Journal of Nabu

Abstract
Knowledge constitutes an important measure of development and an essential part of the human experience. It is a continuous journey in the field of man’s quest to understand the meaning of life and the world around him and to achieve great things. At the same time, its contradictions pose many challenges that raise doubt, confusion, and mental exhaustion, in light of a world full of phenomena interconnected by relationships. Complex and intertwined, it may sometimes be difficult to understand accurately through a person’s limited cognitive abilities, so it raises and crystallizes mental cognitive dissonances whose exacerbation may lead to early hidden conflicts, just as the penetrating smell of smoke warns us of the presence of a latent fire that starts from a small spark and quickly grows and grows by feeding it with oxygen, so its intensity increases the more we neglect. Extinguishing it with water or suffocating it by cutting off its oxygen supply. This is the case with the journey of cognitive dissonance that begins with contradictions in ideas and beliefs, or conflicting feelings, or difficulty in reconciling values and principles, as they represent early warning signs of the conflict that is likely to occur, and an event, or a specific situation, ignites a fuse. Conflict, so that conflicting thoughts turn into overwhelming feelings, aggressive behavior, or isolation and introversion, making it difficult to control, leaving behind psychological devastation, broken relationships, and material and moral losses. The only thing that prevents them from occurring is the path of intelligence and wisdom in dealing with these contradictions and turning them into an opportunity for growth and development through early intervention, compromise, and tolerance. Open-mindedness, awareness, re-evaluation of the self, understanding it more deeply, expanding the horizons of thinking and acceptance, and creating a balanced and consistent world. Cognitive dissonance becomes a healthy state and a catalyst for positive change, unlike the wrong strategy for dealing with it, when the personality resorts to burying contradictions under the surface, ignoring them, avoiding thinking about them, and overusing mechanisms. Psychological defense tricks, represented by self-deception, denial of facts, biased interpretation, rewriting of history, deliberate ignorance, and flimsy justifications for anything that might provoke cognitive dissonance, closing the mind, lack of confrontation, and escaping from reality, which lead to a gelatinous and temporary psychological balance that is quickly lost by another, more severe cognitive dissonance, which pushes the personality to... Events plunge her into tragedy.

Abstract :
The problem of not paying attention to the educational values included in school theater texts, and the displacement of them by directors during the process of converting these texts into audiovisual performances, stopped the researcher, so this study came with the aim of revealing the educational values included in theatrical texts directed at secondary school students, and then identifying the extent to which these values appear in theatrical performances that adopted these texts. The researcher chose the descriptive approach, as it achieves the objectives of his research, so he built a form to analyze the performances, and concluded that the percentage of the appearance of educational values in them was somewhat encouraging, compared to the values that did not appear at all. He concluded that art education teachers and technical supervisors are capable of spread educational values in the educational environment through theatrical activities, if material and moral support is provided.

Abstract
The research explores the variation in acting performance and the differences between actors in presenting theatre works of a historical nature, Also examines the impact of historical material on the actor's performance and the aesthetics of performance in theatre discourse . Creativity in the construction of an actor's performance is the creation of a style that harmonies with the historical character in the present time, To reach a theatrical discourse with beauty and intellectual values, to pull the audience in interacting with the course of events. This is the aim that the artist seeks to achieve the direct effect of uniting the audience with the event and the actor in particular in the theatre show. This research is organized into four chapters: The first chapter contains (the methodological framework of the research) in the following form: The research problem and the need for it, in which the researcher focused on the following question: What is the extent of the variation in acting performance in the presence of historical material in theatre shows? However, the researcher also defined the aim of the research, the boundaries of the research, the definition of research terms, and the procedural definition. As for the second chapter (the theoretical framework): it included two topics: the first: the development of the acting performance , and the second: the study of the Iraqi historical play. The second chapter concluded with indicators of the theoretical framework. Chapter Three (Research Procedures): It includes the research procedures and the research sample that is identified in the play Gilgamesh. The fourth chapter included the research results, the most important of which are: 1- Historical acting performance as a distinctive aesthetic image in the art of theatrical performance. 2- The actor's personal experience and historical knowledge elevate the art of acting performance.The research also contains conclusions, recommendations, suggestions, and a list of sources and references . Keywords: Development, performance, historical theatre.

Research Summary :
The current research contains four chapters, with the first chapter (methodological framework): in answering the following question: studying the condensation idea in the discourse of the short theatrical performance, in which the valuable feature is knowledge of reduction in the short theatrical performance? The chapter also included the importance of research, the need for it, and the temporal, spatial, and objective limits of research, as well as a definition of some terms. As for the second chapter (theoretical framework), it included: The first section consisted of an axis: The conceptually condensed idea. The second section: This chapter contained previous studies, and the outcome of the framework was and contained two axes: condensation in the discourse of theatrical presentation globally and Arably, and included a group of directors and writers. Foreigners and Arabs who showed condensation and reduction in their theatrical works, and concluded the theoretical framework with a number of indicators. As for the third chapter (the procedural framework), the researcher determined a sample of the play (The Thief) intentionally and according to certain justifications. The chapter also included the research tool and the research methodology. The researcher used the descriptive approach to analyze the sample. In the fourth chapter, the researcher also studied the results of the research and concluded the research with a list of sources on which he relied in the research.

Abstract
This research examines the levels of intertextuality of the stories of the holy books in the contemporary Iraqi theatrical text, considering that religious intertextuality is one of the most important literary tools that enhance the depth of the theatrical text, and reflects a state of interaction between theatrical literature and the sacred texts and the stories they contain.
The research reveals how writers draw inspiration from the stories of the sacred texts, and also studies the mechanisms used in formulation and use. Intertextuality is in the form of quoting verses from the holy books, or with a rhetorical style, and it may be indicative and used for symbolic projections that increase the depth of the events of the play. The research includes four chapters. The first is to introduce the research problem, its importance, and its objectives. The second chapter includes two sections, the first is intertextuality and its levels, and the second is the intertextuality of the stories of the Holy Books and an explanation of the indicators of the theoretical framework. The third chapter included an analysis of the play (When Will the Bells Ring), and the fourth chapter included the results of the research and an index of the sources.
Keywords: (intertextuality, the Fable, dramatic structure, holy books, the Torah, the Bible, the Qur’an).

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Research Summary
The research section entitled (Operational Diversity in the Poetics of the Actor's Performance) was divided into four chapters. The first chapter of the research included and defined the research problem through, what is the poetics of the actor's performance and how it works for the actor? The chapter also included the importance and purpose of the research, as the importance of the research lies in the fact that it sheds light on the poetics of the actor's performance in the Iraqi theater and the way it works. As for the purpose of the research, it was to identify the diversity of poetics and its work in the performance of the Iraqi actor. As well as the temporal and spatial boundaries that were confined to the works of the National Theater Troupe from (2013 AD to 2023 AD) and then the terms were determined and the operational definition of poetics was (it is the formation of philosophical semantic images and meanings that the actor's performance transmits to the recipient and is achieved by what the senses dictate and perceives mentally) and the operational definition of performance was (it is a behavior that is carried out with a certain degree of skill and requires an appropriate amount of training, preparation and readiness until it reaches the stage of mastery and efficiency that reaches the imaginative and imaginative dimension in front of the recipient who shares with it the pleasure of performance) As for the operational definition of the poetics of performance (it is the aesthetic and cognitive amount to create the essence of the performance, it belongs to the laws and characteristics that determine the effectiveness and beauty of the performance in an artistic semantic style) and the second chapter included three topics, the first topic (the concept of poetics) which indicated that poetics is the language of language and consists of structures, metaphors, and pictorial, expressive and semantic simulation of words, sounds and images to generate meanings perceived sensually, and the second topic included (Global Poetics) and the most important theories in the actor's performance, and identified the most important ideas and performance visions, and the third section included (Arabic Poetics) and identified the most important Iraqi theories, ideas and visions in the actor's performance, and then included the indicators of the theoretical framework, which were represented by nine paragraphs, and in the third chapter (research procedures), it included the reasons for choosing the time period for the general research community, which had (159) theatrical performances, and the chapter also included the method of selecting the sample from the research community, which is the intentional method of the theatrical performance (disclosures), and it also included the research methodology, as the researcher relied on the descriptive analytical method in analyzing the sample model and research tools, while the fourth chapter included the results and their discussion, as the researcher came out with five results through his study of the sample models and the most prominent results, and it also included the conclusions, which included six paragraphs, and the research concluded with suggestions and recommendations and a list of sources and references and a summary of the research in English.

Research Summary
The research summary discusses how the dramatic structure of television series highlights the psychological aspects that control events and how they are formulated by embodying the characters' desires and deep motivations, following the inner life they lead. Television drama has benefited from psychological theories in creating various artistic treatments for themes and ways in which the creator builds a visual achievement based on its complex nature open to psychology. The researcher identified the research problem (revealing the psychological structure of the protagonist's character in television drama) The theoretical framework consists of two sections:
• The first section deals with an introduction to the study of the dramatic character
• The second topic: The researcher deals with employing language elements to show the psychological structure and embody it on the screen in a way that achieves the greatest possible amount of enjoyment.
Then the researcher extracted a set of indicators to subject them to analysis according to a purposive sample of one of the series to come up with the best results, conclusions and proposals.

