Journal of Nabo

Abstract
Rules and foundations were laid in the theater that dominated the theatrical operator for decades, and one of the theater’s activities was in all its modern orientations. During the show came new formulas capable of teaching, directing, having fun, and entertaining together with the recipient’s actual contribution, pushing him into the field of acting, and allowing the spectator to enter without fear, including self-realization.Referring to the real importance that the recipient occupies as the main goal in the theater ، Based on the above, the researcher’s section, the subject of his research, included four chapters. The first chapter included the "methodological framework," beginning with the research problem, including the following question: What are the aesthetic aspects of different places in Mosul theater performances? Hence the importance of research and the need for it, although different places have more influence on the recipient and are more memorable because they are practiced where he is or any other place outside the can theater to enrich the theater with different aesthetic products.
The need for research is that it benefits students of colleges and institutes of fine arts, scholars, researchers, and those working in the field of education in theater, as well as those working in the field, and learning about the aesthetic functions of different places in the Mosul theatrical performance, specifically after the year 2017.The first chapter dealt with the temporal limits of the research, which were determined by the period (2017-2022), and the place that included the performances presented in the city of Mosul outside the Al-Aba Theater in its streets and alleys, and the places different from the traditional showroom.As for the objective limit, the researcher dealt with the aesthetics of places, in addition to defining aesthetics, capabilities, and heterogeneity in language and terminology. And procedurally. The second chapter came with two sections. The first section included a division of its content. The researcher decided to start with the different place in philosophy, starting with Plato and raising the status of the place to him, then Aristotle and his material place, and finally Gaston Bache lard, the founder of the idea of the aesthetics of the place, and finally the aesthetics of comparison between traditional closed places and different closed and open places. The second section contained the experiences of a group of modernist playwrights and theorists, including Joseph Shaykin, Richard Foreman, and Richard Schechter, because of their influence on the global theatrical achievement. As for the third chapter, it dealt with procedures represented by the research community consisting of a theatrical performance presented in the streets of the alleys and places of the city of Mosul, not the traditional theatre, in reference to the extension that this experience occupied as the sample that was intentionally chosen so that the researcher could watch it via laser discs, in addition to being able to Attend the show، As for the research methodology, the researcher relied on the descriptive (analytical) approach, in addition to adopting the indicators resulting from the theoretical framework as a tool for analysis. The fourth chapter came with the results and their discussion, in which the director established a base for employees in the theater field that rebelled against the theater of the box through the show presented in an open and closed courtyard and space without the theater of the box, and then the conclusions, recommendations and proposals.

Research summary
About me The research tagged with (The dream and its manifestations in the works of Alaa Bashir) The dream is considered one of the most important psychological processes that occupied the human mind and made him contemplate it, interpret it, and interpret its predictions of future events. The research included four chapters. The first chapter dealt with the research problem, which ended with the following question (What is the dream and what are its manifestations in the productions of Allam Bashir) and the importance of the research, as well as the goal of the research (to identify the dream and its manifestations in the productions of Alaa Bashir) within the time limits between the years (1988-2010) It was executed with oil on canvas. The chapter also included a definition of the terms mentioned within the title of the research.
The second chapter was divided into two sections. The first section was limited to the concept of dreaming, and the second section was limited to the conceptual and aesthetic dimensions of Alaa Bashir’s products. The chapter ended with indicators of the theoretical framework to benefit from in building the research tool.
While the third chapter included research procedures from the research community, which amounted to (20) artistic works, and the research sample, which amounted to (3) models, was chosen randomly, and the research tool that was built based on the indicators of the theoretical framework. The tool was presented to a group of experts and gained apparent validity amounting to (83%) and stability reached (97%) so that the tool is ready for application.
The fourth chapter deals with the results and conclusions of the research, and among the results reached by the researcher:
1- The artist (Alaa Bashir) is about representing reality and emphasizing everything that is symbolic and dreamy. His productions refer the viewer to contemplation of the ideas behind the work.
2- In his productions, the artist (Alaa Bashir) expressed a strategy in which a person separates himself from the world and announces his cruel tragedy, which represents a reflection of the inner movements of the soul as it writhes in pain
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Summary:
The performance of the actor is clearly related to the nature of the spatial environment, as each spatial environment has a special impact on the performance with the data given by the environment that affects the psychological state of the actor, as well as the change of assets and the structure of the place that leads the actor to deal with the environment, whether it is this environment (Box Theater - garage - heritage house), hence the researcher identified his study to find out these effects of the performance venue in the performance, included the first chapter (methodological framework) and included the research problem was the following question (what effect the performance venue has on the performance of the actor in the theatrical performance) and also guaranteed the importance of research and the need for it and the research goal that included the following: (what effect the performance venue has on the actor's performance in the theatrical performance) and also guaranteed the importance of research and the need for it and the research goal that included the following:) the influence of the spatial environment on the performance of the actor in the theatrical performance

Research Summary :
The current research contains four chapters, with the first chapter (methodological framework): answering the following question: What are the representations of the performance of resistance according to the Iraqi theater actor Raed Mohsen? 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 (the theoretical framework), it included: The first section consisted of an axis: the performance of resistance conceptually, while the second section included: the relationship of the performance of resistance in representations of the theatrical actor’s performance. This chapter contained previous studies, and the outcome of the theoretical framework was a number of indicators. As for the third chapter (the procedural framework), the researcher determined a theatrical sample (curfew) 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
Irony in drama is characterized by many of its concepts, including contradiction and difference, but it has its intellectual, spiritual, and physical implications in the Arab theatrical text, with Abbas Al-Hayek as a model.
The first section (the executive framework) dealt with the research problem and included the following questions (What is the difference between the Arabic theatrical text and the Abbas Al-Hayek model?).
The importance of the research in clarifying the concept of paradox in the Arab theatrical text in the field of dramatic industry. As for the goal of the research (to identify the paradox in the Arab theatrical text as an example of Abbas Al-Hayek), but within time limits from 2000 - 2022, and spatially in Saudi Arabia, and objectively to study the paradox in the Thai text. The Arab model is Abbas Al-Hayek and its role in dramatic treatment. The first chapter concluded by defining the terms.The second section dealt with (the theoretical framework) and the indicators that resulted from the theoretical framework and included two sections, the first section: types of irony, and the second section: irony in the Arab theatrical text, and the chapter concluded with indicators of the theoretical framework. The third section dealt with (research procedures). The research community included (6) plays, and the research sample consisted of the play (The Virtuous Dustbin). The descriptive analytical method was adopted as a research method, and the theoretical framework indicators were adopted as a tool for analyzing the sample and then analyzing the sample. Irony appeared in his texts (imitating the characters), the situation and the idea in both models.His texts were characterized by dramatic (intellectual) irony.All characters adopt dialogue in irony. The research concluded with conclusions, recommendations, proposals, and a list of sources and references.

Research Summary
The current research came in four chapters, the first included a statement of the research problem, which was determined by answering the following question: (What are the representations of pleasure in the ceramic works of the artist Kate McDowell?), the importance of the research, the need for it, and the goal of the research, which is (learn about the concept of pleasure and its representations by the potter Kate McDowell ), then the limits of the research and definition of terms. While the second chapter included two sections, the first: the philosophical concept of pleasure, while the second was about contemporary ceramics, so that the chapter ends with indicators of the theoretical framework. Then the third chapter dealt with the research procedures represented by the research community, its sample, its tools, and its methodology, then analyzing the research sample of three examples of the potter’s work (Kate McDowell As for the fourth chapter, it included the results of the research, including: The concept of pleasure became linked to the idea of achievement, control, and skillful and technical control for the completion of ceramic texts loaded with pleasure, devoid of predicates of content, directed to tasting the finished ceramic work with its general formal specifications, as in every research sample, and pleasure represents the ultimate goal of artistic beauty and its ultimate goal. What the products of contemporary arts seek because it is a general universal language that all human beings can understand and taste through a universal language that is the language of art and beauty. The fourth chapter included conclusions, the most important of which are: The products of international ceramics engage in great challenges regarding materials, techniques, and performance with the aim of gaining the conviction of the contemporary audience and attracting its taste. Artistic and aesthetic, contemporary potters rely on the act of shock and amazement produced by the shapes and ideas to push the recipient to enter into the process of philosophical research that enables him to understand the message conveyed on the ceramic shapes.

Research Summar:
The current research came in four chapters, the first included a statement of the research problem, which was determined by answering the following question: (What are the aesthetics of condensation of contemporary graphic works by the artist (Robert Rauschenberg)), the importance of research, the need for it, and the goal of the research, which is (to know the dimensions of condensation of contemporary graphic works by the artist) (Rauschenberg), then the limits of research and definition of terms. While the second chapter included two sections, the first: the philosophical concept of condensation, and the second presents the technical and aesthetic development of printing works in contemporary art, so that the chapter ends with indicators of the theoretical framework. Then the third chapter dealt with the research procedures represented by the research community, its sample, its tool, and its methodology, and then analyzed the research sample of three examples of the artist (Robert Rauschenberg’s) works. The fourth chapter included the research results, including:
1- Rauschenberg activates condensation mechanisms in specific areas of his printing works and leaves designated empty spaces that allow him to feel the value of condensation and its effect on the pictorial space so that the recipient can fill it with meanings and perceptions. As in model (1, 2, 3)
2- Condensation works on several levels, including the spatial level, where elements and shapes come together in the space of the painting, and the temporal level, where the artist can combine different times and periods separated by historically distant distances. As in model (1,3)
Among the conclusions of Chapter Four:
1- Condensation by repeating shapes, movements, and colors without deleting excess visual elements achieves a feeling of abundance and crowding that leads to multiple readings, different visions, and growing connotations.
Then recommendations and suggestions, so that the research ends with a list of sources.

