, including the concept of the uncanny and its applications in children’s theater; the third explains the research procedures; and the fourth discusses the results, conclusions, and recommendations.

The research works on uncovering how animation appears in the works of Kurdish artists through the use of elements such as character design, colors, shadow, light, composition, and the background in which events take place. It links the visual style used in these works to the cultural and social environment, because the image is influenced by ideas, customs, and the artist's view of their society. This is what the researcher attempts to clarify and highlight the features of visual identity in Kurdish animation, whether in character design or in arranging elements within scenes, shedding light on Kurdish experiences that have not been discussed before. In the theoretical framework addressed in the first chapter (the conceptual and aesthetic foundations of animation), and in the second chapter (visual elements of animation) such as form, color, movement, lighting, and composition, they are described as essential tools for analysis. The research relied on a descriptive-analytical methodology, through visually reading the image and linking it to the local culture. The results showed that most of the works tend toward simplification and abstraction. Thus, aesthetics appeared as an important expressive element in the works of Kurdish artists and reflect cultural identity, which grants This is what gives this art an important status in contemporary academic studies.

The clown is capable of transforming all aspects of life into a performative platform; in this sense, he represents a miniature archetype of the theatre itself. He can generate a mobile theatrical performance, embodying a complete scenography through his body—expressed in his strange and colorful costume, his movements characterized by spontaneity and freedom, and his diverse modes of expression rooted in comedy. Indeed, he may be regarded as a comedian in his own right.
However, the clown is not confined to a traditional theatrical framework. With the emergence of modern theatrical expressions, the clown has come to be defined simultaneously as an actor. Consequently, the art of clowning has developed into various schools, among which the most prominent and influential in the modern era—particularly in its close relationship to theatrical performance—is the model proposed by Dario Fo: the “art of epic clowning.” This form is distinguished by its intellectual and dramatic depth, contributing to the evolution of satirical theatrical performance through the figure of the actor-clown, or epic clown.
The epic clown thus remains one of the most significant styles that have contributed to the development of satirical theatrical structures and the renewal of their expressive vitality.

This study begins with a guiding question: How are Hassan Zirak’s melodies utilized and developed in contemporary Kurdish compositions, and what impact do they have on constructing a musical identity that is rooted in the vocal heritage while engaging with the demands of the present? The central research problem is defined through the following question: In what ways have Zirak’s melodies been employed and transformed in new Kurdish musical works, and what aesthetic and structural challenges has this process raised?
The significance of the research lies in offering an analytical framework that balances authenticity with innovation. Its objectives are to describe the mechanisms of use and development and to derive a practical model for contemporary composition based on Zirak’s motifs. The scope of the research is limited temporally to the years 2000–2025 and geographically to Iraqi Kurdistan and Iranian Kurdistan. The key terms of the study—use, development, and musical composition—are defined in order to establish their operational meanings.
Chapter Two, the Theoretical Framework, comprises five sections: the historical manifestations of music in Kurdish culture; the biography of Hassan Zirak and his role in shaping identity; the foundations of composition and its evolution across musical eras; musicians and orchestras in Iran, Iraq, and Southern Kurdistan; and Kurdish song and contemporary composition in terms of structures, characteristics, and formative procedures.
Chapter Three, Methodology, outlines the analytical tools and procedures used for studying the selected samples. Chapter Four, Research Findings, establishes a general conclusion: Zirak’s melodies can be integrated into contemporary academic composition in ways that preserve their identity while enabling their technical development. This approach provides a foundation for creating a modern Kurdish repertoire based on a “preserve–transform” protocol. The research concludes with a set of findings, recommendations, and proposals, and it ends with the List of References.

The research summarizes the study of the term "cyborg," a scientific term coined by space scientists Manfred E. Clynes and Nathan S. Clynes in 1960. Through this term, the two scientists proposed altering human bodily functions to enable them to live and adapt to extraterrestrial environments, rather than creating an integrated environment in space. This process involves combining the human biological body with mechanical additions that provide the human body with the advantages of augmentation and extension, contributing to the body's capabilities that enable it to perform functions that would otherwise be unattainable.
With the spread of technology in the theater, it became possible to integrate the actor's organic body with these technologies such as screens, lighting, lasers, and others. This integration creates a new identity and self for the subject presented, namely the self and identity of the cyborg, through the variation in the actor's performance. This, in turn, confirms a change in the production of meaning and the attainment of the highest levels of artistic brilliance and creativity, and the achievement of a variation in the form of receiving the postmodern performance. The use of the actor's body with technologies was the result of diligent work by directors who exploited these applications to achieve a formative and pictorial vision on the stage, whether it aimed to create an aesthetic showy atmosphere or to achieve a comprehensive vision to achieve the post-human dimension with a modernist vision that differs from what is known in traditional theater.