Abstract:
This research explores the aesthetic impact of depth of field and the resulting dramatic meanings in television series، highlighting how cinematographic techniques are used to achieve visual effects that enhance viewer engagement and deepen the dramatic understanding of events and characters. The study is based on an analysis of a selection of well-known television works، with a focus on specific scenes that prominently employ depth of field.
Keywords: Aesthetic impact- Depth of field - Dramatic meanings - Television series

The current research deals with (the intrinsic dimensions of visual scenes in Persian Islamic photography" timurian school as a model"), the study of the intrinsic dimension
Thus, the research contained four chapters: the first chapter was concerned with the methodological framework of the research, represented by the research problem, which was determined by the following question: (What are the implicit dimensions in Timur-Persian-Islamic photography). The aim of the research is to find ( the implicit dimensions of visual scenes in Persian Islamic photography are known as the "Timurid school as a model"). The limits of the research were limited to the objective limits, which included the artistic illustrations that dealt with the stories of the prophets in the Islamic Persian Timur art. As for the temporal boundaries, they were determined from the 14th-16th century A. H., While the spatial boundaries were represented in Iran .
As for the second chapter, it was represented by the theoretical framework and previous studies, and it consisted of three discussions. The first topic dealt with the content and its general concept within the artwork. The second section,, the third section deals with Islamic art. The third topic dealt with Persian art and its most important art schools.
The third chapter included the search procedures. Include the research community and its sample, research tool and sample analysis. The fourth chapter included the results of the research and its conclusions , as well as recommendations and proposals. The most important results:
1-Islamic art emphasizes the meaning of the great power possessed by the believer as a tacit aspect that emphasizes the approach of Almighty Allah, and strengthening the determination of man to continue his tasks against falsehood and upholding the word of truth.
2-Islamic art constitutes a message to all nations to achieve social cohesion and protect the believer from psychological or other evils so that man can achieve happiness in this world and the hereafter.
Among the conclusions are:
1-the faith dimension is considered a great educational impact in the life of the individual and society, and the main element that drives human emotions, and guides his will, and when the elements of faith education are correct in the same person, his life is straightened on the path of goodness and guidance.
2-Islamic art is considered an important means to achieve the artist's goals in absorbing the Quranic stories as a civilized dialogue that shows the culture of the Islamic country to the rest of the nations and emphasize the importance of the prophet and prove the transmission of his message and its sanctity, as well as divine honor to man.
Research summary
The current research deals with (the implicit dimensions of visual scenes in Persian Islamic photography" timurian school as a model"), a study
الفصل الاول

Summary
Studying the artistic characteristics of East Asian fine art is of great importance as it helps in cultural appreciation, historical understanding, and contributes to diverse fields of knowledge. And revealing the mutual influences between different cultures in East Asia, in addition to the techniques followed by the East Asian artist. Understanding how East Asian plastic art influenced Western and international artistic and aesthetic styles, and revealing the extent to which the East Asian artist was influenced by his natural environment and his cultural and religious identity. This research deals with the study of the artistic characteristics of contemporary East Asian art - an analytical study - based on the abundance and continuity of production in the art library, and the art library’s lack of such a study, which included four chapters. The first chapter / contained the research problem that crystallized by asking about the characteristics of contemporary East Asian plastic art. The importance of the research: The research aims to reveal the artistic characteristics of contemporary East Asian art.
The second chapter / the theoretical framework of the research included two sections: the first section / the concept of technical characteristics. The second section: Introduction to contemporary East Asian art (Japan, South Korea), in which the researcher discussed contemporary artistic trends in East Asia and the extent to which they are influenced by scientific and technological progress in those countries. As for the third chapter, it included the research procedures and included a description and analysis of the works of the research sample, which amounted to (4) models. The fourth chapter contained the research results and conclusions, followed by a set of recommendations and proposals.
The most important results of the research are:
1. The emergence of cultural elements as topics presented within a plastic framework that calls for cultural elements as icons that enhance cultural values. The embodiment of biological (ethnic) identity is also among the artistic characteristics
2. The artistic characteristics of contemporary East Asian art are confirmed in the diversity of its compositional structure, which is characterized by the aesthetic and expressive values of the work by virtue of its simile realism, in accordance with the influences of the artist’s intellectual environment and his own style.

" Research Summary "
The current research dealt with the aesthetics of textual gaps in digital art, in which the researcher investigated the aesthetics of textual gaps in digital art, which has kept pace with modern scientific achievements and technological development that have been adopted in most of the mechanisms of this art, and that this requires continuous research reading of the achievements of digital art that have kept pace with that development and the aesthetics it carries. Revealed through this art.
The first chapter dealt with the research problem, which was defined by the following question.
What is the beauty of textual gaps in digital art?
The research aimed to identify the beauty of textual gaps in digital art.
The boundaries of the current research were limited to the objective, temporal and spatial boundaries, and included the temporal boundaries between the years
(2000 - 2020) of the European and American digital artistic achievement.
The second chapter includes the theoretical framework of the aesthetics of textual gaps in digital art The third chapter:
The research community included (50) works in digital drawing. As for the sample, it consisted of (3) works of art that were subjected to analysis.
The fourth chapter included the results of the research, including digital technology in contemporary art, representing a creative aspect at the level of construction, composition, and analysis of the elements that make up the artwork, whether static or moving elements, as in sample (3,2,1). Visual perception contributed to the interpretation and interpretation of the artwork from Before the recipient, there is a process of successive rotation of the elements of the work, which is called the visual illusion, as in sample (2,1). As for the conclusions, they include the feelings, feelings,
and emotions of the recipient in interpreting and interpreting the works of art at all cognitive levels.

Summary:

The research titled " Traditionalsm in Contemporary Iraqi Ceramics" a study of the traditionalsm elements and symbols that characterize contemporary Iraqi ceramics. The research focuses on how these elements and symbols are embodied in the artistic works of Iraqi ceramists, It aims to identify the manifestations of traditionalsm and the ways it is transfigured in contemporary Iraqi ceramics, Additionally intreset the historical and cultural origins of traditionalsm in Iraqi ceramics, and how it has been transmitted and evolved over time. The study also examines the impact of traditionalsm on the aesthetics and artistry of ceramic works, as well as its role in preserving Iraqi cultural identity. The study is divided into four chapters as follows: The first chapter contains the (general framework of the research) where the researcher identifies the research problem with the following question: (What traditionalsm in contemporary Iraqi ceramics?). aim of the research are outlined by focus the role of traditionalsm in contemporary Iraqi ceramics in preserving Iraq's cultural and artistic heritage, The research provid support to local ceramists by offering innovative insights and methods to integrate traditionalalsm elements into their works, enhances cultural and artistic awareness in society, and enriches the scientific library with an academic study that contributes to the development of intellectual and aesthetic aspects, thereby promoting national and cultural identity and preserving and enhancing traditional artistic heritage in the context of contemporary art. The study objective to focusing on the role of traditionalsm in contemporary Iraqi ceramics, how elements are innovatively crafted to enhance cultural and artistic identity, and to recognize the skills and creativity of contemporary Iraqi ceramists. The research boundaries include the spatial boundaries (Iraq) and the temporal scope (2007-2022) within the objective boundaries that encompass contemporary ceramic works produced and exhibited in Iraq. The second chapter contains three sections: the first section covers the concept of traditionalsm , the second section deals with traditionalsm artistically, and the third section is titled the creative employment of traditional art elements in contemporary Iraqi ceramics The third chapter contains (research procedures) which include the research community consisting of (20) ceramic works, from which (5) samples were selected. The researcher used the descriptive-analytical method in analyzing the samples.The fourth chapter contains the research results and conclusions.
The research results include:
1- Contemporary Iraqi ceramicists have successfully integrated traditional symbols and motifs into their works to preserve cultural heritage. This enhances the sustainability of the heritage and the understanding of new generations, creating a strong connection with the past through a balance between functional beauty and traditional decoration.
2-Contemporary Iraqi ceramicists have focus the rich cultural heritage by using traditional art symbols and incorporating modern elements and artistic innovations. This not only helps preserve the heritage but also reinterprets it in new and innovative ways, as seen in various examples.
3-Contemporary ceramicists have employed traditional art elements in Iraqi ceramics to preserve the heritage styles and motifs that reflect Iraq's rich history. This includes the use of shapes, colors, and techniques from different historical periods. This approach helps transmit cultural and artistic heritage across generations and showcases the beauty and uniqueness of Iraqi civilization.
4-Ceramic artists have used traditional mythological symbols in their ceramic artworks, contributing to the revival and transmission of mythological stories to new generations in ways that reflect cultural heritage and suit contemporary tastes.
Research conclusions:
1- The success of contemporary ceramicists in reviving traditional motifs and styles has significantly contributed to the preservation of Iraqi cultural identity.
2- Contemporary Iraqi ceramics reflect the ongoing interaction between the past and the present by integrating traditional symbols with modern designs. The research concluded with recommendations, suggestions, and Sources and references.
Keywords: Traditionalism, Symbols, Ceramics, Contemporary Iraqi ceramics.