Abstract:
and functional dimensions in the virtual reality industry (DUNE) as a model).
How to employ digital imaging technologies in cinema to enhance the dramatic value of the visual stream with all its contents by working with the image to support the aesthetic values that it conveys through the visual stream, as computer-made visual persuasion is one of the most important parts of the communication and artistic process and it is an important goal for the maker of the new reality that seeks to achieve it to change Or to modify or install a certain opinion or thought for the recipient to interact with.

Research Summary
The process of interrogating the text is a means of analyzing the text, highlighting its components and stylistic features, and showing the beauty and moments of creativity in it. After the interest of specialists in the field of literary criticism was focused on studying the author as the creator and creator of the theatrical text, the texts were studied through the historical, social, and psychological influences that affect the author. In the first chapter, it dealt with the problem of the research, the importance of the research, the need for it, and its goal. The research and the limits of the research, and then defining the most important terms mentioned in the title. As for the second chapter (theoretical framework), it contained two sections, in the first of which it dealt with the concept of interrogating the text and the mechanisms of operation of the theory of reception. The second section dealt with interrogating the global theatrical text, and the theoretical framework resulted in a set of indicators that The researcher took it as a tool for analyzing the sample. In the third chapter (research procedures), he dealt with an analysis of the research sample represented by the text of the play (Ibn al-Khaybah) by the Iraqi writer Ali Abdul Nabi al-Zaidi. The fourth chapter contained a set of results, conclusions, recommendations, and proposals. The research concluded with a list of Search and review .

Abstract
This research dealt with the study of symbolic metaphor for the contemporary aesthetic artistic form. The study consisted of three chapters that showed the introduction, a complete methodological summary, within the general framework of the research, which included the introduction that summarized the concept of symbolic metaphor and the features and methods presented by philosophers of beauty in which metaphor varied from form, composition, color, and system. Relationships... etc. are effective tools, and the pressures provided by human knowledge and the visual arts provided their metaphorical action with hypothetical times in their historical sequence, which exploited metaphor systems from the beginnings of man in the cave, all the way to the chronology of the arts in their various eras, to the end of modernity, and so on. Then, which announced itself as an advanced, interactive, pragmatic, communicative language, it offers its critical analytical reading, in a set of formal systems

Research Summary
The research titled (Fantasia and its representations in the visual scenes of comic books) dealt with the topic of (Fantasia) as a concept linked to the essence of the mind and its perceptions and harnessing them to produce a group of scenes of an imaginative, lively, innovative, delusional and irrational nature in order to transcend the realistic perception. Therefore, the research was divided into four chapters according to the following: The first chapter included the methodological framework of the research, represented by the research problem, which was determined by answering the following question: How is the concept of fantasy represented in the visual scenes of comic books? It also included the goal of the research, which is (to identify fantasy and its representations in the visual scenes of comic stories). As for the limits of the research, they were limited to studying the artistic productions represented by comic book scenes that were produced in the United States of America, within the time period from (1938 - 1940), and then comes the definition of terminology. While the second chapter included the theoretical framework, which included two sections, the first: philosophical frameworks for the concept of fantasy. The second: comic stories and the fantasy effect. The theoretical framework concluded by preparing a set of indicators to benefit from in analyzing the research sample. The third chapter includes the research procedures, to include the framework of the research community, the research sample, the research tool, the research methodology, and the analysis of the research sample model, which numbered (4), a model of the products of comic story scenes. The fourth chapter included the research results and conclusions, and the most important results reached by the researchers are as follows:
1. The reality of representation (fantasy) changed the contexts of the traditional creative industries to form comic stories in order to go beyond realistic images and combine them through illusions and concepts of the unfamiliar as effective expressive capabilities in their formal and content effect
2. The nature of the merger between the action (fantasy) and aspects of reality gives these comic stories the characteristic of popularity and gives them an aesthetic dimension at the level of forms and an educational and moral dimension at the level of contents.
And a number of conclusions:
1. The fantasy act formed the essence of comic story scenes that achieved a visual communicative fusion through the narrative presentation of forms and language and the activation of a state of awareness, cultural maturity, and creative openness.
The fourth chapter also included recommendations and proposals. The research is accompanied by a list of references and sources.

Research Summary
The current research sought to study (transformations of the text of the Annunciation in the drawings of the Renaissance) which is located in four chapters, the first chapter has been devoted (the general framework of the research) represented by the problem of research, its importance and need, its goal and limits, and the identification of the most important terms contained therein, as the problem of the current research dealt with examining the subject of transformations of the text of the Annunciation in the Renaissance drawings, and the research problem has been summarized by answering the following question: What are the transformations of the Annunciation text in Renaissance drawings? What mechanisms, methods and technical and intellectual treatments that artists adopted to reach the final image of the text of the Annunciation in the Renaissance?, The second chapter included the theoretical framework and previous studies consisting of two sections, the first section concerned (the concept of the Annunciation in Christian thought). The second section included (the text of the Annunciation in the drawings of the Renaissance), while the third chapter was concerned with research procedures, which included determining the research community and selecting the research sample of (50) oil paintings, then the research tool, research method, mathematical and statistical means and analysis of the research sample, and the fourth chapter included the results of the research and its discussion, conclusions, recommendations and proposals.

Research Summary
Contemporary semiotics has centered on the study of texts that include elements of title, characters, theatrical cues, and other elements inspired by the original text. These texts were called (parallel text), and the French critic Gerard Genette called this phenomenon the term (thresholds). The study was divided into four chapters. The first chapter included (the methodological framework that included the research problem through the following question: (What is semiotics? Parallel text in the contemporary Kurdish play?), and also included the importance of the research, by highlighting the aesthetic and pragmatic function of the parallel text in the Kurdish play. The aim of the research came through identifying the semiotics of the parallel text in the contemporary Kurdish play, as well as the terminological and procedural definitions contained. The second chapter included three sections. The first studied the parallel text, its concept and semiotic connotations. The second section studied the parallel text in the world theatre. The third section was a reading of the Kurdish theatrical text. The chapter concluded with the most important indicators that resulted from the theoretical framework. The third chapter included The research procedures and methodology. The fourth chapter includes the research results, the most important of which are :
1-The textual thresholds in the Kurdish play contributed to understanding and reading the text and determining its cognitive value.
2-The Kurdish playwright’s use of heritage created an atmosphere of ritual parallels that paved the way for the reader to comprehend the dramatic event.
This chapter also contains conclusions, recommendations, and suggestions, along with a list of sources and references.

Abstract:
The Title of current study "(The Image of the Palm Tree and Its Representations in the Paintings of Suad Al Attar)," which can be depicted through various styles and performance methods encompassing modern and postmodern propositions. This is particularly significant as contemporary Iraqi art is intertwined with the aesthetics of cultural heritage and Islamic traditions, including tales, myths, rituals, and stories from "One Thousand and One Nights" that are deeply embedded in historical memory and influential in the minds of generations due to their importance and presence in thought, art, and literature.
The study comprises four chapters. The first chapter outlines the methodological framework of the research, which includes the research problem, its significance, and the objective of "understanding the methods of representing the image of the palm tree in Suad Al Attar's paintings." It also covers the research boundaries focusing on the study of the palm tree motif and its representations in Al Attar's paintings executed in oil colors, spanning the period from 1970 to 2010, both inside and outside the country. Additionally, it defines the terms used in the study.
The second chapter deals with the theoretical framework and previous studies, divided into two main sections. The first section discusses sacred forms in the arts of ancient Mesopotamian civilization, while the second section explores symbolism in contemporary Iraqi painting.
The third chapter presents the research procedures,
population of 60 models, the research tool represented by represented through study indicators, methodology, and the analysis of four sample works by Suad Al Attar.The fourth chapter includes the research findings and conclusions, the most notable of which are:
1. Suad Al Attar emphasized the aesthetics of the palm tree image, which is one of the most important Mesopotamian symbols representing grandeur, strength, heroism, courage, and the resilient human spirit.
2. The artist highlighted the aesthetic dimensions of the palm tree in both form and content through a symbolic style that celebrates rituals.
3. Al Attar depicted the palm tree in the style of Mesopotamian artists, making it essential to express the mythical symbol represented by the palm tree.
The conclusions included the following:
1.Contemporary Iraqi painting, particularly the experience of the artist Al-Attar, focused on highlighting the significance of Mesopotamian cultural forms in a symbolic and expressive manner to emphasize the ideal characteristics in the memory of culture and civilization.
2.Al-Attar's experiences deviated from highlighting realistic anatomical details in depicting the palm tree in favor of expression and abstraction.
and the researcher concluded with suggestions, where the researchers proposed conducting the following study: "The Image of the Palm Tree in Contemporary Iraqi and Egyptian Painting (A Comparative Study)." It ended with a list of references and sources, and an English summary of the research.

