Fnon Al-Rafidayn Journal

This research characterized by the aesthetic approach between philosophy and art in the contemporary human body includes four chapters. The first chapter included the research problem that centered on the philosophy of the contemporary human form and was supplemented with reference to the importance of the research and the goal of the research, which was to clarify the aesthetic transformations of the perception of the (better) human form through the transformations of philosophy And then the limits of research that were determined spatially and temporally in the countries of the world in the years 1887-1992 AD, and thematically by the artistic achievements that bear in their character the human formation.
As for the second chapter, it included two topics, the first was (the movement of the human form through the history of philosophy). While the second topic (the aesthetic perception of drawing the human figure, a reading in the history of painting), it is devoted to seeing schools and various modern and contemporary artistic trends of the human form, and how it is represented in artistic achievements. And then come up with the indicators.
While the third chapter was devoted to research procedures and included the research methodology, the research community, the research sample that was intended, which amounted to (4) samples, the research tool that was the observation and what was mentioned in the theoretical framework in content analysis and finally the sample analysis.
While the fourth chapter came to include the results and their discussion that the researcher reached after analyzing the sample, and most important:
1. Approaching (Sample No. 1, Sample No. 3) with philosophical ideas (Sigmund Freud) by highlighting the aesthetic features and focusing on the naked woman’s body and showing it in a gender concept by showing her attractions and with relatively large sizes at another expense to emphasize the aspects of beauty and fertility, such as large and backward breasts Notable, especially among Impressionist artists.
2. The abuse of the human form reaches a great extent in the postmodern arts that deliberately produced it in images that were intended to destroy the classical idealistic view and previous artistic roots, which is what we observe in (Sample No. 2) (Sample No. 4) in line with (Kant's) ideas about freedom Artistic (and Foucault and Derrida) in deconstruction and pragmatism with an experimental direction, the human form is fluctuating and not limited by a fixed law in order to show issues and topics without a foundation in the world of false images, according to the philosophy of (Jean Baudrillard) in deconstruction.
And then the researcher reached a number of conclusions, recommendations and suggestions.

The art of performance is a human and educational activity as it is one of the activities most closely related to the requirements and needs of the child. Useful matters, especially to discover the nature of the features and techniques that added artistic and aesthetic features, may enrich artistic taste in children's theater.
The research consisted of four chapters, and the first chapter included the research problem, its importance and the need for it. The problem of the research was identified in answering the question, which is how the actor's vocal performance was employed in children's theater performances. The aim of the research also included identifying the function of the voice performance of the actor in the child survey performances. While the limits of the research were limited to theatrical performances presented at the College of Fine Arts. The chapter ends with defining the terms and defining them procedurally.
The second chapter included the theoretical framework, which contained three sections, the first dealt with vocal performance, the second studied the actor and his work, and the third was children's theater, and finally the theoretical framework with some indicators. While the third chapter (research procedures) dealt with the community, sample and research tool adopted by the researcher in analyzing the research sample. The fourth chapter included the results and conclusions, and the research ended with a list of sources.

The relationship between the image upon which artwork is formed in the artist's imagination before it takes shape within the painting, and the final stages of completing the work in its ultimate form, goes through a lengthy debate that depends on the nature of the artistic doctrine or philosophical aesthetic approach to which it belongs. As a result, we see different and changing images of the debate, depending on the change in the approach we adopt, whether it is ideal, material, existential, etc.

From here, we understand that the relationship between the two parties is not a relationship of conformity or similarity, but rather a relationship of debate and conflict, even if its designations differ. It is a transformation from existence in the realm of ideas to existence in reality.

The theatrical field operates on the intersection of adjacent structures with its space to produce a cognitive, aesthetic, and semantic discourse that aligns with society's social and cultural values. Since archaeology, as a cognitive system, works on reading historical achievements and their multiple discourses to reach the ideological truth of the mind, and since the body of the theatrical performer is considered a historical achievement that carries multiple readings through the properties of communication, interaction, symbols, and encoding, which are manifested in shaping their physical discourse and their social and cultural system. Archaeology has thus intersected with the physical data of the actor, which carries behaviours, motor systems, and actions performed by the theatrical performer. Therefore, the archaeology of the actor's body within the theatrical presentation is a cognitive formation and an evident framework for the accumulated relationships of the discourse’s series. The most important conclusions reached by the research are as follows:
1. Archaeology is represented in the body of the actor by shaping their semantic motor discourse through a combination of acquired social and cultural systems, drawing their actions, cognitive structure, and movement.
2. Identities have emerged as a fundamental element in the archaeological discourse of the actor's body, shaping its psychological and performative dimensions.
3. Archaeology has intersected with structures indicating the human's past, culture, language, heritage, space, patterns, and semantic discourse.