Abstract of the research:
The current study included four chapters as follows: The first chapter contained the general framework of the research, in which the research problem was presented, which crystallized through the following question: How to employ topics as content in contemporary global sculptures, to be a problem that must be taken into account in all its details. The research objective also included identifying the employment of contents in contemporary global sculptures. As for the objective boundaries, they were represented by the employment of contents in contemporary global sculptures, and the temporal boundaries (2010-2018), while the spatial boundaries were represented by (Russia, France, Iceland). Some of the terms included in the research title were also discussed. While the second chapter addressed the theoretical framework, which included two topics: the first was the historical employment in sculptural works, fourth chapter, the researcher reached a set of results and conclusions based on the description and analysis of the sculptural works and thus reaching a set of proposals and recommendations. After that, the research concluded with a list of research references and sources. Keywords: Employment, sculpture, expression, contents, monument, sculpture.while the second topic was the intellectual and aesthetic dimensions in contemporary global sculptures and their expressive functions. The second chapter concluded with the indicators that resulted from the theoretical framework, while the third chapter included the research procedures starting from the research community and the research sample, which was represented by (3) sculptural models within the spatial and temporal boundaries. In the

Abstract:
The roots of topic extend to depth of Iraqi theatrical text in first period when Iraqi culture emerged, which was influenced by social and civilized values throughout history, as topic of masculine dominance in theatrical text falls through collective culture of Iraqi society, resulting from cultural deposits that still there today, these deposits set limits for both males and females on information and clear subjective differences. This study Focus on male hegemony and its representations in theatrical text and demonstrates level of hegemony in the texts of the Iraqi writer Mithal Ghazi as a model for Iraqi playwrights. The research problem revolved around the question: What are the representations of Male Dominance in The texts of Mathal Ghazi A play?
Because the displacement of female identity was a result of social structure of patriarchal system, which was perpetuated by patriarchal actions that represented absence of male, such as the absence of father, absence of brother, and absence of husband. It was a result of the production of two characters who played the female’s submission to male hegemony, which led to emergence of the reproduction of hegemony, and this is what was analyzed from the author’s texts (M. Ghazi) as a model to research community.
Keywords: Male, Dominance, Text, Theater, Mathal Ghazi.

Abstract
The eighth current research is to apply the abundance of visual thinking in developing the ability of third-year students to translate their ideas and imaginations into options and visual forms. This study aimed to determine the effectiveness of using the skills of the distinguished teacher in developing the visual thinking skills of intermediate students, so that the research depends on the proficiency of two groups of students whose tools are popular. The other is a control to apply the visual thinking test to them and reinforce it in the experimental group with other research methods other than completing more mature and sober work. The second chapter consists of two sections:
The first section: teaching methods in the middle period
The second section: Advantages of the visual thinking strategy
Including the third chapter: The research community, the research tool, and applications of research to students. It was shown in the fourth chapter in the research results: The use of teaching methods regularly is effective in developing the visual thinking abilities of middle school students. The visual thinking strategy in the technical subject may enable learners to obtain ideas that have become Faster than the strategic application of visual thinking alone, comprehension and learning are predictable and effective,
Conclusion: There was a statistically significant relationship between teaching, assisting teaching methods for visual thinking strategies in the art education subject, which helped increase independent learners and the ability of intellectual property rights in fine arts, but they are differently reliable teaching methods for their development and visual thinking in the art education curriculum.
Keywords: effectiveness, methods, teaching, thinking, visual, students.

Abstract
For long periods of time, acting performance in the theater remained devoid of theory except for some observations that appeared at the end of the seventeenth century when Diderot presented his theory, which was the basis for the emergence of diagnostic schools at the hands of the French actor (Coquelin), and then the schools of acting performance that appeared at the hands of all... From (Stanislavsky, Meyerhold, Brecht, Krotowski, Artaud, and Barba, all the way to post-modern performance), which became an integrated approach followed by the actor to reach the role, as it achieved success and became a method and follower, and this is what made it move from one place to another and from one country to another country. This is what prompted the researcher to study The subject of (Features of the acting performance of the character of Macbeth), as this research consisted of four, presented the mechanism of acting performance in the romantic doctrine, and how to build the character according to Shakespeare in his theatrical texts, and determined the formation of the dimensions of the character of Macbeth. The researcher relied on theories of psychology in the process of drawing Dramatic character behavior.
Keywords: Features, Performance, Character, Shakespeare, Macbeth.

This research focuses on studying textual cohesion in the Iraqi play (Ansalat) as a case study and is divided into four chapters. The first chapter provides the methodological framework, presenting the research problem with the question: (What is textual cohesion in the contemporary Iraqi play 'Ansalat'?) The importance of the research lies in analyzing the composition of Iraqi theatrical texts and showcasing their prominent works along with their social, educational, and political implications. The study aims to define textual cohesion in the contemporary Iraqi play (Ansalat,) specifying the temporal scope as 2021 and the spatial scope as Iraq, as well as defining the relevant terminologies and procedures.
The second chapter includes two sections: the first examines the concept of textual cohesion, while the second explores textual cohesion in global and Arab theater, concluding with key indicators from the theoretical framework. The third chapter details the research procedures, methodology, and defines the research sample as the play "Ansalat." The fourth chapter presents the research findings, which include:
The theatrical texts of the research sample are cohesive and harmonious, with their parts connected continuously and sequentially through cohesion tools.
The authors used both anaphoric and cataphoric references as means of formal cohesion and theatrical construction, with anaphoric references demonstrating greater cohesion in these texts.
The chapter also includes conclusions, recommendations, and a list of sources and references.

Keywords: textual cohesion, Iraqi play, composition, dramaturgy, coherence, macrostructure.

Abstract:
To understand what arts in general and installation art in particular do in space, we must know their performance methods, and not only that, but also know their history, which we must understand at least in general terms. This in turn leads to giving an image of the standards of taste prevailing in each era. The research deals with historical and artistic dimensions related to the practical performance of the installation artist, as it is determined by studying the techniques that appeared in the works of artists in Western countries. The study included four chapters. The first chapter included the general framework of the research, which contained the research problem, as well as the importance of the research and the need for it. The objectives and limits of the research were also presented. The second chapter included the theoretical framework and a set of indicators that came from the theoretical framework. As for the third chapter, it included the research procedures, selecting the research sample and analyzing it. This study concluded with a presentation of the most important results included in the fourth chapter, as well as coming up with the most important conclusions raised, and finally came a number of recommendations and proposals.
Keywords: (Integration, Visual Text, Postmodernism, Installation Art in Space)

Summary
This research is concerned with studying (the aesthetic design of the facades of the Egyptian royal palaces), and it is divided into (four) chapters. The first chapter is devoted to explaining the problem of the research, its importance and need for it, its goal, and its limits, and defining the most important terms contained in it. The research problem dealt with the topic of the aesthetic design of the facades of the Egyptian royal palaces. Which was determined by answering the following question:
How was the beauty of the design of the facades of the Egyptian royal palaces embodied?
The importance of the research was evident as it sheds light on the most important technical and aesthetic foundations adopted by the architect in the facades of the Egyptian royal palaces. This research provides a scientific and practical addition to the designer and artist, and the current research benefits critics, artists and architects.
The research has an objective: to know the aesthetic design of the facades of the Egyptian royal palaces. With regard to the limits of the research, it has been determined (by an analytical study of the designs of the facades of the Egyptian royal palaces) for the period from (1808 AD - 1917 AD). The most important terms have been identified and defined, which is represented by (aesthetic design). As for the second chapter, it has It included the theoretical framework and previous studies. The theoretical framework contained (two sections) concerned with: The first section concerned with studying architectural design between aesthetics and performance. The second section concerned itself with studying the designs of Egyptian royal palaces and then ended with indicators, as well as a review of previous studies, while the third chapter was concerned with research procedures that included a community The research, which consisted of (60) royal palaces, and its sample of (3) royal palaces, and the research methodology, research tool, statistical and mathematical methods, then analysis of the sample models.
The fourth chapter included the research results, conclusions, recommendations and proposals.
Keywords: aesthetics - design - interfaces

Summary
The Current research deals With the topic of imagery and its representaions in the works of potter Christine Morgan and the insights achieved from the recipients perception of contemporary ceramic works. Man lives in the space of photology through scientific material development, which changed the concept of ordinary visual vision,so the a new, unprecedented look, The concept of photology has become an important part in contemporary society, and fine art has become a requirement for its existence and is achieved through that space to include all arts.lt was necessary to activate photology as one of the elements that have become major in the contemporary world to monitor ceramic products in the field of ceramics and the artistic methods and trends that were influenced by them and were considered a reference that was reflected in its systems and implications behind the apparent forms in accordance with the justifications of photology and its representations. And the possibilities available to create ceramic forms that can be circulated beyond their spatial and temporal boundaries in order to identify the differences between them. The research contained four chapters, the first chapter of which was concerned with the methodological framework that presents the research problem, which is defined by the following question: What is photology and its representations? Has photology constituted a fundamental issue in ceramics? The first chapter also addressed the importance of research and the need for it, while the study aimed to: identify photology and its representations. In the works of potter Christine Morgan. The limits of the research were limited to studying the photology and its representations of contemporary ceramics limited to the period (2021-2015), and then identifying and defining the most important terms included in the research As for the second chapter, it contained three sections. The first section dealt with (the concept of photology - roots and foundations) and the second section (the cognitive dimension in contemporary plastic arts). The third section dealt with (representations of photology in contemporary ceramics) leading to the previous study, and then the theoretical framework resulted in A set of indicators that the researcher adopted as a standard and basis in the process of describing and analyzing the selected sample models. The third chapter was devoted to the research procedures, including the research community, which included (50) potter’s works. Your research sample was represented by (5) ceramic works. These models were selected intentionally, and the researcher adopted the descriptive (analytical) approach in analyzing the sample. As for the fourth chapter, it included the results, the most important of which are : 1- All samples of the sample showed an active presence of post-modern imagery and ceramic styles (consumer culture), across multiple (formal and technical) levels. In light of the results and their discussion, conclusions were drawn, the most important of which are 1- The photological effectiveness of the ceramic composition is achieved according to an associative mechanism that necessarily requires understanding the visual text and explaining the pattern of aesthetic response to the photology and its representations. The research ends by presenting recommendations and proposals related to the subject of the study, and finally the current study is concluded with sources, appendices, and a summary of the research in English.
Keywords: photology - representations - ceramics