Abstract
The current research, titled (Formal formulations of sculptural scenes in Romanesque churches), deals with the study of formal formulations in sculptural scenes. From here, the research problem came in the form of asking: What are the formal formulations of sculptural scenes in Romanesque churches, as sculptural works consist of compositional elements of line, space, mass, and texture? Shadow, light, etc., in addition to some characteristics and features such as proportion, harmony, balance, repetition, etc., which enter into the composition process as an essential tool in crafting scenes,Therefore, the sculptor used the elements of composing the artistic work in different and diverse formulations, which were distinguished from the rest of the sculptural formulations that belong to methods, styles, and artistic school in creating his statues. They came to embody the scenes of human life under the rules and laws of church rule for European Christian societies in the Middle Ages. He was commissioned The sculptor executed scenes representing prophets, saints, and religious events that had an important status in these societies. Keywords: wording, form, scene, Romanesque art.

Research Summary
Fantasy literature appeared at the end of the eighteenth century in Europe, thanks to a new cultural context, where science imposed itself in the sense of science and in its representation. Fantasy was born from a tension between reality, which serves as a framework for stories and phenomena that science does not explain, and that it lies on the border between the rational and the non-rational. The rational and the realistic and the psychotic.
The research included four chapters. The first chapter was the methodological framework for the research represented by the research problem. It begins with the question: (How was fantasy used in the Arab theatrical text), followed by the importance of research and the need for it (it sheds light on fantasy and approaches to magic, imagination, etc.) and the need for it that benefits scholars and researchers in the field. Theater and other fields. As for the goal of the research (which is to identify how fantasy is used in the Arab theatrical text, and then define the terms temporally 2010 and spatially in Iraq, and objectively (to study the term fantasy and its use in the Arab theatrical text), and conclude the first chapter by defining the terms.
The second chapter dealt with (the theoretical framework) and the indicators that resulted from the theoretical framework and included two sections, the first (fantasy conceptually), and the second section: fantasy in the Arab theatrical text, and the second chapter concluded with indicators of the theoretical framework.
The third chapter dealt with (research procedures). The research community included (6) plays, and the research sample consisted of the play (The Coast and the Lamp). The researcher adopted the descriptive analytical method as a method for the research, and I believe the indicators of the theoretical framework are a tool for analyzing the sample and then analyzing the sample.
The fourth chapter included the results of the research, the most important of which are: - 1- The fantasy in the play (The Drawer and the Lamp) was distinguished by the power of the imagination depicted by its author, through the preservation of imaginary and tangible images by the recipient. 2- The fantasy in the play (The Coast and the Lamp) relied on exoticism and imagination through which the author broke all the rules of realism for the recipient, which created anxiety and astonishment in the theatrical images. 3- Fantasia in the play (The Coast and the Lamp) relied on magic as an essential element in achieving supernatural things. The research concluded with conclusions, recommendations, proposals, and a list of sources and references.

Research Summary :-
This research included four chapters, the first chapter the research problem that was created with the following question (How was the muezzin character used in the texts of the Iraqi Children’s Theater?). As for the importance of the research and the need for it, it was decided by shedding light on the muezzin character and employing it in the texts of the Iraqi Children’s Theater now for benefit. Students and those working in coordination in the field of children’s sessions. The goal of the research is to identify the character of the muezzin and employ it in the texts of Iraqi children’s theater, and then define it within the temporal, spatial, and thematic boundaries. Identify the terminological and procedural definitions contained in the research. The second chapter included two sections. The first is humanization conceptually in terms of beginning and types
The second dealt with the humanized character in children’s theater texts internationally and in the Arab world, and then the chapter concluded with the indicators that resulted from the theoretical framework. The third chapter included the research community and its sample. As for the research methodology, it relied on the indicators of the theoretical framework as a tool for analyzing the sample. The fourth chapter included On the results, the most important of which are:
1- Al-Kaabi presented important scientific information through the mouths of humanized characters (the book - the magic lamp - the computer - the rug...) that the child can easily accept and understand because it is spoken by characters that arouse his amazement and enjoyment.
2- Al-Kaabi used heritage in his humanizing text by referring to (the magic lamp) as a humanizing character to provide information.
This chapter also contains conclusions, recommendations, and proposals, then a list of sources and references.

Abstract :
The study aims to shed light on the concept of semantic diversity، as the study was divided into four chapters. The first chapter included (the methodological framework)، which included the research problem through the following question: What is semantic diversity in the scenography of theatrical performance (Hafez Khalifa as a model?) and included the importance of the research also in Shedding light on the concept of semantic diversity and the mechanism of its operation in theatrical performance، it is useful for researchers، scholars، and students of the College of Fine Arts to benefit from it، through the relationship between semantic diversity in the scenography of (Hafez Khalifa as a model). The goal of the research was to learn about the concept of semantic diversity in the scenography of (Hafez Khalifa as a model).
and the spatial and thematic boundaries، as well as the corrective and procedural definitions، contained in the research. The second chapter included two sections. The first was about semantic diversity conceptually. The second section was about semantic diversity in the scenography of theatrical performance. The second chapter concluded with the most important indicators that resulted from the theoretical framework. As for the third chapter It includes the research procedures and methodology، while the fourth chapter includes results، conclusions، recommendations، and proposals، then a list of sources and references.

Abstract:
The researcher is trying to shed light on the expressive scenes of defilement in Greek celebrations frozen on the surfaces of ancient Greek pottery and how to employ them in Greek pottery works, and to learn about ancient Greek rituals, as well as to examine the importance of the work and the aesthetics of its use on the formal and objective level - which was considered an important part of embodying their daily lives. The thought of Greek civilization is represented in those drawings executed on the surfaces of Greek pottery vessels, which are considered the beginning of civilization in all its forms. This study also addresses the cognitive aspect, the history of Greek civilization, its origins, and how it was implemented historically, technically, and aesthetically. As for the aim of the study, the research aims to identify the medallion in ancient Greek pottery, while the research is limited to studying the pottery works completed in the Greeks, and within the specified time period between (100) a.m- 200

Summary:
The current research studies “the psychological dimensions of the profession and its functions in the art of Roman civilization,” where the first chapter was concerned with clarifying the research problem, which is determined by the following question: - What are the psychological dimensions of the profession and its functions in the art of Roman civilization?
The importance of the current research is evident in the fact that it provides a theoretical basis for students of art and psychology. It is also considered an academic study that contributes to shedding light on psychological studies and their effects on human and artist thought.
The research aims to identify the psychological dimensions of the profession and its activities in the art of Roman civilization, and its limits are limited to analyzing examples of artistic works in the art of (sculpture, painting, mosaics) for the period (133-27) BC, by adopting the analytical approach as part of an attempt to extract the psychological dimension of the profession and its various activities through the works. Artisticity in Roman art. The second chapter contained two sections. The first section dealt with the psychological dimensions of humiliation in Romanian thought by reviewing the psychological-philosophical point of view of the philosopher (Axel Honneth). While the second section dealt with Roman art (origin, foundations, and starting point) by reviewing the history of Roman art, its roots, characteristics, and types. As for the third chapter, it included applications of the psychological dimensions of the profession and its functions in the art of Roman civilization through research procedures that included the research community, the research sample, the research tool, and analysis of the research sample, which amounts to (3) artistic works. The fourth chapter included results and conclusions, in addition to recommendations and proposals. The researchers reached basic results. Of which:
1. At the level of writing, the psychological dimensions of occupation appear through the mechanisms of movement and schematic relationships revealed by the features of the shapes and their positions in the models of the research sample. Brokenness, humiliation, and surrender, as well as submission, unhappiness, and helplessness appear in the samples.
(1, 2, 3) It also appears that alienation, frustration, regression, pain, weakness, defeat, collapse, rebellion, and ridicule were distributed among the samples (1, 2). 2. At the level of color, the psychological dimensions of humiliation appear through the psychological dimensions that color carries through the mechanisms of contrast and color relationships revealed by the color of space and the color of bodies and clothing of the figures in the samples of the research sample. Submission, humiliation, alienation, frustration and unhappiness appear in the samples (1, 2, 3). ). Brokenness, weakness, helplessness, submission, pain, and defeat are also shown in the samples (1, 3). The researcher also concluded a number of conclusions, including:
1. The psychological dimension has been closely linked to the work of art throughout the long history of art as a value that achieves a kind of spiritual communication between a person and himself and between him and others. The psychological dimension is also considered a basis for the human self to make its proposals about the work of art.
2. The psychological dimensions of degradation in Roman art have a clear effect in confirming that the psychological aspect of the artist is inseparable from the social, religious and political aspect represented by the images transferred from the emotional storehouse of human and social events.