This research aims to explore the role of Islamic doctrine in developing the creative imagination of art education students, and its reflection in their graduation project drawings. The study is based on the hypothesis that Islamic doctrine, with its system of values, spirituality, and symbolism, constitutes an intellectual and aesthetic reference point that guides the student's artistic imagination, granting it semantic dimensions that transcend direct sensory representation towards a deeper symbolic and interpretive horizon.
The research adopted a descriptive-analytical approach, analyzing selected examples of graduation project drawings and observing the manifestations of doctrinal concepts within them, such as monotheism, the spiritual dimension, the values of goodness and beauty, and the concepts of the struggle between right and wrong. It also examined the presence of Islamic symbols, ornamentation, and Arabic calligraphy as visual elements imbued with doctrinal connotations. Furthermore, the research addressed the impact of the cultural and religious environment on shaping the student's imaginative framework and its ability to guide creativity within a framework that combines tradition and modernity.
The study concluded that Islamic doctrine does not restrict creative imagination but rather contributes to organizing and guiding it towards a balanced ethical and aesthetic horizon, transforming imagination from mere visual expression into an intellectual vision with spiritual depth. The results also showed that students grounded in a conscious doctrinal background produce more cohesive works in terms of concept, symbolism, and formal structure.
The research recommended strengthening the intellectual and doctrinal dimensions in art education curricula and encouraging students to utilize their spiritual and cultural heritage in developing their artistic visions, thereby contributing to the establishment of a conscious and creative artistic identity.

The symbol is considered one of the most significant expressive tools in theatrical performance through processes of interpretation and analysis. It functions to convey both sensory and intellectual meanings within the artistic work. The symbol holds particular importance in children’s theatre, as it facilitates the communication and transmission of meanings, forming the essence of visual communication. It also grants the theatrical work artistic and aesthetic depth.
Moreover, symbols carry accessible connotations that influence the audience, as they embody aesthetic, intellectual, and entertaining dimensions conveyed through theatrical performances. In this way, the theatrical work is transformed into an engaging and stimulating experience, achieving specific purposes in an effective manner.
The study is structured into four chapters. The first chapter presents the research problem, significance, and necessity. The research problem is defined by the following question: How is the actor’s body employed between symbolic and functional dimensions in children’s theatre performances? The study aims to identify the role of the actor’s body between symbol and function in children’s theatre. The scope of the research is limited to theatrical performances presented at the College of Fine Arts. The chapter concludes with the definition of key terms in operational terms.
The second chapter includes the theoretical framework, which consists of two sections: the first addresses the concept of the symbol and its types, while the second examines the role of the symbol in children’s theatre, concluding with theoretical indicators.
The third chapter presents the research procedures, including the research population, sample, and research tool adopted by the researchers for analyzing the sample. The fourth chapter presents the findings and conclusions and concludes with a list of references.

The current study, titled “The Stylistics of Display of Sculptural Works between Interior and Exterior Spaces,” examines the approach through which sculptural works are presented, particularly as individual pieces in modern and contemporary art. The researcher highlights the importance of this topic and structures the study into four chapters. Chapter One includes the research problem, its significance, objectives, temporal and spatial boundaries, and key terminology.
The study aims to investigate the stylistics of display adopted in modern and contemporary thought, and to explore its relationship with the environmental factors influencing exhibition scenography in both interior and exterior spaces. The research problem focuses on revealing the aesthetic and creative features in their full detail, which led the researcher to examine the elements and characteristics of the display environment that affect the aesthetic and technical values inherent in the artwork.
The study further aims to identify stylistic differences in the presentation of sculptural works between interior (closed) and exterior (open) spaces, as well as to examine the aesthetic interaction that emerges between the display environment and the sculptural artwork.