Research Summary
The research included three chapters. The first chapter included the research methodology, which included the research problem and the question was about the nature of knowledge of the criteria for the inclusion of the problem on the pottery (old Kashan) in the Islamic era. The research also aimed to identify the nature of the criteria for the inclusion of Kashan figuratively. The importance of the research is through providing researchers in the field of pottery in general and Iranian pottery in particular with rare research in particular. The chapter included defining the spatial and temporal boundaries of the research with defining some of the terms on which the title of the research was based. The second chapter, the theoretical framework, included a set of topics from which came the foundations of the structures of intellectual inclusion in ancient Iranian society. The second topic, the content criteria employed in the formal structure. The chapter included several indicators, including: 1 - The inclusion engine of the form system in art is represented either by simulating the repetition of the form or shape or by modification to reach the formal system in art that provides special inclusion values that express the group's thought. 2- The penetration of the Islamic civilization system as a cognitive depth in the architectural structure of the form, as contents and forms that presented themselves in creative systems that fit the inclusion criteria, with intentionality and mental awareness towards the formation process. As for the third chapter, research procedures, it included the research community, research samples, research methodology, and analysis of five research samples, and the fourth chapter formulated the research results, the most important of which are: 1- The samples relied mostly on flattening in implementing the forms and their relationships within the characteristics of the space invested in proportions of similarity of Kashani's philosophical thought, with the intellectual level in the philosophy of Arab Islamic art. 2- Emphasizing the necessity of going beyond direct forms in presenting the content and adopting the criteria of inclusionary suggestions, as the relationship between form and inclusion was distinguished in the samples by the criterion of association of the artist's ideas that achieved ideological dimensions and a different structural character. And reviewing the conclusions, including 1- The criteria for pictorial inclusion and decoration appeared on the surfaces of the pottery vessels, each according to its shape and function, as they were decorated with abstract, geometric, plant, and animal decorative units in the form of bands around the neck, surfaces, and bodies, or in the form of straight, circular, or wavy lines, and most of the decorations used in the Kashan era had clear elements, dictated by the necessities of technology. 2- The criteria for pictorial inclusion of creative formation in expression and aesthetic formulation expanded to formation and decoration through decoration on the surface of the pottery body only, but also included depicting some intellectual contents that represent part of the aspects of life, social, and religious

Research Summary :
The research dealt with the topic of (letter formation and its relationship to the structure of composition in Islamic photography), where the first chapter contained the problem of the research, its importance, the nature of its goals, its limits, and the definition of its terminology. The research raises a question and defines the problem: What are the letter formations and their relationships in the structure of the artistic and aesthetic composition of Islamic photography?
The second chapter included two sections, the first: letter formations in Islamic arts. The second dealt with the compositional structure as well as the composition in the artistic work
The third chapter also contained the research procedures, including: the research population, the sample, and the nature of the method within it, and then the analysis of the sample, which amounted to (4) samples. As for the fourth chapter, it contained the research results, conclusions, recommendations, proposals, and among the most important results.
As for the most important conclusions:
1. The letter artists in question were influenced by the Arab-Islamic heritage, and this was reflected in their artistic works, through their use of Arabic letters and their formations with a philosophical and spiritual reading, and with expressive connotations with cultural, religious and social symbols.
The most important conclusions
1. The Muslim artist chose for the plastic flow in his works to be entrusted to the flows of the letter, as it is essential and includes an overwhelming presence in most artistic works, as the artist’s interest was focused on the letter as a moral key to the artistic work.
As well as recommendations, suggestions, and a summary in English, as well as a list of sources.
Keywords: diacritics - letterforms - composition - structure

Abstract:
The research entitled (The Articulations of the World Vision in Makki Omran’s Paintings) is concerned with the extent to which Makki Omran’s Paintings are dependent and related to the concept of the Goldmann world view, the research includes four chapters; the first chapter (Methodological) tackles the question regarding the problem of the research (What are the Articulations of the World Vision in Makki Omran’s Paintings?), and the goal of the research is to identify these articulations; the boundaries of the topic are: discussing the painter’s visual products in which he invested the cognitive and cultural awareness of the world vision concept, his artworks which are delivered through various techniques and materials, his achieved works in the period (2005 – 2024) in Iraq and defining the research terminology.
The second chapter (Theoretical Framework) includes the first topic (the essential nature of the Goldmann world) and the second topic (visual and intellectual stimulants in Makki Omran’s experience), and the chapter ended with the indicators of the theoretical framework.
The third chapter (Procedures) tackles the research population and its sample of (3) paintings in addition to its tool, approach and sample analysis.
The fourth chapter discusses the results, and the most significant ones are: 1- the depth of Makki Omran’s visual experience and the articulations of the vision of the world with all its human existence and cultural incubators through familiar visual patterns constituted by the noticeable marks and symbols which enhance the visual message through their significance and aesthetics, 2- the articulations of the vision of the world and their manifestations in Makki Omran’s paintings are based on the communal awareness of existence through the interaction of the overlapped worlds through colors and figures in the artworks, which leads to an increased artistic and aesthetic impact.
The most significant conclusions are: 1- the visual experience ensured that the articulations of the vision of the world is based on the fusion of the painter’s entity with the community he represents and the human nature as a whole throughout the history, and also based on his social and intellectual existence and his familiarity with the events experienced in human societies.
Keywords: Articulation, World vision.

Abstract
This research presents a study of (the dramatic employment of grotesque in the cinematic film). I have adopted the subject of grotesque as a new structure in the cinematic narrative structure. Grotesque is based on the transformation of form and hostile and abnormal action together. Here, grotesque images produce imaginary characters with different, distorted, ugly, and disgusting forms. The transformation begins from the external appearance through the combination of human features with animal or plant features to produce, in the final result, a fantasy form with its dramatic and aesthetic dimension in the cinematic film. The research included four chapters, the first chapter was devoted to explaining the research problem, its importance and the need for it. The research problem was defined by answering the following question: (How can the function of the grotesque represent a dramatic dimension in the cinematic film?). The first chapter also included the research objective, which is (revealing the dramatic employment of the grotesque in the cinematic film). As for the research limits, which included the first chapter, which were limited to addressing the art of the grotesque as a basic structure in the cinematic film, the chapter ended with defining the research terms and defining it. As for the second chapter, it came with the theoretical framework, and it included three topics. The first research dealt with the concept of the grotesque, while the second topic dealt with the grotesque mask in civilizations, while the third topic dealt with the grotesque mask in the art of film. The chapter ended with indicators of the theoretical framework and previous studies. The third chapter contained the research procedures, which included: the research community, and the research sample in which a cinematic film was analyzed, which was chosen intentionally, due to its relationship to the grotesque. The third chapter includes the research methodology, which is the descriptive analytical methodology, and in order to To achieve the research objective, the researcher relied on the indicators resulting from the theoretical framework as a tool for analyzing the research sample, and then analyzing the sample. Arriving at the fourth chapter, in which the results, conclusions, recommendations, appendices, and Arab and foreign sources were presented. First: Results.
1.The dramatic narrative structure relied on employing the grotesque character based on the nature of the character's formative structure in terms of the development of its physical structure, which aroused suspense in following it, as appeared in the analysis of the research sample (the movie (Splice).
2.The hostile action emerged as a basic feature that accompanied the grotesque character in its transformation from a female to a male character, and this is what appeared from the analysis of the research sample (the movie Splice).
3.The elements of cinematic language, especially lighting, makeup and sound, work together to highlight the dramatic function of the grotesque character in the narrative film, as appeared in (the movie Splice).)
Second: Conclusions
. 1.The grotesque features proved their artistic and dramatic presence in the art of film.
. 2.The grotesque features were able to build a dramatic and suspenseful value based on the strange hostile actions in the structure of dramatic events.
3.The elements of cinematic language worked to highlight the grotesque character aesthetically and dramatically in the narrative film
4.The dramatic conflict was built on creating characters with different appearance and behavior, characters with natural human features and others with unnatural, hybrid features with distorted identities.
Keywords: (employment, dramatic, grotesque, character)