Research Summary
This research is concerned with studying (the formal structure of the Mesopotamian myth and its representations in contemporary Iraqi sculpture)Because the heritage has a great influence on contemporary Iraqi art, which distinguishes it from other peoples due to its relationship with the ancient Mesopotamian civilization, as most Iraqi artists were inspired by the Mesopotamian cultural heritage in all its meanings by dealing with the form structure of the Mesopotamian work.The research covered four chapters. The first chapter was devoted to explaining the problem of the research, its importance, and the need for it. The research problem was determined by answering the following question: Were the Mesopotamian mythical forms embodied in the contemporary Iraqi sculptural artistic achievement? The first chapter also included the research objective of (defining the formal structure of the Mesopotamian myth and its representations in contemporary Iraqi sculpture). As for the limits of the research included in the first chapter, they were limited to studying the works of Iraqi artists from different categories and generations who completed works with a formal structure inspired by Mesopotamian mythology. The chapter ended with defining the research terms and its definition.While the second chapter was devoted to the theoretical framework, which included three sections, dealing with the first section deals with the structure between the philosophical and critical concepts, while the second section deals with the concept of myth in Mesopotamia, and the third section deals with the roots of Iraqi art. The chapter ended with indicators of the theoretical framework and previous studies.The third chapter contained the research procedures that included the research community, and the research sample of (16) sculptural works, which the researcher chose intentionally, because of their relationship to the formal structure inspired by the myths of Mesopotamia. The third chapter includes the research method, represented by the descriptive and analytical approach, in order to achieve the goal of the research. The researcher adopted the indicators that resulted from the theoretical framework as simulations to analyze the research sample, and then analyzed the sample. Reaching the fourth chapter devoted to presenting the results, conclusions, recommendations, appendices, and Arab and foreign sources.
First: Results: The researcher reached results related to the goal of the research:
1- The Iraqi sculptor was able to employ the Mesopotamian mythological formal structure in his contemporary artistic works, as he benefited from the narrative narration of Mesopotamian myths mentioned in the literary text in formulating his sculptural form.
2-The Iraqi sculptor used Mesopotamian sculptural works inspired by Mesopotamian mythological forms to achieve creative works, and for Iraqi sculptors it was an important source. The Iraqi sculptor did not neglect, but rather emphasized the symbols accompanying the gods, including plants, animals, and mythical creatures, in producing the sculptural works, and the necessity of having a symbol that expresses the function and status of each god.
3- The formal structure of the Mesopotamian sculptor’s works, derived from Mesopotamian mythology, greatly influenced Iraqi sculptors and prompted them to carve statues that mimic the beauty and creativity of those ancient works, by reviewing models of contemporary Iraqi statues.
Second: Conclusions: Based on the results reached by the researcher, we find a set of conclusions:
1-The structure of the form of Mesopotamian mythology inspired many Iraqi sculptors with ideas and shapes that contributed greatly to the work of their sculptures.
2-Philosophy is one of the most important foundations of the formal structure of Mesopotamian mythology, which explains to man the most important phenomena, organizes his life, and brings him war, peace, or prosperity.
3-Mesopotamian mythology contributed to Iraqi sculpture in giving it an artistic character freed from the control of the clergy.

Research Summary
The current research studies (The educational values of comic art in Sinbad magazine’s drawings) by shedding light on the concept of values and comic art drawings. The research problem was revealed in the following question: What are the educational values of comic art in Sinbad Magazine drawings? The importance of the research comes from the educational values that distinguish the art of comics and how they are represented in the products of Sinbad Magazine’s drawings. The goal of the research is: to know the educational values of comics art in the Sinbad Magazine drawings. In addition to the limits of the research, which were represented by studying the educational values in the cartoons of Sinbad magazine in Iraq for the year (2020 to 2024), the second chapter included the theoretical framework with two sections, the first section included values, their concept and types, while the second section included the art of comics (the ninth art).
The third chapter includes an analysis of samples of Sinbad magazine’s cartoons, while the fourth chapter includes results, conclusions, proposals, and recommendations.

Research Summary :
The current research included four chapters. In the first chapter, it dealt with the problem of the research, its importance, and the need for it. The researcher defined the limits of the research by employing the traditional vocabulary of the Chibayish marshes with contemporary ceramic models. Then came the definition of the search terms, which included the definition of employment and the vocabulary. The second chapter dealt with the theoretical framework, which consists of three sections. The first is marshes. Iraq, the second section is the elements of design, the third section is the methods of formation, and the third chapter includes the research procedures, which are the research population, the research sample, and sample analysis of the researcher’s works, which number 3 works. The fourth chapter includes the results, including the transformation of the traditional scenes of the marshes (minnows) into an image. Three-dimensional art and used in the form in a unilateral way, as a basic form that dominates the overall composition and conclusions, including benefiting from the diversity occurring in the individual form of the heritage of the Iraqi marshes, which gave a clear difference in all the samples (and then the recommendations, including) The researcher recommends using different glazing techniques such as the Naked Raku technique in producing works Contemporary ceramics that embodies the marsh heritage and finally the proposals, including referring scenes of nomadic Bedouin settlement into ceramic works.Contemporary (applied study(

Abstract:
This research is concerned with studying the effectiveness of light techniques in showing the fourth dimension of contemporary design. It includes four chapters. The first chapter is devoted to explaining the problem of the research, its importance, its goal,


and its limits, as well as defining the most important terms contained in it.
The research problem focused on the effectiveness of light techniques in demonstrating the fourth dimension of contemporary design, specifically those that have a direct relationship to contemporary light-based designs and their effective effects and techniques for displaying the fourth dimension. From this, the research challenge developed with the following question:-
-To what extent does the effectiveness of the use of light techniques affect the manifestation of the fourth dimension of contemporary design products?
The importance of the current research lies in the fact that it addresses the drivers of the technical impact of light through the determinants of the communication relationships between the designed form and its content and investigates the reflection of the technological and digital dimensions on the production of contemporary designs according to the diversity of their light manifestations. The current research is crucial in understanding the contexts of displaying the fourth dimension of contemporary designs, considering aesthetic compatibility with optical technologies, and reshaping the visual landscape of design within contemporary digital requirements. The research has a goal of identifying the effectiveness of light techniques to show the fourth dimension in contemporary design. The limits of the research include three aspects: (a) Objectivity: which was represented by studying the effectiveness of light techniques in showing the fourth dimension of contemporary designs executed using certain types of lamps on glass material, (b) Temporal: (2011-2019), and (c) Spatial: (America - England). The second chapter, which is the theoretical framework, contains two sections. The first section dealt with the nature of light, its characteristics, and its techniques, while the second section dealt with the fourth dimension in design. The theoretical framework ended with a set of indicators. The third chapter dealt with research procedures. The fourth chapter dealt with the research results, conclusions, recommendations, and proposals.

Summary of the research:
The artistic currents of post-modern arts were able to play an important and vital role in the completion of artistic work by introducing new styles and methods that went out of the ordinary to confirm the ability of the aesthetic experience to keep pace with the intellectual transformations that occurred in the plastic concept and the artistic process in general. Since the middle of the twentieth century, plastic art has witnessed wide changes that led to the dominance of non-objective abstract art over the concept of modernist and post-modernist art, which served as an alternative to art based on anthropomorphizing the shapes and surfaces of the real world. However, the Superrealism movement sought to present a new form of figurative painting that It was distinguished by intellectual data and propositions of the post-modern stage that were able to harmonize with the current changes of the era. The current research was divided into four chapters. The first chapter included defining the problem of the research, its importance, and the need for it, while the aim of the research was summarized: identifying the intellectual data and their representations in the Superrealism movement, as well as including the limits of the research and defining the terms contained in it. As for the second chapter, it was divided into three sections. The first section dealt with (the concept of intellectual data), and the second section studied (the emergence of the Superrealism movement). As for the third section, (the manifestations of intellectual data in the Superrealism movement) were presented, along with a number of indicators of the theoretical framework. The third chapter included the research procedures of the research community and its sample, where the samples were chosen intentionally in order to achieve the research goal, the research tool, and the analysis of the research samples. The researchers relied on the descriptive and analytical method, but the fourth chapter included the research results that the researchers reached, including:
1- The products of the artists of the Superrealism movement are works with content that carry within them intellectual data and social or humanitarian opinions that make these ideas messages of rejection and accusation against the countries, institutions and concepts that stand behind much of the human suffering and the spread of phenomena of ignorance, loss and chaos in Western societies.
2- The Superrealism artist was interested in drawing photographs and did not stop at a certain limit, but rather went beyond his interest in choosing the beautiful shot and the distinctive angle, controlling its dimensions and sizes and the process of showing its lighting and bright colors, embodying the real world with extreme precision. It also included the research conclusions and some recommendations and proposals.It also included the research conclusions of the recommendatins recommended by the researchers include :
1 - contributing to the issuance of books and specialized research for contemporary arts trends in generl ensuring their dissemination specialists and those interested .
The research included several purpose of completing the scientific benefit by the researchers by conducting the following studies including:
1 - the psychological and aesthetic dimensions and their manifestations superrealist art

Research Summary
The current research consists of four chapters, the first of which is concerned with explaining the research problem, which was determined by answering the following question: - What are the representations of hell in the miniatures of the Timurid Mirajnama manuscript?
The importance of the research and the need for it, then the goal of the research is to know the representations of hell in the art of Islamic painting through the depictions of the Timurid Mirajnama manuscript.
Then the limits of the search and definition of terms .
The second chapter included two sections: A- Hell in the holy prophetic journey of the Isra and Mi’raj, and the second topic: The holy journey of the Isra and Mi’raj in the art of Islamic photography.
Then the indicators that the theoretical framework concluded, and the third chapter included the research procedures represented by the research community, the research sample, the research tool, and the research methodology, then the analysis of the research sample of (5) examples of the miniatures of hell in the Timurid Mi’rajnameh manuscript.
The fourth chapter contains the research results, including :
1- The Muslim artist depicted scenes of hell on dark backgrounds to give the flames of fire sparkle and awe. He painted the Prophet Muhammad (PBUH) with an uncovered face, a black beard, wearing a green dress and a white turban.
2- Malik, the storehouse of fire, is depicted as a strange-looking monster with monster eyes, sharp fangs, and long nails, but the rest of his body resembles a human body, and he carries a rod or a metal hammer.
The conclusions include;
1- The Muslim artist depicts sinners in Hell naked to the middle of their bodies, and depicts women with long hair that covers their chests and hides their breasts in order to avoid showing what is required of the bodies of men and women to be covered in the Islamic faith.
2- As well as recommendations, suggestions, an index of research sources, and a summary of the research in English