The dramatic show, which is presented to children, is considered a preferable thing for them because it owns all means of attraction and excitement through the various methods in which scenography is employed and its elements are shown as aesthetic layouts in the drama shows that are presented for children which aim at increasing awareness and open new horizons for children and develop their feeling towards beauty. Therefore, the researcher divided the study into four chapters. The first chapter included the methodological frame and the problem of the study, and both are centered on answering the following question: the employment of the aesthetics of scenography in the drama shows that are presented to children? Then the importance of the study, the need for the study and its spatiotemporal limits, which were appointed in the period of time between 2008 and 2010, including the shows which were presented on the stage of The University Grand Theatre in Mosul University and on the stage of the experimental theatre in the College of Fine Arts in the University of Mosul.
Then the chapter was ended by defining the terms (Aesthetics and scenography). The second chapter; the theoretical frame, it contained the previous studies, and the theoretical frame which included two sections. The first dealt with the international and Arabian history of children’s theatre and its types. The researcher talked in this chapter about how the theatre of children emerged in some Western and Arabian countries explaining the means that overwhelmed children before the emergence of their theatre, in addition to the divisions of children’s theatre. As for the second section; it shed light on the specificity of scenography elements in children’s shows. In this section, the researcher talked about the elements of scenography (the actor, decoration, lights, music, uniforms and accessories) clarifying their employment in children’s shows. Then the chapter ended with the most important indications which resulted from the theoretical frame.
The third chapter included the procedures of the research in which (8) dramatic shows were appointed as the community of the study. The researcher chose his sample intentionally depending on the descriptive analytical approach, for their appropriateness to the study, represented in two dramatic shows directed by Mohammed Ismaeel: Nasheet (the active), The Four Elements and A.B.C.D.E.F plays. Both plays were organized in accordance with the results of the theoretical approach as factors and indications from which the researcher concluded the standards of analyzing his sample. Finally, the fourth chapter was an exposition of the most important findings and discussing them, conclusions, recommendations and propositions. Then the researcher ended the study with the list of references that are used in the.

The myth is one of the important tributaries of art in general and theater in particular, which the writer has long employed in his theatrical texts in all its forms and methods, in order to supplement the new generation and introduce it to its history and to employ it in the theatrical text and crystallize it in the theatrical performance.
The research consisted of four chapters, and the first chapter included the research problem, its importance and the need for it. The research problem was identified in answering the question (how the legend was employed in the Iraqi theatrical text). The aim of the research also included identifying the function of the legend in the Iraqi theatrical text. While the limits of the research were limited to theatrical performances presented at the College of Fine Arts. The chapter ends with defining the terms and defining them procedurally.
The second chapter included the theoretical framework, which contained two topics, the first dealt with the origin of the myth and the most important myths, and the second studied myth and drama, and concluded the theoretical framework with some indicators.
While the third chapter (research procedures) dealt with the community, sample and research tool adopted by the researcher in analyzing the research sample. The fourth chapter, it included the results and conclusions, and the research ends with a list of sources.

The Syriacs are a people with their own civilization and culture, which has given the world a unique presence distinct from other civilizations. In Babylon and Assyria, sciences, arts, and literatures emerged that, in turn, changed the cultural structures of countries around the world and influenced their sciences, civilizations, and curricula. Among these sciences, theater stood out as a means of human communication and a platform that promotes distinctive behavior and influential presence in one's community. It addresses the reality of the Syriacs—past, present, and future—drawing inspiration from the spirit of the Syriac language, heritage, and folklore, and delves into Syriac milestones and their influence and interplay with surrounding cultures. Therefore, Syriac theater is one of the forms possessing these qualities, being a theater of significant artistic impact.

In light of the above, the researcher divided his study into four chapters. The first chapter (Methodological Framework) included the research problem, which revolves around the question: What are the most important artistic milestones of Syriac theater during the period of displacement? It then discusses the significance of the research, the need for it, the research objectives and scope, and definitions of terms. The second chapter (Theoretical Framework) discussed the first section: An Introductory Overview of Syriac Theater, and the second: Theatrical Activity During the Period of Displacement, followed by indicators of the theoretical framework. The third chapter (Research Procedures) included the research population, research tool, research methodology, and concluded with sample analysis. The fourth chapter contained the research findings and conclusions. The researcher concluded his study with a list of sources and references.

Since the beginning of their existence, humans have sought ways to embody their ideas, fantasies, and whims. Raw materials played a crucial role in showcasing their skills by manipulating these materials to connect them with artistic work and utilize them in their environment after several stages of experimentation and trial. The choice of materials was based on their physical properties, which would be compatible with environmental conditions.

In light of this, the researcher divided his study topic into four chapters. The first chapter (Methodological Framework) focused on the research problem, which revolved around the question: How is the profane manifested from materials in postmodern art works and outputs? And what motivates the investment in this profanity? This was followed by the importance of the research and the need for it, which was to highlight an important topic in postmodern art, represented by the entry of profane materials into its works and outputs, considering it an unprecedented new addition in the development of the art history movement. The research aimed to identify the manifestation of the profane in postmodern art, the scope of the research, and then the definition of terms. The second chapter (Theoretical Framework) discussed the first section: The Concept of Postmodernity, and the second: The Importance of Material in Postmodern Art, followed by the indicators that emerged from the theoretical framework. The third chapter (Research Procedures) included the research population and sample, research tool, research methodology, and concluded with sample analysis. The fourth chapter contained the research findings and conclusions. The researcher concluded his study with a list of sources and references.