Summary of the research:
The current research dealt with the heritage vocabulary and its employment in theatrical presentation techniques in four chapters. The first chapter dealt with the research problem, which was defined by the following question (How was the heritage vocabulary employed at the level of theatrical techniques in form and meaning?). The importance of the research was in shedding light on the topic of the heritage vocabulary in theatrical presentation techniques and how the designer or director draws inspiration from his tools and employs them in the best way in producing an integrated theatrical artistic presentation, and how the artist’s awareness of his heritage and historical role is formed. The need for it is evident in that it contributes to highlighting the role of the heritage vocabulary and its employment in the multiple uses of techniques in theatrical presentation. The research objective was to identify the heritage vocabulary and its employment in theatrical presentation techniques. The research was spatially determined in the capital Baghdad and temporally in 2014, and objectively in how to employ the heritage vocabulary in theatrical presentation techniques (Kharabit), in addition to the technical and procedural definitions included in the research. The second chapter included two topics: the first dealt with heritage conceptually, while the second dealt with the employment of heritage in the theater. The chapter then concluded with the indicators that resulted from it. The theoretical framework, while the third chapter included the research community and its sample, and took the indicators of the theoretical framework as a tool for analyzing the sample, while the fourth chapter contained the results, the most important of which are:
1) The heritage vocabulary was employed to show specific concepts of the theatrical performance space by deepening the idea.
2) The heritage vocabulary, as one of the signs of the theatrical performance, formed multiple meanings through its ability to merge and cross-fertilize with non-heritage vocabulary that contributed to creating the major sign (the theatrical performance).
This chapter also contained conclusions, recommendations and proposals.
Keywords: employment, heritage vocabulary.

Research Summary
The current study included four chapters, as follows: The first chapter contained the general framework of the research, in which the research problem was presented, which was crystallized by asking: What are the historical and intellectual references for contemporary Iraqi mural art? For it to be problematic, attention must be paid to all its details. The aim of the research also included identifying the historical and intellectual references for contemporary Iraqi wall ceramics. The objective boundaries were represented by the historical and intellectual references for contemporary Iraqi wall art and the temporal borders (1974-1988), while the spatial borders were represented by the State of Iraq. Some of the terms mentioned in the title of the research were discussed, while the second chapter touched on the theoretical framework, which included two sections, the first to the historical and intellectual references for pictorial murals. While the second section was titled: mural art between contemporary Islamic and Iraqi artistic references, and the second chapter concluded with the indicators that resulted from the theoretical framework, while the third chapter included the research procedures, starting with the research community and the research sample, which was represented by (3) ceramic wall models within spatial boundaries. And the temporalities of Iraqi artists. In the fourth chapter, the researcher reached a set of results and conclusions based on the description and analysis of the mural works, and thus came to a set of proposals and recommendations, and then concluded the research with a list of research referrals and sources
Keywords: reference, thought, ceramics, art, wall

Abstract :-
Submission of Research Publishing Master's Thesis - Microsoft Word Product Activation Failed)an offerreview Find out more about this AbjadFind out more about Houzz Houzz Abjad Houzz AbjadFind out more about HouzzSubtitle:the addressThe study aims to shed light on the extent to which cultures influence the individual, as culture has undergone extensive experiences in various fields, including theatre, drama, and poetry. Despite the richness of theatrical communication in many fields, there is room for cultural investigation in dealing with the theatrical text while establishing the process of dissemination and education that takes place. It was confined within the theatrical text, where culture and analysis had its admirers and critics. Therefore, the title of the research became the “Theory of Cultural Diffusion in the Iraqi Theatrical Text.” The research included four chapters. The first chapter, the methodological framework of the research, dealt with the research problem that came up with the question (What is the theory of cultural diffusion in the Iraqi theatrical text) and its importance? Research and the need for it in clarifying the aesthetic, artistic, and intellectual values in writing the theatrical text. The goal of the research was determined in searching for the theory of cultural diffusion in the Iraqi theatrical text, the limits of the research, and defining the terminology. The second chapter (the theoretical framework for the research) dealt with two sections. The first section dealt with the theory of cultural diffusion conceptually. The second section included the theory of cultural diffusion in the international and Arab theatrical text and included the indicators that resulted from the theoretical framework. The third chapter included the research procedures, which included a research community, a research sample, a research methodology, and a tool. The research, sample analysis, and research methodology. The fourth chapter includes the results, the most important of which are:
1 - The presence of symbolic references intentionally through the transformation of the characters through themselves and reality
2 - (Al-Kubaisi) emphasized a social-psychological phenomenon, which is the spread of Corona disease and the effects this virus generates.
3-Fear and anxiety in humans.Al-Kubaisi addressed a social-religious issue through the moment of awareness of the disease and fear of its consequences.The most important conclusions are:
1 - The theory of cultural diffusion represented a different image within the text with two aspects.
- Iraqi theatrical texts highlighted many forms of culture that expressed the specificity of Iraqi societyAnd its religious, political and social diversities.
Borrowing from theatrical texts shares human concerns in the political and cultural text.

Abstract
This research is concerned with studying (the aesthetics of the artistic formulation of the structure of the line in Chinese painting), and includes four chapters. The first chapter is devoted to explaining the research problem, its importance and need for it, its goal, its limits, and defining the most important terms included in it. The research problem was determined by answering the following question: What are the aesthetics of the structural formulation of the structure of the line in Chinese painting?
The importance of the current research lies in shedding light on the components of the artistic formulation of the structure of line in the visual arts, specifically the art of Chinese photography, for its expressive and aesthetic values. It also monitors the most prominent pictorial scenes constructed by line drawing, which constituted a phenomenon evident in Chinese photography. It highlights its specificity, and reveals the environmental, intellectual and aesthetic influences of this type of art. The need for the current research is evident in the fact that this topic has not been studied within the scope of Chinese photography, which justified the researcher to address the topic and reveal its structural data, to achieve the desired benefit. It also supports local and Arab public and specialized libraries with a new and modest scientific effort, and benefits researchers and those interested in artistic, aesthetic and critical studies by reviewing the results, conclusions, recommendations and proposals of the research.
The research aims to identify the aesthetics of the artistic formulation of the structure of the line in Chinese painting. The research limits include three aspects: Objectivity: which was represented by studying the aesthetics of the artistic formulation of the structure of the line in Chinese painting, Temporality: according to the chronological sequence of the ruling dynasties, which included the (10th, 11th, 12th, 13th and 14th) centuries, and Spatial: China. As for the second chapter, which is the theoretical framework, it contained two sections. The first section dealt with (structural characteristics of the line in the artwork), while the second section dealt with (characteristics of Chinese painting). The theoretical framework ended with a set of indicators.
The third chapter was devoted to the research procedures, which included the research community of (20) images, the research sample of (5) models, the research tool, the research methodology, and then the analysis of the sample models.
The fourth chapter included the research results, conclusions, recommendations, and suggestions, and finally a list of sources, appendices, and figures. Among the results reached by the research are the following:
1- Chinese photography scenes were characterized by aesthetic artistic formulations that differ from their counterparts in other arts at the level of compositional construction in general and the structure of the line in particular, according to the intellectual, stylistic, and technical frameworks that determine the path of the Chinese photographer and express his ideas and goals.
2- Chinese photography revealed the photographer's ability to control the active structures that contribute to the formulation of pictorial scenes, especially the structure of the line, by manipulating its properties such as accuracy, thickness, type, direction, meaning, and location, as in all models of the research sample..

Research Summary
This research dealt with the study of (employing the sgraffito technique in contemporary ceramic works). This research concerned me with an applied study of the sgraffito technique and its application in contemporary ceramic works. The research contained four chapters. The first chapter included the research problem, which included the following question (What are the mechanisms for employing the sgraffito technique in contemporary ceramic works?) Contemporary ceramic formations?)
The second chapter: It dealt with the theoretical framework and included two sections. The first section specialized in studying the sgraffito technique, its origins and development .
The second chapter: It dealt with the theoretical framework and included two sections. The first section specialized in studying the sgraffito technique, its origins and development.
As for the second section, ceramic techniques were studied. From those sections, the researcher extracted indicators of the theoretical framework that represented this chapter, paving the way for the third section, which included research procedures and sample analysis.
As for the third chapter: it contained the research procedures, including the research population, the research sample, and the analysis of the (3) samples of ceramic works. The researcher relied on the experimental applied method, applying the sgraffito technique to works of art, as it is the most suitable for achieving the research goal.
The fourth chapter: includes the results, conclusions, recommendations and proposals, and the most important results reached by the research are as follows:
Keywords: characterization - technology – sgraffito.