Summary
Existentialism is a philosophical trend that focuses on the concept of life, death, suffering, and pain. Although it is not a specific philosophical theory, it is considered a revolution against the tyrannical values that deprived man of freedom and made him a prisoner of those values. Existentialism aims to liberate man and make him live his reality without worrying about the future. Or the past. Man is considered the focus of existential philosophy, as he bears the responsibility of setting his own values without adhering to any authority or tyrannical principle. Existentialists give priority to the existence of the self over essence, and stress the importance of man possessing absolute freedom of thought. Freedom is considered sacred in existential thought, as it loses Existence has its true meaning without freedom. Existential thought replaces religious teachings in Western societies, and represents a threat to morals, principles, and traditional religious teachings. Abstract Expressionist drawings are considered an artistic means of conveying feelings and emotions in the abstract, without the need for a clear representation of realistic forms. These drawings express the experience Humanity and the psychological state of the artist, and the various contents that can be directed through it, are an effective means of communication between the artist and the audience. The research also includes four sections, where the first section included the research methodology of the problem that includes: Do abstract expressionist drawings have an effect? What are the psychological and emotional factors that affect expressionist drawings? Abstractionism? As for the importance of research and the need for it, these drawings reflect the artist’s inner emotions and feelings and also reflect the effects of the environment and culture on the individual. Understanding these psychological contents is also considered vital for in-depth understanding and analysis of abstract art. A deep understanding of the symbols, shapes and colors in these drawings sheds light on the psychological and mental aspects of the individual. The aim of this study is to explore the psychological contents that may be included in Abstract Expressionist drawings, by analyzing the psychological factors and emotions of an artist that may be reflected in these works of art, as well as ensuring its limits, methodology, and opening words. The second section dealt with the concept of existentialism and its origins, and the second section dealt with the concept of existentialism and its origins. The third section dealt with some existential artists. The fourth section also dealt with research procedures and analysis of its samples. Finally, the fourth section dealt with the results, conclusions, recommendations, proposals, and sources.

Research Summary
The current research included (the aesthetics of contemporary art in light of digital technology), which included investigating the concept of digital technology, and revealing the aesthetics of contemporary art through technical and technological progress, which affected most contemporary arts. The research included four chapters, the first chapter was concerned with the methodological framework of the research, represented by With the research problem that was formulated according to the following question: (What are the aesthetics of contemporary art in light of digital technology?) The aim of the research is to know (the aesthetics of contemporary art in light of digital technology), the importance of research and the need for it, and the limits of the research represented by the objective limits that are concerned with studying the aesthetics of contemporary art in light of Developments in digital technology in digital sculpture art, holographic art, digital mural art) for the period (1985-2002) in Europe and the United States of America... Then comes the definition of terminology. As for the second chapter (theoretical framework), it included two sections, the first of which (digital technology between concept and application), and the second (contemporary arts and digital technology). Then comes the third chapter (research procedures), in which the researcher reviewed the framework of the research community, which numbered (30) digital artistic works and the research sample, which numbered (4) in an intentional manner, the research tool, the research methodology, and the analysis of the research sample model. The fourth chapter included the research results, conclusions, recommendations and proposals. The most important results reached by the researcher are as follows:
1. Digital works were characterized by the recipient’s effectiveness with the work space, movement, and space, which created openness to various digital technologies, as in sample model No. (1, 2, 3).
2. Digital arts were characterized by the homogeneity of electronic technologies, especially the technology of combination and assembly, as in sample model No. (2, 3).
Among the most important conclusions:
1. The world has turned to digital art because of its marketing and consumer importance in the field of advertising, trade, and product marketing.
The research concluded with references and sources.

Abstract:
The title of the research was represented by: Formal transformations in the drawings of the artist Sirwan (Baran), an analytical study. The research consists of four chapters: The first chapter dealt with the research problem with an introduction to the intellectual, formal and performance transformations in Iraqi art and the extent to which the Iraqi artist was influenced by the transformations of contemporary global art represented by the arts of modernity and post-modernism. Postmodernism Then shedding light on the artistic career of the artist Sirwan and studying his drawings, then monitoring and studying the formal transformations evident in his drawings, as well as studying the intellectual foundations or references and the environment that led to the manifestation of this type of formal transformation in his artistic achievements over successive periods of time. Accordingly, the research problem was crystallized with the following question: What are the formal transformations? In the drawings of the artist Sirwan Baran? Does the environment play a role in these transformations? The goal of the research was to identify the formal transformations in the drawings of the artist (Sirwan Baran), and the importance of the current research was evident in contributing to adding an intellectual and applied reference within the research framework, and the lack of research that dealt with his works, as it allows artists and art connoisseurs to view and benefit from them and their importance in Iraqi painting. Contemporary
This was represented by the objective limits of the research, while the spatial and temporal limits of it were determined in the State of Iraq for the time period between the years (1990-2010), in addition to defining the terms mentioned in the title of the research to come up with procedural definitions. The second chapter included: three topics. The first section: specialized in shedding light on transformation and its concept philosophically, intellectually and artistically The second section: included the concept and meaning of form in modern painting and shed light on the opinion of thinkers, philosophers, critics and artists in this field. The third section included (the artist Sirwan Baran - (experience and style)) i.e. a close study on the artistic process and its intellectual and formal transformations and the environmental factors that emerged from it. During which these variables appear on the visual surface. The third chapter: included the research procedures and methodology, and (4) models were intentionally selected from the overall research community. The fourth chapter: included the results and conclusions reached from this research, and the most important results are:
1 -Freedom and his artistic experience allowed for artistic transformations from realistic and impressionistic to expressive, symbolic, and then abstract.
2- Expressionism is characterized by the priority of form over content, and it intends to distort the human and animal form in most of its the most important conclusions:
1-Baran sought to build aesthetic systems that fit his personal vision.
2- Baran tended to establish new expressive axes that differed from his conventional artistic approach.

Abstract:
The first chapter included the problem of research and was summarized by the question: What is the diversity of meaning in the formal exaggeration of contemporary sculpture The importance of research also ensures that exaggeration is a form of rebellion, as the need for study is clear because of its importance in keeping up with artistic transformations and changes, and the research goal is to identify the diversity of meaning in the formal exaggeration of contemporary sculpture and how meaning can vary in light of that change, then the researcher touched on determining the temporal boundaries of research in the period between (2005- 2020) and the spatial boundaries that were determined by the continent ( North America, South America, Europe ) as well as the definition of the terms contained, the second chapter was represented by the theoretical framework that dealt with two researches, the first of which was entitled (exaggeration approaches), the second was entitled ( diversity of meaning under the form), the third chapter was determined by the research procedures, which included the research community represented by ( 20 ) sculptural works and its sample of (3) sample, as determined by the method used adopted by the researcher, which is the descriptive analytical method, and the fourth chapter concluded with the results and their discussion.

Research Summary
The research entitled (Racial discrimination and its religious representations in contemporary art) consists of four chapters: The first chapter was devoted to the methodological framework of the research, and the research problem ended with the following question: What are the religious dimensions of racial discrimination? What are the repercussions of racial discrimination in contemporary Iraqi art works? How was racial discrimination reflected in the achievements of contemporary art? It included the purpose of the research, its importance, and the need for it. As for the second chapter, it contains two sections. The first was titled The Religious Dimensions of Racial Discrimination, while the second dealt with: The repercussions of racial discrimination in contemporary Iraqi art, while the third chapter was devoted to research procedures. The two researchers chose (3) models as samples in an intentional manner from the achievements of contemporary art, and the samples were analyzed using The descriptive analytical approach, as for the research tool, and to achieve the research goal, the two researchers built a tool for analyzing the artists’ works based on the indicators of the theoretical framework, literature, and previous studies in building their research tool. As for the fourth chapter, it was devoted to the results and conclusions of the research, from which the religious dimension of racial discrimination through genocide appeared. Collectivism, intolerance, prejudice, sectarianism, religious cleansing, inequality. As in sample No. (1), the religious dimension of racial discrimination appeared through exclusion and marginalization, inequality, religious and ethnic cleansing, distortion of religious texts, religious extremism, forced displacement, spiritual alienation. And spatial, as in sample No. (2) and (3). The research ended with research references, a list of sources and references, and then appendices