The theatrical actor’s performance constitutes a significant medium through which ontology, as the philosophy of being, expresses its existential inquiries into the nature of the self within theatrical performance. The relationship between ontology and acting emerges through a philosophical and aesthetic convergence reflected in the actor’s diverse cultural, social, and political references. These references shape the actor’s behavior, storytelling techniques, and live stage performance, contributing to the construction of the narrative.
This study is structured into four chapters. The first chapter, the methodological framework, formulates the research problem through the following question: How does ontology manifest through the multiplicity of the actor’s performative references in theatrical performance, with the story as a model? It also highlights the significance of the study in revealing the relationship between ontology and acting, as well as the role of multiple references in renewing the narrative and enriching theatrical experience. The study further demonstrates its relevance for artists and researchers in theatrical arts, particularly in acting and directing, and defines its objectives, scope, and key terms.
The second chapter presents the theoretical framework through two sections: Ontology and Narrative: Concepts and Approaches, and The Multiplicity of the Actor’s Performative References in Theatrical Performance. The third chapter outlines the research methodology, including the research population, sample, instruments, and analysis. The fourth chapter discusses the findings, conclusions, and recommendations, emphasizing their academic and practical implications. The study concludes with a list of references.

The theatrical scene is closely shaped by the dynamics of its social context, including its intellectual, cultural, and material dimensions. These factors influence the formation of theatrical expression, the aesthetic construction of the stage image, and the diversity of performance styles adopted in theatrical practice. Within this framework, the actor emerges as a central element who actively engages with these contextual variables.
This research examines how the theatrical actor responds to shifting social conditions by adapting their psychological, physical, and technical capacities. It explores the actor’s ability to construct a distinctive performance style that aligns with the demands of the script and the broader performance environment. In doing so, the study highlights the actor’s role in transforming social and theatrical inputs into meaningful stage expression.
The study aims to reveal the extent to which actors can maintain creative flexibility and awareness while navigating changes in the social landscape and their reflections on theatrical performance. It also investigates how these changes contribute to shaping the actor’s psychological engagement and expressive potential.
Based on the analysis of selected samples, the findings indicate that actors are capable of effectively responding to diverse intellectual, cultural, and social influences. This adaptability enables them to develop unique performance strategies and to enhance their overall theatrical presence. The study concludes that the interaction between social context and actor psychology plays a crucial role in shaping contemporary theatrical performance.

At the end of the twentieth century, rapid scientific and technological advancements, alongside globalization and the expansion of the internet, highlighted the urgent need for sustainable development strategies. Such strategies aim to meet present needs while safeguarding the rights of future generations through balanced social, economic, and environmental development. They emphasize equality, poverty reduction, access to education and employment, improved health standards, and environmental preservation.
Within this framework, effective communication tools became essential for promoting sustainable development awareness. Television programs broadcast via satellite channels have played a significant role in this regard, as they transcend spatial and temporal boundaries and reach diverse audiences worldwide. These programs have become influential platforms for disseminating ideas related to sustainability, particularly in enhancing health awareness and encouraging behaviors that support individual and community well-being.
Moreover, television programs employ aesthetic and artistic techniques, increasingly supported by artificial intelligence, to deliver their messages in engaging and impactful ways. Their ability to target audiences across different age groups and cultural backgrounds enhances their effectiveness in promoting sustainable values.
Accordingly, this research explores the artistic treatments and communicative uses of expressive content related to sustainable development and artificial intelligence within the aesthetics of health-oriented television programs. The research problem is formulated as follows: What are the uses and artistic treatments of expressive work for sustainable development and artificial intelligence in the aesthetics of health TV programs?
To address this question, the researcher adopts the descriptive method, specifically content analysis, as it is the most appropriate approach for achieving the study’s objectives and generating reliable results.

The research aims to reveal the significance of cognitive integration in enhancing the technical development of interior design in airport waiting lounges by examining the relationship between perceptual aspects (comfort, orientation, visual attraction) and technical aspects (smart systems, modern materials, advanced lighting and ventilation solutions). The study employed the descriptive–analytical method to review literature and previous studies, in addition to the applied method for analyzing architectural models of several international airports in Asia during the period (2010–2024).
The findings indicate that cognitive integration represents a key approach to advancing the functional, aesthetic, and technical performance of waiting lounges, as it contributes to enhancing user experience, achieving a balance between practicality and aesthetics, and utilizing modern technologies to reinforce spatial identity. The research recommends that interior designers adopt the principles of cognitive integration in developing innovative design solutions that improve the efficiency of airport interiors in line with user expectations and global design standards.