Abstract:
The Sudanese armed conflict is considered one of the important events that our Arab world is witnessing. This conflict began in limited areas in Sudan and extended to include most of its territory, between the government army forces and the Rapid Support Forces. This conflict has caused great loss of life among civilians and the collapse of services and infrastructure.
Therefore, it has become one of the important events that Arab and international satellite television channels, including Al Jazeera Satellite Channel, seek to cover. The current research aims to shed light on Al Jazeera Satellite Channel’s news coverage of the Sudanese armed conflict in the daily program Al-Hassad, The research seeks to answer a main question: What is the nature of news coverage of the Sudanese armed conflict in the Al-Hassad program presented on Al-Jazeera satellite channel? The research also aims to identify the types of news coverage related to the Sudanese armed conflict, diagnose the most prominent image treatments employed in covering the Sudanese armed conflict, and monitor the most prominent topics covered in news coverage of the Sudanese armed conflict. The current research is considered descriptive research, in which the researcher used the survey method, relying on the content analysis form as a tool for collecting information and data, as the program episodes were analyzed, and the research samples were subjected to monitoring and analysis from the period (13/4 to 13/5/2023). The research reached results including: The interpretive coverage category ranked first among the types of news coverage of the Sudanese armed conflict, and the emergence of five main topics covered in the news coverage of the Sudanese armed conflict, where humanitarian topics ranked first, and the written titles category ranked first among all subcategories. For the image treatments used by Al Jazeera satellite channel in its news coverage.
key words:
(News coverage, Sudanese armed conflict, Al Jazeera satellite channel, Al-Hassad news program)

Abstract
The research dealt with the duality of the self and the other in the feminist dialogue in Wasmaa Al-Agha, where the researcher sought within the contexts of aesthetic reading of visual texts within the framework of cultural and cognitive openness, so intellectual, philosophical and aesthetic dualities appeared. The researcher dealt with one of the dualities, which is the duality of the self and the other within the works of the artist Wasmaa Al-Agha to show how the self and the other work in the dialogue that occurs in her works, so she divided the research into three chapters, the first of which included the research problem, which was based on the question: What is the duality of dialogue that the artist created? And did she succeed in choosing and employing that duality? The researcher then mentioned the importance of the research and the need for it as an academic study that supports the visual arts library in Basra in particular and Iraq in general, as it searches for the types of dialogue created by the artist Wasmaa Al-Agha and how the artist dealt with that system of dialogue dualities so that students and scholars in the visual arts can benefit from those dialogue dualities that women adopt in communicating with each other or with others. After that, the researcher mentioned the aim of the research, which is to identify the duality of the self and the other in the feminist dialogue of Wasmaa Al-Agha. Then the research was limited to the works of the late Iraqi artist Wasmaa Al-Agha that contain a dialogue duality, especially those that she derived from the local Iraqi reality. The choice was limited in time to the period between (2002 - 2012) and taken from the Iraqi Artists Association, the artist's Facebook account, and published articles. Then the terms were defined as self, other and dialogue, then the second chapter came as a theoretical framework that contained three topics, the first of which is the concept of self and the concept of (ego), and the second is the concept of (other) = (id) and the multiplicity of aspects, while the third topic dealt with the concept of dialogue and its communicative system, then the researcher concluded with the third chapter as research procedures in which she showed the research community and its sample and the method used, so the research tool was followed by an analysis of the sample models through which she reached a set of results, conclusions, recommendations and suggestions that were included in the fourth chapter, then followed by the sources, and the most prominent results are:
1- There are multiple types of dialogue in the works of the artist Wasmaa Al-Agha, as there are dialogue dualities presented by Al-Agha, which she distinguished with a style used in multiple atmospheres.
2- Dialogue in the works of Wasmaa Al-Agha is not just a means of communication, a dynamic process that contributes to the development of art and the exchange of cultures and ideas. Through this dialogue, artists can express their visions, challenge society and invite the audience to think and interact in new and innovative ways

Research summary
Our research titled “Manifestations of the Kinetic Style in the Impressionist School by Edgar Degas as a Model” came to study the Kinetic Style in the Impressionist School through the works of the artist Edgar Degas. The research consists of four chapters. The first chapter represented the methodological framework, in which we addressed the research problem through the following question. : What is the kinetic style in the impressionist school through the works of the artist Edgar Degas? The importance of the research comes from the fact that it sheds light on the study of the kinetic style in the Impressionist school through the works of the artist Degas, in addition to the spatial and temporal boundaries in France and Italy from the year (1873-1885 AD). The second chapter, which is the theoretical framework, dealt with three topics. The first topic dealt with the concept of style, its origins, and the science of style. The second topic dealt with impressionism, its origins, its features, characteristics, color analysis, and the formulation of its shape systems. The third topic dealt with the artist Edgar Degas, his life, upbringing, kinetic style, and his impressionist themes in which he was distinguished, in addition to the contrast between photography and impressionism in which he was distinguished, and the effect of light on his works, to come up with indicators for the theoretical framework. The third chapter, which is the research procedures, included: the research community and intentionally selected samples of Edgar Degas’ drawings. The fourth chapter dealt with the research results, a list, and a discussion of them, then the conclusions, recommendations, suggestions, and a list of sources and references to reach the goal of the research, which is to identify the kinetic style in Edgar Degas’s impressionist drawings as a model. The following are the most important results that the researcher reached:
1. The movement is clearly evident in most of Degas’ works, as in Model No. (1), (2), (3).
2. The artist Degas was influenced by Japanese art, as in Model No. (2).
Keywords: manifestations, style, impressionism

Abstract
The current research includes four chapters. The first chapter included the methodological framework of the research, starting with the research problem, which was formulated with the following question: (What is the negative character in the theatrical texts of Saad El-Din Wahba). The importance of the research was evident as a new study that addressed the concept of the negative character and identified its concept and psychological and social references, especially by identifying the intellectual references of the theatrical writer Saad El-Din Wahba, which were not addressed in previous studies. The goal of the research was determined by identifying the negative character and its psychological and social dimensions in the theatrical texts of Saad El-Din Wahba, and the role of the negative character in the development of the structure of the conflict and the growth and development of events. As for the boundaries of the research, they were spatially in the Arab Republic of Egypt, while the time period was (1994-1996). As for the objective boundaries, they were the study of the negative character in the theatrical texts of Saad El-Din Wahba. The chapter concluded by defining the terms included in the title of the research, while the second chapter dealt with (the theoretical framework), which included three topics. The first topic dealt with studying the negative character, concepts and philosophy. Psychologically and socially, the second section was a study of the negative character in the theatrical text globally and Arabically, while the third section was the cognitive references of the writer (Saad El-Din Wahba Al-Masra'ah), while the third chapter was concerned with the research procedures and determining the research community consisting of (24) theatrical texts, and the text of the play (Bir Al-Salam 1995) was chosen as a sample for analysis.
While the fourth chapter contained the most important results, conclusions, recommendations and suggestions that the researchers reached, and the chapter concluded with a list of sources and references. Among the most important results that the researchers reached were: -
1. The general real social life circumstances contributed to the existence of an image of the negative character, which was embodied in the readable behavior adopted by the negative character in the theatrical text.
2. The presence of the negative character in the text resulted in a performance behavior that differed from all the known performance patterns of the characters, which provided the opportunity to find new creative spaces to develop the imagination of the recipient and multiply his readings.
As for the most important conclusions, they were:
1. The negative character played a major role in the field of identifying the poor political and social conditions in which the dramatic characters live and engage in a conflict between everything that is old in its various forms and a number of developments and changes that society is exposed to.
2. Negativity is a characteristic of characters with excessive ambition that justifies all types of behavior to achieve and reach it if the conflict and contradiction between this negative character and the other or within the character itself becomes necessary due to the character's motives to achieve its goals.
Keywords: Character, negativity, Saad El-Din Wahba's texts.

summary
Every theatrical performance has a specific intellectual form, which in turn reflects the cultures and trends of a stage or place, so that it constitutes a difference in every reflection from another. Globalization here plays a central role in displacing the cultural patterns of every theatrical performance and trying to transfer the concept of internationalization to the essence of the theatrical performance so that the metaphor is worked on as a formula. A description of the phenomenon of one culture from another, and through it, work is done to reduce the gap between the two related elements, that is, the image of presentation here is formed according to a network of communications based on metaphor, which constitutes the actor’s vision that varies from one actor to another. However, globalization, through its means, takes a different role in determining this metaphorical value and work. To approach the moral and material forms and spaces of theatrical performance, and from this standpoint, the researcher chose the topic of his research as follows: (The globalization of the theatrical space in the performance of the contemporary actor), as the research included four chapters. The first chapter represents the methodological framework of the research problem around the following question: How is it formed? The globalized space in the performance of the contemporary actor, then the importance of the research and its goal through identifying the globalization of the theatrical space in the performance of the contemporary actor, then the limits of the research and defining the terminology. The second chapter, the theoretical framework, includes two sections: the first is globalization and theatrical space. The second section is the mechanisms for the operation of space in contemporary acting methods, then previous studies. And the indicators that resulted from the theoretical framework. The third chapter includes procedures that include the research community, its sample, the research instrument, and sample analysis. Then the fourth chapter includes results, conclusions, recommendations, and proposals, and the research concludes with sources.
Keywords: - Globalization of space, actor’s performance