Abstract:
Societies are characterized by a remarkable diversity of races, genders, and colors. Therefore, the tendency of racial superiority was very clear among different environments, and here we must shed light to understand the reason for this idea or tendency and explain it in order to try to reach logical solutions and limit differentiation or differentiation, or at least understand it according to basic principles. A well-studied social scientific study, this study included four chapters, the first of which is the methodological framework, starting with the research problem by asking: What are the representations of racial superiority in contemporary formation?
The importance of the research lies in that it represents a serious attempt to identify the concept of racial superiority in their productions.
The research aims to identify the representations of the concept of racial superiority in contemporary art. The limits of the research are represented by the works completed by artists from (1961-2020 AD) and displayed in some countries of the world. As for identifying the terms that have been identified and defined procedurally, which are: (racial superiority). As for the second chapter, it may include three researchers: The first topic suits the philosophical and cognitive award of racial theory. The second topic is the difference between the concept of racial superiority and racial superiority. The third topic is the racial concept and its implications for artistic formation. All indicators have been completed, including the theoretical framework as a famous subject known in it, so she chose it and the method of her research. In careful analysis, if she chooses this method to suit her procedural stages of analysis. The third section dealt with the concept of racial superiority and its repercussions on plastic art. The fourth section dealt with the difference between the concept of racial superiority and racism, after which The indicators that resulted from the theoretical framework were extracted as a scientific material that benefited from its boldness and research method in analyzing the content of the samples, as the researcher chose this method to suit its procedural stages in the analysis.
This is what was discussed in the third chapter, which is the chapter on research procedures, as the unit of analysis was determined and represented in considering each artistic product (a unit of analysis), that is, an integrated unit of communication because it carries an integrated idea from which ideas can be derived through analysis, and in this way the researcher has a model of analysis. (Sample) out of the total research population.
The fourth chapter includes the results, conclusions, recommendations, and proposals
One of the most important results reached by the research objective.
1- Racial superiority is represented in the works of artists in a way that is compatible with the intellectual and aesthetic developments of the new reality within intellectual concepts that clarify the human relationship with the other, through artistic/aesthetic discourse, and by employing materials, symbols and interpretive readings that are compatible in their data with human culture, in order to achieve objectivity and intervention. Within the context of social cultures.Among the conclusions he reached:
1- The artists practiced the process of rejecting racial superiority through resemblance and conformity to existing things, and intuited an intellectual effort that penetrates the emotional obsession of the free self and arrives at new laws and relationships that give the work the value and message of its unique, special existence.
The research concluded with a review of the research sources, its appendices, and a summary of the research in English.

Abstracts :
The current research is summed up by studying the aesthetics of condensed compositions in Jackson Pollock’s abstract expressionist works, as material and technique, along with non-formal art, have become one of the basic components of artistic creation. The research consists of four chapters. The first chapter includes the research problem, which is defined by the following question (What is the beauty of condensed compositions in Jackson Pollock’s works?)
The research aims to (identify the aesthetics of condensed compositions in the works of Jackson Pollock).
The limits of the research were determined objectively by studying the condensed structures in the works of Jackson Pollock. Temporally for the period from 1943 to 1952, and spatially the United States of America.
The second chapter includes the theoretical framework in two sections: the first is the concept of condensation and the second is abstract expressionism (Jackson Pollock).
The third chapter includes research procedures.
In the research community, the two researchers intended to develop a framework for the community of (40) artistic works, and the sample was chosen intentionally with (4) models due to the need to diversify the artist’s styles according to temporal and spatial changes and the artist’s renewed vision. After analyzing the research sample, the most important results were reached, which are as follows :
1. The technique of condensation in lines helped create a feeling of dynamism and movement, as well as adding depth and visual contrast that convey the artist’s inner feelings and experiences and arouse feelings in the recipient.
2. The absence of centralization and controlled random distribution enhances the aesthetics of condensation by filling the visual space with multiple shapes and patterns, characterized by a recurring and diverse stereotypical composition that allows the reader to read the text from all sides.
3. The color gradation and smooth transitions between colors contributed to achieving color harmony, which enhances the aesthetics of the painting despite its visual density.

Abstract
The phrase of the French poet Saint John Pierce contained in his great poetic work (narrow are boats), which says that (no history but the history of the soul) is a passing phrase or single in a linguistic space, but it is one of the most important Sufi fragments and ways that carry in its significance an edifice of knowledge in the soul The most important components of Sufism by approaching the human self to the divine self and dissolve it where it is difficult to express it in ordinary language and this is what made Sufism close to art and theatrical art Precisely what Sufism found its echo in his speech and manifested in his ritual, theatrical techniques can make a Sufi theatrical show of change because they work to present the world in a new and different way, an image full of symbols and signs and manifests the self. In the light of the foregoing, the researchers section the subject of the research to the introduction and three chapters of the first chapter (the concept of Sufism and its references), while the second section dealt with (Sufi performances in theatrical weather), while the third chapter included the analysis of the theatrical presentation represented (Tawasin) and then concluded the research conclusion with results and sources.

ABSTRACT
The current research deals with the aesthetic values of the drawings of Al-Taf incident in contemporary Iraqi painting Kazem Haider as a model) The researcher sought to reveal the aesthetic values of drawing the incident of Al-Taf in contemporary Iraqi painting. Kazem Haider’s drawings are the embodiment of the psychological and social contents and the intellectual and religious connotations in a creative and aesthetic way through technique, color, and style. The research contained four chapters, the first chapter dealt with The methodological framework of the research, which is the research problem, can be summarized in the following question: What is the aesthetics of the drawings of Al-Taf’s incident in contemporary Iraqi painting through the works of Kazem Haider: - The importance of the research, the goal of the research, and the limits of the research. The second chapter consisted of four sections. The first section included the concept of aesthetic values philosophically and cognitively. The second section dealt with contemporary Iraqi plastic drawing. The third section included features of the Al-Taf incident in contemporary Iraqi painting. The fourth section dealt with: The artistic experience of the artist Kazem Haider. The chapter ended with the indicators that resulted from the theoretical framework. The third chapter included the research procedures and the research community, The research sample, research methodology, and sample analysis. The fourth chapter dealt with the results, conclusions, recommendations, proposals, list of sources and appendices, and a summary of the research in English.
research results
1- In his works, the artist focused on man, especially the tragic side, but at the same time he revealed the heroic side of man, his challenges, strength, and conflicts.
Conclusions
1- He gave the form and content in the works of the artist (Kazem Haider) aesthetic values that express the content and symbolism of the Al-Taf Al-Husseini incident.
Then a list confirms the sources and references to reach the goal of the research, which is to identify the aesthetic values of the drawings of the incident of Al-Taf in contemporary Iraqi painting, Kazem Haidar as an example.

Abstract:
The title of the research is: Imagery in Contemporary Libyan Painting: An Analytical Study The research consisted of four chapters: The first chapter dealt with the research problem, an introduction to the Arab and African nature that characterises the city of Libya and its geographical location, so the research problem ended with the question of what is the pictorial imagination in contemporary Libyan painting with its influences and circumstances? The aim of the research was to identify the pictorial imagination in the art of contemporary Libyan painting, and the importance of the research lies in its contribution to the documentation and study of the pictorial imagination of the art of contemporary Libyan painting. As for the need for it, it can be attributed to the lack of academic studies that dealt with their art in painting with us (in Iraq), as it represents a cognitive, aesthetic and artistic addition to the library of the Faculty of Arts in general and students of the painting branch in particular for the richness of this colour of Arab-African art, and therefore the objective limits of our research were the pictorial imagination in their contemporary painting art, while the spatial and temporal limits were determined in the period before and after the fall of the country 2005 - 2021 and the change of regime throughout Libya, while the spatial and temporal limits were determined in the period before and after the fall of the country. 2021 and regime change in all of Libya, in addition to distinguishing the terms mentioned in the title of our research by definitions, in addition to defining them procedurally: The first was on the imagination and imagination preceded by the image in philosophy and other aspects, while the second was devoted to Libya with a simple talk about its history as an introduction to talk about its art and its artists, while the third chapter was devoted to research procedures and methodology, and intentionally selected (5) samples from (199) artworks collected by the researcher from various online sources and sent by the artists themselves, while the fourth chapter included results and conclusions: The results and conclusions reached from this research, including the most important findings of the research:
1- The techniques used in the paintings varied as well as the Libyan artists' experience of unconventional materials and techniques in the process of manifestation. Libyan artists invested a set of symbolic images and forms associated with the mythological thought in ancient Libya, employing them as a compositional basis in their pictorial imagination, which requires a high call and employment of imagination that has resulted in an imagination characterised by individuality and maturity as well as Libyan specificity in its historical, popular, political, social and political references
2- It came within the method of directing the imagination of (Shifa Salem) and (Elham Al-Farjani) to divide the work into two halves above and below, which refers us to historical pictorial references to the ancient Libyan archaeological mural arts and sheds light on symbolic folk arts and seeks to clarify and narrate the meaning of the artwork with the purpose of recording.
As for the main conclusions of the research:
1- Libyan art in painting showed an active manipulation of symbols and connotations and a high and bold use of imagination, with its artists having a rich amount of references and heritage depth that fuels their imagination in any imagined artistic act with unconventional drawing methods.
2- The art of Libyan figurative painting - regardless of what has been collected from their works similar in their motivation by the researcher - shows that it continues to represent the heritage with an orientation towards rooting their Libyan Arab-African identity characterised by durability, and despite the artist's recourse to more than one art school and experimenting with several painting techniques, he remained faithful to his subjects and was rarely influenced by previous Western influences.