The research works on reading the cognitive dimensions of contemporary Iraqi art, by focusing on reading the art of sculpture. The research addressed the establishment of a theoretical framework through which it determined the cognitive dimensions that art relied on in its works. The first section dealt with the historical and mythological dimension of contemporary Iraqi sculpture, which focused on the artist’s reliance on historical or mythological material as a cognitive reference in embodying the subject to be worked on artistically. The second section dealt with the aesthetic dimension of contemporary Iraqi sculpture by looking at the aesthetic tools and standards that give the artwork a distinctive and attractive touch for the recipient. The research also came out with some results and conclusions.

The present study examines the aesthetics of ritual performance in Syriac theatre acting as an experience that integrates both spiritual and physical dimensions. Drama, in this context, is regarded as an artistic manifestation rooted in rituals and religious beliefs, having emerged from ritual practices that were performed and embodied through representational methods bearing the characteristics of dramatic performance. Accordingly, the performative act transforms into an expressive ritual that reveals Syriac cultural identity.
Through Syriac ritual, the actor seeks to achieve an aesthetic balance between sacredness and art, delivering a performance that embodies participation and collective service. In light of this, the researcher structured the study into four chapters. The first chapter (Methodological Framework) addresses the research problem, which is formulated as the following question: How are the aesthetics of ritual performance manifested in Syriac theatrical performance, particularly in the play Rituals of Firewood? This chapter concludes with the definition of key terms, including (performance, ritual, and Syriac theatre).
The second chapter presents the theoretical framework, divided into two sections: (Ritual in Theatre) and (The Aesthetics of Theatrical Performance). The third chapter outlines the research procedures, where the play Rituals of Firewood was intentionally selected due to its relevance to the study objectives. The fourth chapter presents and discusses the results, followed by conclusions. Among the most significant findings are: the performance of the Syriac theatre actor is shaped within a religious theatrical ritual, weaving reality with its values, determinants, and dimensions, such that the actor’s presence becomes an aesthetic act aligned with the spirit of service and participatory interaction. The study concludes with recommendations, proposals, and a list of references.

Nasiriyah is considered one of the heritage cities due to its environmental richness and pristine natural character, closely associated with the ancient civilization of the city of Ur. Therefore, it should exist within an aesthetic system that organizes visual relationships within the surroundings of sculptural monuments, allowing them to possess a clear aesthetic discourse that reflects a civilized image of Nasiriyah consistent with its cultural history.
This is addressed in Chapter One of the study, which examines the problem of visual discourse and the formations of three-dimensional sculptures in public squares and spaces. This issue represents an essential aspect that must be identified within defined boundaries in order to reveal the intended objectives and address the manifestation of visual discourse.
In Chapter Two, the theoretical framework is presented through two sections:
(1) visual discourse in light of the process of aesthetic awareness; and
(2) visual discourse between sculptural spaces and urban spaces.
These are further divided into two axes:
(a) aesthetic formations between sculpture and architectural construction; and
(b) the relationship between compositional elements and adjacent design principles.
Chapter Three presents the research procedures, including a study population of (10), a purposive sample of 13%, and the adoption of a descriptive-analytical method.
The study concludes with a set of findings, conclusions, and key recommendations, including the organization of seminars and conferences aimed at raising awareness of the importance of visual and aesthetic elements in the city of Nasiriyah, as well as emphasizing the development of specific design guidelines for commercial building facades.

This article examines the history of theatre as a continuous tension between the principles of openness and closure. It traces the transformation of theatre from a collective, celebratory spectacle rooted in life to an institutional structure that seeks to regulate aesthetics within a closed symbolic system. Particular attention is given to the shift from Dionysian rituals in public spaces to enclosed architectural settings, which contributed to the formation of the myth of “theatrical specificity” that positioned Greek theatre at the center while marginalizing other cultures.
The study critically engages with Western philosophical discourse, beginning with Aristotle, which established Greek tragedy as the universal origin of theatre while neglecting its shared performative and mythological roots across civilizations. It argues that this perspective is not merely a historical construction but also a mechanism for producing cultural dominance through aesthetics, whereby theatre becomes a metaphysical apparatus that legitimizes the notion of the “center” and excludes alternative cultural expressions.
Accordingly, the article proposes a deconstructive and decolonial re-reading of theatre history, highlighting the interconnected ritualistic and cultural dimensions of performance. It ultimately advances a renewed understanding of theatre as a pluralistic and transcultural phenomenon, rather than a closed Greek legacy.