The current research deals with the study of (the connotations of fertility and reproduction and their representations in Mesopotamian art). Fertility and reproduction have a profound impact on cultural thought، as they represent in Mesopotamian civilization a vital requirement. Man’s life has depended on what the earth produces in terms of livelihood to sustain his continued existence، as barrenness was the most severe. Natural manifestations are cruel to his life That is why the search for fertile and multiplying habitats was his great concern and finding such habitats was his ultimate goal، and the way to stability and reassurance about his life and the lives of his animals. Thus، the Rafidini sanctified everything that gives life and extends its permanence and continuation. Women constituted the primary source of fertility and reproduction in life through Knowing this in ancient Mesopotamian thought and art،In addition to the elements of the surrounding natural environment that embody the ideas of fertility، growth، and renewal in nature، he went to organize the magical practices and rituals that take place in multiple seasons by preparing these factors and urging them to maintain fertility and growth in existence، and reflecting this in the artistic achievement، which is one of the receipts of the Mesopotamian civilization. The research community was limited precisely، so the researcher was forced to rely on what was available and documented (books، magazines، and Internet sites، including artists’ sites on the World Wide Web)
Given the breadth of artistic trends and movements in Mesopotamian art، it is therefore difficult to set a framework or limit society to a final number of artistic works within a specific time period in Mesopotamian civilization، in a way that achieves the goal of the research and covers its borders. The total artistic productions reached (20) models represented by painting and sculpture، in addition to paintings. Available in some primary sources and on informational Internet pages، which represent the current research community، the researcher relied on the descriptive analytical method and chose three samples from the research community.
The most important conclusions are:
1. Male representations: It included the following symbols:
(Physical strength/the male organ/the seed of fertility (the man’s water).
2. Female representations: It included the following symbols:
(Nudity/large breasts/feminine triangle/hip enlargement/motor posture/eroticism and its sanctity/the woman’s womb/manifestations of pregnancy/birth and creation/adornment).
3. Plant symbols: It included the following symbols:
(Productive land / seed / palm tree / plant growth / ears / fruit / abundance of crops / wild flower...).
4. Common symbols: It included the following symbols:
(Man and female/female and child/man، female and child).
5. Animal symbols: It included the following symbols:
(cattle/bull/lion/fish/snake/deer/eagle).
6. Combined symbols: They included the following symbols:
(human - animal)/(animal - animal).

Keywords:- Fertility, reproduction

ABSTRACT
The typographic elements are crucial in illustrating and emphasizing a certain facet or segment that the designer believes is essential to creating the advertising and promotional concept that the cover principally aims to promote. Designers have been eager to use the typographic elements of the cover to convey the idea through two messages in many cases: the first is textual and is represented by the book's title; the second is pictorial and reflects the content the book discusses within its folds. This is because the cover is the first visual message that aims to attract the recipient and grab his attention. The first, or functional, is split into two categories: the first involves using conventional typographic letters that are encoded into computers of all sorts, and the second involves using a simple Arabic calligraphy that represents ideals that typically exhibit both functional and aesthetically pleasing qualities. The second type of graphic is separated into two categories: computer-processed photographic pictorial that integrates with the cover's design elements and spaces. And Abstract pictorial, which makes use of forms, logos, illustrations, embellishments, and pictures that are in close proximity to the title's direction to convey the designer's opinions and guiding approach. The open space vision is a third kind of vision in which spatial activities are expressed through the expressive and symbolic use of color.

KEYWORDS: Guiding techniques, Graphic Design, covers Design.

Research Summary
The famous research strives to study (the expressive dimensions of scenes of multiple styles in contemporary photography) in a very important transitional period that the art of painting went through, extending from the end of the Middle Ages to the beginning of the Renaissance era. The research includes four chapters. The first chapter was concerned with the general framework of the research, represented by the problem of research and defining The need that it identifies by answering the question: (What are the expressive dimensions of scenes of multicultural figures in religious photography?) It also includes the importance of research, the need for it, the limits of research, and the most important terms that are defined in it. As for the second chapter and the theoretical framework, it contains two sections, the first (expressivity) (conceptual). Philosophically) The second section includes (the formal and expressive transformations depicted in the art of victory). While the third chapter covered the research procedures, fifty works were selected and (3) works were selected for the comprehensive research.
The fourth chapter presented the research results and their discussion.

The research below progressed to know the representations of the unconscious, which is the other form of the composite image in plastic works in an important time that plastic art passed through consecutive eras, which is the Renaissance period, and the research included four chapters. The first (general framework of research) represented by the problem of research and the need for it. The problem ended by answering the following question: How is the unconscious in the drawings of the artist Giuseppe Arsemboldo?, as well as the importance of research and the need and the limits of research with the definition of the terms contained in it. The second chapter contained two researches, the first is the subconscious in psychology, and the second topic is the semantic data of the feelings in the paintings of the artist Giuseppe Arsemboldo, while the third chapter included the research procedures and the research community included fifty works and the research sample was selected, which was represented by four works and the approach used, which is the descriptive analytical approach with sample analysis, while the fourth chapter included the results of the research and their discussion
Keywords: representations - feelings - the composite image - the Renaissance

Research Summary
The current research titled "Dominant Themes in Contemporary Iraqi Painting (A Study of Formative Pressures)" examines the influences that have occurred in the Iraqi reality and have directly or indirectly affected the artist, leading to the emergence of dominant themes in the works of most artists and exploring the transformations occurring within those themes. The research consists of four chapters; the first chapter addresses the methodological framework, which includes the problem of the current research by answering the following question: What are the dominant themes that have emerged in contemporary Iraqi painting? It also discusses the importance of the research and the need for it, as well as the research objective, which is to identify the dominant themes in contemporary Iraqi painting, along with the research boundaries included.
First: Subjective boundaries: The governing themes in contemporary Iraqi painting.
Secondly: the time frame: (from the year 2003 to the year 2020).
Thirdly: Spatial boundaries / artworks created inside and outside Iraq.
The chapter concluded with the definition of terms.

The second chapter addressed the theoretical framework and contained three sections. The first section discussed the concept of theme and its transformations, while the second section dealt with the factors influencing the formal formulations of the theme. Following that, the third section examined the reality of transformation in contemporary Iraqi art, concluding the chapter with the indicators that emerged from the theoretical framework. However, the third chapter included the research procedures, the research community, the research sample, the research methodology (where the researcher adopted a descriptive approach through sample analysis), and the analysis of the samples. Chapter four addressed the results, conclusions, recommendations, and suggestions, followed by the sources and references.

One of the most important findings reached by the researcher is:
1- The social, political, and economic influences have a clear and dominant impact on artists, as manifested in the production of a prevailing artistic theme in most works of the era, as seen in sample (2.1).

2- There are tangible shifts in the governing themes according to the variables (political, social, and economic).

3- Every artist has their own way of expressing reality by producing or embodying a theme through the ability to interpret or compose ideas and forms. Therefore, the period following 2003 witnessed multiple themes such as (war, sectarianism, terrorism, and protests), as seen in the samples. (2,1).

However, the most important conclusions are:

1- The theme is a reservoir of the collective unconscious through which artists convey visual and psychological influences represented by various shapes, symbols, and meanings in accordance with stylistic and technical transformations.
2- The social, political, and economic influences and transformations play the largest role in the shifts of themes, as the artist is a reflective mirror of concerns and changes, both influencing and being influenced by them.

Keywords: themes, governing.

Research Summary
The current research, “The Reflection of Sufi Connotations in Contemporary Iraqi Painting,” consists of four chapters, the first of which deals with the research problem, which was defined by answering the following question:
• How were Sufi connotations reflected in contemporary Iraqi painting? .
The first chapter also dealt with the importance of research and the need for it, and also contained the goal of the research, which is
The limits of the research were determined by the period
1960 AD - 2010 AD.
While the second chapter, which is represented in the theoretical framework and previous studies, dealt in its first section: Sufi references.
While the second chapter, which is represented in the theoretical framework and previous studies, dealt in its first section: Sufi references.
The second section dealt with: Sufi connotations in contemporary Iraqi painting.
Then the indicators resulting from the theoretical framework, as well as previous studies
The third chapter (research procedures) dealt with the research community, the research sample, and the research tool, in addition to the research methodology and analysis of the sample of 4 models.
The fourth chapter contains the results, conclusions and recommendations of the research
1- And the suggestions: Among the results reached by the researcher: The impact of the connotations of reflection in the aesthetic concepts of Sufism appeared in the artistic achievements of contemporary Iraqi painting. Therefore, we find manifestations of asceticism through lines and shapes. This smoothness in the simplicity of the lines was revealed in which the inner and spiritual meanings were reflected to highlight the meaning and introspection of the subject. The completed artistic work, where the reduction in forms is through the Iraqi painter’s search for non-resemblance and spiritual and ideal purity, as asceticism was demonstrated through color in the artistic productions of contemporary Iraqi painters, and colors expressed, through their asceticism, spiritual meanings with a reflective Sufi significance, as in the model (1-2
2- The search for the content, the interior, and the essence of metaphysics beyond the physical existence of the real world is a search for truth with reflective connotations of the idealism that the Iraqi painter represents, no matter how the Sufi goes to uncover that truth and its source by abandoning the world of space and sense to the world of time and the absolute spirit. This was also evident in all models of the research sample.
Based on the results reached by the researcher, she reached a set of conclusions, which are as follows:
1- Whereas the visual discourse of the literary text, which has dimensions of reflection and connotations of Sufism, does not only express social, historical, and religious thought, but as a whole it is an openness to themes with ideal overtones.
2- We find that the experience, the semantic reflection of Sufism, has presented a new intellectual vision to the human mind, as this experience is based on rejecting the debris of the world, purifying the heart, attaching to the deity, cultivating the soul, and absorbing and dissolving in spiritual considerations. This is what the contemporary Iraqi painter proposed through his artistic products that express Everything is perfect, far from the appearances of fleeting sense.
Keywords: (reflection, connotations, mysticism)