summery
This research is concerned with studying (the significance of the image of women in Afifa Laibi’s drawings), 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 limits, and defining the most important terms contained in it.
The research problem dealt with the idea of art that is based on creating forms that can be sensed So that these forms are expressive of human conscience, and that what a person perceives in art in an expressive way can be perceived as an integrated form. Among these symbols, women since ancient times have played a major role in art. It did not stop with their presence as an idea, symbol, and image, but rather escaped from those general frameworks. So that women have a bright personal presence in art and creativity. She was an artist, writer, and an active official in this field, and in a wide range of Iraqi, Arab and international artistic works. The works of the Iraqi artist Afifa Laibi appeared with realistic drawings and carried many images. The different connotations of the image of women and their representations in the internal reflection of the artist’s spirit and its influences on the social structure and multiple intellectual references. Accordingly, the researcher finds that there are many questions about the subject of women in Afifa Laibi’s drawings in terms of intellectual references, style, technology, and the problematic formal significance emanating from them, so that the problem of the current research is determined through the answer. Regarding the following question: How was the significance of the image of women represented in Afifa Laibi’s drawings? The importance of the research was evident in its being an attempt to shed light on the connotations and aesthetic values in the works of the artist Afifa Laibi, as she constitutes one of the most prominent symbols of the Iraqi plastic movement. The research has one goal, which is: to identify the significance of the image of women in Afifa Laibi’s drawings. What is meant by the limits of the research
may be determined by the drawings executed in oil colors on canvas by the artist Afifa Laibi, which she executed during various stages of her movement between Russia, Italy, the Netherlands, and Yemen from 1980-2022.
As for the second chapter (Theoretical Framework), it included two sections, the first examining (critical proposals for the concept of significance) and the second (Women in Contemporary Iraqi Painting). It included a topic on (The nature of the artistic image of women in Afifa Laibi’s drawings) and two parts branched from it on (Beginnings and Motives for Migration And also the artist’s stylistic references.
The third chapter was concerned with the research procedures, which included identifying the research population, selecting the sample of (3) models, then the research tool, then analyzing the research sample models
. The fourth chapter included both results and conclusions, and among the results reached by the researcher:
1. The references of Afifa’s artistic image were formed based on political and social trends that she experienced for long periods, which contributed to the growth of an artistic vision with connotations that the artist tried to show through the element of women, as in the sample models (1.2)
Among the conclusions:
1. For Afifa, the woman constitutes a symbolic subject possessing flexibility and vitality, which enables the artist to use her as a malleable element and symbol for her stylistic works, whether it is the aesthetic compositional structure of the painting or the woman herself, which are two parts that complement each other.

Abstract :-
The research aims to shedding light on the extent of the impact of the individual’s isolation، the study was divided into four chapters. The first chapter included (the methodical framework)، which included the research problem through the following question: (What is the concept of isolation in the contemporary Iraqi text - Ahmed Al-Jallad play as a pattern) and it includes also the importance of research، by shedding light on the phenomenon of isolation، and its scope for controlling the individual and covering the human soul from one place، and society from the other، and enriching researchers and students of academics and colleges of arts and literature، with information that contributes to knowing behaviors of individual and helping him to discover himself and development and progress of science، while the goal came through identifying isolation in the contemporary Iraqi stage، and its spatial and subjective limits. In addition to the terminological and procedural definitions came in the research. As for the second chapter، it includes two sections، the first studied isolation، philosophically، then psychologically، and then socially. As for the second topic، it studies the isolation of the international stage، this chapter was finalized by the most indications that were produced from the theoretical frame while the third chapter included the procedures and method of the research ، as for the fourth chapter it includes the results of the research، the main ones of which are:
1- The physical and psychological isolation of the character (The Guard of Dog) in the play (Be Careful، this may happen to you) resulted in a ruin self that has no connection to the outside world، with a pessimistic view، because the outside world rejects its existence.
2- The psychological and intellectual isolation of the character (Ibn Al-Jallad) in the play (Al-Jallad) led to the imposition of male authority، which led to the social isolation of the wife.
This chapter also contains conclusions، recommendations and suggestions and list or references.

Research Summary
The concept of (color spaces) is one of the concepts that has an important role in crystallizing the director’s vision, because it guides the recipient, the actor, the director, and the scenographer to form a clear imagination about the play and its atmosphere, in addition to the space that occupies the largest part of the presentation. The researcher’s study consisted of four chapters discussed in the chapter The first is the methodological framework, and in the second chapter, which served as the theoretical framework, the researcher dealt with two sections, the first of which dealt with the color connotations of the theatrical space. The second section dealt with children’s theatre, and the chapter concluded with the most important indicators that resulted from the theoretical framework. As for the third chapter, which deals with the research methodology, it was adopted. researcher The descriptive analytical approach included the study population consisting of six theatrical performances, and one of these theatrical performances was approved by the researcher as a sample, which he analyzed according to the methodology of comprehensive description of it, while analyzing its content consistent with the goal of the study. As for the fourth chapter, it consisted of a set of results, proposals and recommendations that came as a continuation of the researcher’s study. Among the results is that the theatrical space acquires the ideal image in content and form and achieves pleasure in the moment the character plays the role and embodies the interaction between him and the audience. Then the researcher identified paragraphs of recommendations that are related to the results of the study. After that, the researcher proposed a study that could be adopted by other researchers, then he concluded his study with the sources that were adopted in the study.

Abstract:
The environment, climate, and the nature of land, sea, night, and day, and their succession, affect the individual in one way or another, creating his own point of view on the things and beings around him. It may be conscious or subconscious, stored in his mind or his internal repressions, and even within the chromosomes of his organic body, thus achieving a special personality that is unique to him. The other is similar to a thumbprint that distinguishes it from others.
The research included four chapters. The first chapter dealt with the research problem, which centered on the following question: (What is the imaginary image in the work of the Iraqi theatrical director?) While the researcher determined the importance of the research and the need for it in studying the imaginary image in the work of the Iraqi theatrical director, and the goal of the research that was determined In identifying the imaginary image in the work of the Iraqi theater director, and the limits of the research: temporal (2005-2023), spatial: (Iraq), and objectivity: studying the imaginary image in the work of the Iraqi theater director Ibrahim Hanoun (a model). As for the second chapter (theoretical framework) of the research, it includes The first section discusses the imaginative image conceptually, while the second section discusses international directors, in addition to mentioning the indicators that resulted from the theoretical framework. As for the third section (research procedures), In it, the research sample was determined and selected in an intentional way to be a model in the analysis, and it was represented in the play (Death and the maiden), written by (Ariel Dorfman) and directed by (Ibrahim Hanoun), and the research concluded with the results and conclusions that were stated according to the results and the list of sources.

The current research is astudy of (Symbolic metaphor in European painting (Van Gogh as a Sample) ,Examining the artworkis no longer just an image, or a vision of the material, or the means that produced the image, but rather that all the available means and capabilities that the artist uses from nature and even the vulgar,The marginalized can compose an artistic discourse that is no longer linked to the recording or purely realistic approach, just as these productions focus on themselves and on their creativity process in light of their performance and therapeutic nature on the one hand, and focus on objective reality, life and the world on the other hand. Plastic art will give us a lot. Of the vocabulary and means that make the metaphor a rich means that prompts the recipient and the artist to study thecomponents of the painting with its various plastic elements and what gives us the secrets of the expressive visual language, and accordingly the research included four chapters:- The first chapter contained 1-the research problem, 2- the importance and need for research, 3 - The aim of the research. 4 - Definition of terms.As for the second chapter, the theoretical framework, it contained two sections: The first was represented in the first topic (metaphor in rhetorical history, and the second topic: symbol in ar The third chapter included research procedures, then the fourth chapter included research results, proposals and recommendations, and the research also included Sources and margins.

The research summary:
Based on the importance of education in raising the child and forming him cognitively and pedagogically, and because music has the characteristic of harmonious rhythm and melody, it is a contributing factor in the growth of children’s attention span, leading to the contributions of music in raising the child on the basis of collective participation and demarcation of methodological and scientific foundations. Therefore, the researcher sees the current study highlighting On (the effect of musical education in developing and enhancing musical intelligence in children), The main research followed, then the first chapter: the research problem, its goals, objectives, limits and terminology, while the second chapter includes three sections (the first topic: the importance of education in raising and forming the child, the second topic: the contribution of organizational education to the child’s movements, the third topic: music and chants School), then what the theoretical framework began with, then the third chapter contained: (research method, research community, research innovations, research tools and requirements, validity and stability of performance, difference analysis), then the fourth chapter, which includes a presentation of the research results, legacies, recommendations and proposals) To request a search by sources and prosecution.

The research summary:
The current research dealt with the topic (the expressive features of contemporary Arabian Gulf ceramics) .The research focused on a study contents and ideas and how
To apply them to ceramic works of contemporary art. The research contained four chapters. The first was concerned with the methodogical framework of the research . represented by the research problem , which is determined by the following question .what are the expressive features of contemporary Arabian Gulf ceramics ?
The chapter also included the importance of research and the need for it , and the goal of the research , which is (to identify the expressive features of contemporary Arab Gulf ceramics ). While the limits of research were limited to studying the works of sheep within the time period ( 2000-2020) ,specifically in Saudi Arabia , Kuwait and Yemen , the first chapter ended by defining the most important terms included in the research. As for the second chapter,it contained tow sections representing the theoretical framework and indiscators. The first section dealt with: the structure of expressionism in plastic art between concept and application and the second: traces of beauty in contemporary Gulf ceramics, which included Saudi Arabia, Kuwait and yemen. As for the third chapter: it included research porcedures by defining the research population and its representative sample and ending with an anaiysis of the research sample of (3) as a model of artistic works by potters from Saudi Arabia Kuwait and yemen this is in addition to the research tool that took the indicators of the

theoretical framework as abasis in its formulation the forth chapter included a number of results and conclusions as well as recommendations and propsals the research included sources and was one of the most prominent results of the research most gulf potters tended towards emphasizing two values in the ceramic work : aesthetics and expessiveness though from and elements of composition and this is what appeared in all aspects of the resesearch

Abstract
The design characteristics of traditional fashion are embodied in the creative ideas stemming from the designer's imagination and enlightened thinking, showcasing the features of cultural diversity. This is achieved through the utilization of various shapes in the design of women's fashion fabrics to create visual appeal, thereby enhancing communicative interaction with the recipient.
The problem addressed in the current research arises in the first chapter with the following question: What are the design characteristics and their representations in traditional fashion fabrics? Thus, the research aimed to uncover the design characteristics and their representations in traditional fashion fabrics. The second chapter begins with the first section, which explains the design characteristics in traditional fashion fabrics, followed by the second section, which discusses the design techniques in fashion fabrics. The second chapter concludes with the indicators of the theoretical framework. The third chapter includes the research procedures, consisting of the research methodology and its sample, which comprised 12 models. A purposive non-probability sample of 3 models, representing 25%, was selected. Finally, the fourth chapter presents the most important research findings as follows:
1- The designer employed historical Babylonian symbolic shapes derived from the Babylonian civilization, representing a historical cultural symbol passed down through generations, embodying the quality of cultural heritage. This symbol refers to the Babylonian winged bull depicted at the lower part of the garment. The designer expressed the visual element of the winged bull in a unique manner that mimics reality and captures attention, evoking interest and excitement, as seen in model (1).
2- The design characteristics are distinguished by the use of shapes derived from Sumerian civilization, represented by the lyre, one of the oldest stringed musical instruments in history, as seen in model (3).
The conclusions included:
1- The components of heritage, important events, and history are drawn by the designer from their surroundings, not randomly, but with careful selection based on their intrinsic value. This value is derived from the fact that they are powerful emotional influences on the recipient 's psyche.
2- The success of a design work is represented by the use of visual forms that connect people, drawing its strength from the meaning that the designer imparts to these symbols. Design, as part of the phenomenon of art, plays a significant role in profoundly changing society and culture.
Keywords: design characteristics, representations, fashion fabrics.

Research Summary
There is a strong and authentic relationship between literature and the cinematic film, because there is a similarity, especially in narration, between the literary style and the style in the narrative film, and there is also a similarity in the elements of the dramatic structure such as the idea, character, plot, dialogue, time and place, so try This research explores how to “dramatically build between the novel and the feature film - the film The Curlew’s Prayer as a model.” The researcher adopted the descriptive analytical method and chose the sample film (The Curlew’s Prayer) by director Henry Barakat, which is adapted from a novel of the same name by the writer Dr. Taha Hussein. In the theoretical framework, the researcher dealt with the directorial treatment of literary texts, the cinematic novel, and the elements of the dramatic structure (idea - character - dialogue - plot - general psychological atmosphere - time - place). The researcher came up with a number of indicators. An observation form was prepared for analysis and comparison between the structures. The dramatic structure in the novel and the dramatic structure in the film, and after approval by experts, the sample (The Nightingale’s Prayer) was analyzed in light of it, and the researcher reached a number of results, the most important of which are the following:
1. The main idea of the film can be revealed through the creative use of cinematic language.
2. The main ideas in the novel can be discovered by the reader through mental images.
3. In the novel, the features of the characters become clear through the eloquence of words and sentences, while in the cinematic movie, the features of the character become clear through dialogue, symbols, and metaphors.
4. The dramatic structure in the film depends on introduction, delay, deletion, and addition.
5. The screenwriter preparing the novel can add characters and places that may not originally exist in the novel.
The research concluded with a list of sources and references.

Abstract :
The human body is considered a problem that still exists as it represents the physical presence of man. The importance of the body’s presence has varied according to the circumstances that society experiences at every stage, and according to the existing authority, whether religious or worldly, primitive or civilized, and the care it gives to that subject, and through the problem of the body what Between the concepts of the sacred and the profane, and a reflection on the subject of the body in artistic photography.
The research included four chapters. The first chapter represented the research problem, which was defined by the following question: What are the representations of the body between the sacred and the profane in world art? The chapter included the importance of research and the need for it, and the goal of the research represented by (identifying representations of the body between the sacred and the profane in world art, “the Renaissance and post-modernism as a model”), while the limits of the research were limited to studying the artistic achievements of the time period (1490-1520 AD) (1970_ 1990 AD) in Europe and the United States of America. The first chapter ended by defining the most important terms included in the research. As for the second chapter, it contained three sections that represent the theoretical framework. In the first section: The intellectual discourse of the human body throughout history. The second section was entitled The cognitive concept of the sacred and the profane, while the third section came: Representations of the sacred. And the profane in art, and the researcher came up with a set of indicators that resulted from the theoretical framework. As for the third chapter (research procedures), by defining the research community and its representative sample, ending with an analysis of the research sample of (4) works of art (two works by artists from the Renaissance era and two works by artists from the Renaissance period). Postmodernism ) The fourth chapter included a number of results, the most important of which are :
1- Imparting the character of holiness to the bodies of socially sacred figures, such as the halos of heads, colors, and clothing. The church transformed the sacred from being an endowment for the divine essence into a political authority.

Summary:
The directorial treatments of the historical drama differ from the rest of the types of drama, as the production process of contemporary historical series includes a large number of technicians and technicians from various disciplines, and this type of drama needs special tools and complex equipment, and these series involve very large numbers of main and secondary actors and compars, and there are many scenes in the historical drama of external photography between deserts and mountains, and includes many battles between armies in which horses, hoards and old war equipment are used, although the historical drama In general, battle and war scenes in particular require great effort from the director, but they have become a seduction for directors who - most often - consider filming these scenes gives them the opportunity to prove their directorial skills and artistic talents, as the extent of their success in overcoming the difficulties of filming is determined by the extent of their awareness of employing their directorial tools and benefiting from the technological development of the arts of photography and montage to come up with the series in the best visual and audio image that achieves fun and excitement for the viewer and attracts him to follow the work and understand its content.

Research Summary
The current research titled (Aesthetics of Ugliness in Muhannad Hadi’s theatrical performances) informs us of the experience of director Muhannad Hadi with his readings that differ from the prevailing theatrical directing trends. He is one of the directors who search for a good space for the theatrical presentation in innovative ways in which he seeks to restore direct contact between the spectator and the show, and searches for what It translates the theatrical idea into a local, living image.
Hence this study, which was devoted to researching the aesthetics of ugliness in Muhannad Hadi’s theatrical performances, came. It was divided into four chapters. The first chapter (methodological framework) included the research problem, the importance of research, and the need for it. The aim of the research was summarized in (identifying the aesthetics of ugliness in Muhannad Hadi’s performances).
This is the guide of the play).
Then the second chapter (theoretical framework) included two sections. In the first section, the researcher studied (the historical development of the aesthetics of ugliness philosophically), reviewing the opinions and theories of the aesthetics of ugliness among some philosophers, while in the second section, the researcher studied (the intellectual and artistic references of director Muhannad Hadi), so that the researcher then reaches previous studies and the researcher summarizes the most important influences that resulted from them. Theoretical framework.
As for the third chapter, the researcher identified the research community with (3) performances of theatrical performances by director (Muhannad Hadi), specifying the time period (2003 ). Then the researcher selected a sample for analysis, which consisted of two performances of his plays that were intentionally selected, which are the play (Heart of the Event) The researcher based the design of the analysis tool on what was deduced from the indicators of the theoretical framework and what was stated in the research regarding the aesthetics of ugliness, which the researcher adopted in his current research with the aim of revealing the aesthetic elements of ugliness.
In the fourth chapter, the researcher studied the results of the analysis of the selected sample and summarized a number of conclusions that were based on the results that appeared. The researcher recommended some recommendations and made some proposals. The research also included a list of research sources..

Research Summary
The image moves artistically and conceptually within the ceramic work according to its ability to produce its influencing premises for reception when it depicts the nature and essence of the mutual phenomena between the forces in existence in all their aspects that constitute the system of human life. It gains more importance when its models are linked to the fundamental content that achieves its complete harmony by revealing the nature of the development of human life. Relationships and their contradictions within the artistic image system.
Through this, the question of the research problem came (How was the narrative of the image represented in ceramics at the level of contemporary Arab productions?)
Accordingly, the aim of the study was (to identify the narrative of the image in contemporary Arab ceramic productions).
Then came the theoretical framework with three axes that dealt with (the concept of the image, narrative conceptually, Arab ceramics/aesthetics of form and content)

Then five models were analyzed in the third chapter, which included the research procedures, and then the research results and conclusions were presented in the fourth chapter, the most important of which were:
1- The narrative of the image in contemporary Arab ceramic products is not isolated from the essence of the social process, as it is a reflection of the objective reality within its historical movement.
2- The narrative image in contemporary Arab ceramics is not only a moment of reflection, but rather a moment of construction, as relationships, connotations, and symbols grow in a way that contains its dialectical and contemplative logic within its formal narrative.
3- The production of the narrative image in contemporary Arab ceramics requires the presence of regular patterns of relationships imposed by the construction of the structural composition of the ceramic formation, which is built with a philosophical, intellectual, and aesthetic approach.
Then came a list of research references and a list of sources and references.