Abstract
Theater is considered one of the arts that have not been separated from daily life in all its forms. It deals with various topics that include humanitarian، social، political and economic topics and their stages in human life and their impact on him. Among these topics is the struggle of man with himself and with others، as it falls within the circle of psychological and social conflict and entails concepts including the conspiracy formula. Through these treatments، he tried to clarify many of the mysterious events that were taking place in all societies. The conspiracy dealt with events and conflicts based on many concepts. Since the beginning of life، the conspiracy began to be woven by Satan، as he conspired against Adam (peace be upon him) because Adam was his competitor for the power or position that God granted to Adam. After the emergence of the first civilization، which is the Babylonian civilization، the conspiracy appeared on earth for the first time and Babylonian myths clarified the conflicts between the gods as we mentioned in the myth of Adaba and how the gods conspired against him. As for the Greek myths represented in Greek literature derived from the myths that reached us at the hands of the Greek writers، theater is considered one of the arts that did not It is separate from daily life in all its colors، as it deals with various topics that include humanitarian، social، political and economic topics and their stages in human life and their impact on him. Among those topics is the struggle of man with himself and with others، as it falls within the circle of psychological and social conflict and concepts arise from it، including the formula of conspiracy. Keywords: conspiracy - betrayal - treachery

Abstract
The research dealt with the first chapter of the methodological framework of the research, the research problem, the importance of the research and the need for a mechanism, the objective of the research, the limits of the research, the definition and definition of terms, the second chapter the theoretical framework and previous studies, the first section dealt with the history of Art Deco, its emergence and development, social conditions and important historical events that affected the emergence of the "Art Deco" style, as well as the influence of Art Deco by ancient civilizations, and the impact of ancient Egyptian art on the "Art Deco" style of transportation, simulation and simplification of elements, and how Chinese, Japanese and Indian art affected the style of " Art Deco", and the impact of Islamic art on the style of "Art Deco The second topic included advertising design and development, the history and development of advertising, as well as advertising in the Middle Ages, advertising in the sixteenth century, advertising in the seventeenth century, advertising in the eighteenth century and the beginning of the nineteenth, advertising in the twentieth century, previous studies, chapter III This chapter dealt with research procedures, first: research methodology, second: the research community, third: Research sample, fourth: applied research tool Analysis of the works of the most important advertising artists in the style of "Art Decaux", Jean Dupas (1882-1964), Edward Macknight Kauffer (1890-1954), and Charles Loupot (1892-1962), Chapter Four This chapter dealt with first: research results, second: conclusions, and third: research sources
Keywords: (aesthetic and intellectual dimensions, art deco, advertising design).

Abstract:
The theatrical space plays a very important role in shaping the text space as a whole, with its meanings and connotations, both the transcendent and the implicit, which lie behind the announced, based on the fact that space is the best visible and readable representative. The current study differs from previous studies, which were unique in studying space and reading it in presentation - from the theatrical presentation - as the current study is concerned with studying space in the theatrical text, processing and reading, taking it - that is, space - as a rhetorical writing technique that the author - writer resorts to in creating and conveying the main idea of the text by blending with other written text elements, which stems from the writer's professional ability employed in conveying his ideas by adapting his writing - textual tools derived from his references and philosophical vision of life and lived reality. The researcher dealt in his research with the textual space as a pictorial language that he speaks to his readers, a space as an open language that cannot be confined or abbreviated by a specific reading or connotation, which opens the way for the reader - researcher, to enjoy this reading referential process with what it carries.
he research came in four chapters, the first of which dealt with the methodological framework of the research, the research problem centered around the following question: Is it possible to read space textually? And does it possess aesthetics in this reading process and searching for it - whether it is one space or several spaces - through analysis and reference similar to the theatrical space read incidentally? While its importance was evident in studying space in the text as a creative aesthetic writing technique with what it carries of meanings and connotations, especially in the contemporary Iraqi theatrical text similar to other theatrical text formation elements. While its goal was specific to identifying the concept of space in the theatrical text and what it possesses of aesthetics in the process of searching for it and diagnosing it through reading. As for its borders, they were limited to Iraq / Baghdad: 1994 AD
By studying and reading the aesthetics of space in the text - The Sumerian Nights Show, written by Lutfia Al-Dulaimi and directed by Sami Abdul Hamid. The sample selected intentionally and for the justifications mentioned in the third chapter. As for the second chapter, the researcher stopped at studying the aesthetics of the textual space and then the indicators of the theoretical framework. While the third chapter (procedural) included an analysis and reading of the aesthetics of space in the Sumerian Nights text, the sample selected intentionally, while the fourth chapter concluded with the results and suggestions and a list of sources and references. Among the most important results reached by the researcher:
1. The dramatic space inspired by the Epic of Gilgamesh came on the basis of the dramatic place (in the epic - presented in the modern environment) as the prominent tool in shaping the proposed space
2. The reading of the text, its ideas and proposed spaces came as an instant reading through its embodiment reinforced by the heritage vocabulary full of connotations and contents with multiple readings, which gives it aesthetic pleasure during this reading.
3. The researcher found, through reading the space in Al-Dulaimi’s text, that the conflict continues in successive episodes from the pastto the present with all its historical and modern environments.

Research summary
The current research aims to identify: the effectiveness of using the (PQ4R) strategy in the achievement of third-stage students in the subject of methods of teaching art education in the College of Fine Arts.
The research may be based on the following hypothesis:
_ There are no statistically significant differences at the level of (0.05) between the average scores of students in the experimental group who study using the (PQ4R) strategy and the average scores of students in the control group who study in the usual way.The research sample was represented by choosing the College of Fine Arts, Department of Art Education, to be the basic research sample, and it included three sections for the third stage, namely Section (A, B, and C), so the researcher randomly chose Section (B).
To be the experimental group taught with the (pq4r) strategy. Section (A) represents the control group taught in the traditional way. The sample amounted to 70 male and female students, with 35 male and female students like Section A and 35 male and female students like Section B. The researcher used one measurement tool, which is the achievement test, for both groups to measure the change in the level of students’ achievement in the subject of methods of teaching art education and extracted for them. Honesty and consistency.
The researcher used the statistical methods of the Social Package (SPSS) to show the results as follows:The test results were subjected to statistical analysis, and the arithmetic mean, variance, and standard deviation of the scores requested by the two research groups (experimental and control) were extracted. Using the T-test for two independent samples, the calculated T-value was found. It was found that there was a significant difference.A statistic at the significance level (0.05) and the degree of freedom (68) and in favor of the experimental group that studied the Thomas and Robinson strategy (pq4r) with the independent variable, as the calculated T-value was (7.839) and it showed the superiority of the experimental group over the control group.Based on his findings, the researcher recommended the following: .1- It is necessary to include in school preparation program curricula the subject of methods of teaching art education in fine arts colleges, modern strategies and methods in teaching, such as metacognitive strategies, including Thomas and Robinson (PQ4R).2- It is necessary for teachers of art education teaching methods to adopt the Thomas and Robinson strategy (PQ4R) in the teaching process because of its impact on students’ academic achievement.
Keywords: Effectiveness - Thomas and Robinson strategy (PQ4R) – achievement

The current study included the use of assemblage art in the context of contemporary sculpture, as it is an art based on the idea of collecting and assembling various materials, which may often be neglected or previously used materials, in order to transform them into artistic artifacts that redefine their original functions and give them new value, whether from an aesthetic or social perspective. Assemblage sculptural art is characterized by its ability to provide a rich visual and psychological experience to viewers, as each element used in the work can carry a specific story or meaning. In addition, this type of art allows recycling materials and transforming ordinary objects into unique works of art, reflecting the spirit of creativity and innovation. The basic idea behind assemblage art is to reuse materials in innovative and unconventional ways to create new works of art that carry different meanings and connotations. The term "assemblage" is an art term that includes many areas of practical practice and research. The research included four chapters. The first chapter represents the research methodology, the research problem, and how to use assemblage art in creating contemporary sculptural objects that have aesthetic values. It includes the importance of research and the need for it in exploring new dimensions of assemblage art to create works of art that enhance a deeper understanding of contemporary trends. The aim of the study is to explore and identify methods, artistic methods, and materials through which assemblage art can be used as a tool to produce contemporary sculptural objects that achieve aesthetic values. This is done by analyzing existing artistic works that follow this style, as well as ensuring its limits and defining terminology. As for the second chapter, it focused on the theoretical framework. The first section dealt with the concept of assemblage art and the history of assemblage art. The second section includes the most prominent artists and their works. The third section also dealt with the research procedures and analysis of its samples. Finally, the fourth section included the results and conclusions. The most important of which is that assemblage art redefines art by transforming everyday or industrial materials into works of art that carry multiple meanings and symbols that achieve aesthetic values, recommendations and proposals, and the research concludes with references.
Keywords: Assemblage art, sculptural artifacts, contemporary art, aesthetic value.