Journal of Nabu

Abstract
The study included four chapters, the first of which was defining the research problem, which was summarized in the following question: (How do you represent the psychological compensation of the character in Cage play?) And an indication of its importance and its spatial, temporal, and objective boundaries, and the researcher identified the following terms (compensation, personality, representation), and the second chapter formed a theoretical framework for the study, which included two sections, the first: compensation in psychological sciences, and the second came under the title: Representations of compensation in the global stage, and concluded the chapter with the most prominent indicators resulting from the theoretical framework, The third chapter was devoted to the research procedures by adopting the descriptive approach in the analysis, and the indicators were adopted in the analysis of her sample, and she concluded the most prominent results that she reached through the analysis of the sample, and the conclusions that showed compensation is part of the structure of the theatrical personality, and in conclusion the researcher put recommendations and proposals and fixed a list of sources.
Keywords: compensation, personality, representation.

Abstract :
The study aims to identifying the treatments of cultural identity in the theatrical discourse directed to the teenagers, as this research examined the treatments of cultural identity within the basic dimensions of the discourse (The Teenagers Theater - directed to recipients in early adolescence) which included (the psychological dimension, the social dimension, the cognitive dimension, the dimension The aesthetic, and the cultural dimension) as the cultural structure of the discourse, in light of the interrogation of the criteria of cultural identity whose features have shrunk in light of cultural globalization, and the study found a number of results, to create the basic dimensions of all the teenager’s theater (psychological, Social, aesthetic, cognitive, and cultural) formulas that address the issues of cultural identity in a manner that is consistent with the interests of teenagers and their level of mental and cognitive development, and to open the aesthetics of discourse Through the elements of its formation (visual-audio) and the elements of its literary structure in the theatrical text, it simulates the material and moral cultural, popular, and civilizational heritage, And the speech could achieves a cultural presence that confirms openness through creative cultural variety in the fields of Religious, political and social, and that the discourse operates through its basic dimensions (psychological, cognitive, aesthetic, social, and cultural) on the principle: The expanding of the gap between the two opposing sides that link the development of culture of (the other), and backwardness of culture (ego) with a national and nationalism.
Keywords: Cultural Identity, Teenagers Theater

Research Summary
The current research meant to know the paradigma in the performances of the director (Anas Abdel Samad) on a close reading. Al-Barawi searched for four chapters, as the first chapter included the methodological framework, which contained a problem that was presented by asking the following: What is heidegma in Anas Abdel Samad’s theatrical performances (Yes Godot as a model), and this chapter also contained the importance of research and the need for it in terms of knowing paradigma as a term and its deportation To theatrical art, the aim of the research is to identify the paradigm in Anas Abdel Samad's theatrical performances. As for the second, it included the theoretical framework for the research, which contained two topics, including the first topic: the paradigma of the concept and its origin, and the second topic: the paradigma in global theater experiences. This chapter concluded with the indicators that resulted from the chapter. The third lost it by issuing a waiting list from a community that includes a group of theatrical performances that he presented, which he represented in the play (Yes godot). Now the fourth, go to the now directly next and the instructions you have reached now.
Keywords: paradigm - presentation

Abstract
The concept of minimalism has formed a wide presence in various arts to give an aesthetic and intellectual character that raises the process of suspense and artistic action، and minimalist art in theatrical presentation may be considered an attempt to get out of the old frameworks and bring something new that continues to evolve، so minimalism has become a prominent role in our public life، the characteristics of minimalism in the design of theatrical performances have become in the best way and more accurate in design، as contemporary theater was able to provide new visions and symmetries that had an echo that was reflected on Expressionism، abstraction، conceptualism، visual arts، performance compatible with movement and effects، as the minimalism in the theatrical presentation will lead to reducing chaos and getting rid of increases in scenography technical elements to provide the greatest opportunity for the movement of the actor's freedom in the middle of an empty space
The current research included four chapters، which are as follows: The first chapter، which is the methodological framework that included (the research problem) represented by the following question: What is Minimianism? How was it represented in the design of the scenography of contemporary Iraqi theatrical performance? This chapter also included (the importance of research) by highlighting the subject of (minimal)، which is the current research stream، and this chapter also contained (the goal of the research)، which was limited to identifying (minimalism and its characteristics in the design of the scenography of the contemporary Iraqi theatrical presentation)، how much the limits of the research were determined by the time period (2015-2023)، which was presented in Iraq (Baghdad - Babylon، either objectively، the study was specialized in studying (minimalism and its characteristics in the design of the scenography of the contemporary Iraqi theatrical presentation، and this chapter concluded by identifying Terms and their definition linguistically، idiomatically and procedurally
Keywords: (characteristics، artistic، aesthetic، applications).

Abstract:
The phenomenon of cinematic presence in theatrical performance occupies a leading position in some contemporary directorial trends, which are looking to present a sophisticated theatrical vision, based on the artistic and technical potential possessed by cinema. This research investigates the study of the features of the cinematic presence on stage, in the light of the analysis mechanisms adopted by phenomenological philosophy, through which it is possible to reach the true meaning of the nature of this presence, and the possibility of pairing it with direct experience according to the thoughts manifested in the feeling. In light of these premises, the research was based on four chapters formulated as follows:
The first chapter sets out the problem of research (methodically) with the following question: What are the features of the cinematic presence in the contemporary theatrical performance. While the second chapter is determined (theoretically) by the following: the first research (The phenomenology as a procedural approache), the second research (features of cinema attendance at the contemporary theatre show).
The third chapter is set (procedurally) by the American stage show (climax), written and directed by (Natasha Tsakos), (2014). In addition to the fourth chapter, which includes the results and conclusions of the research. Finally, a list of sources, references and a summary of the research in English.
Finally, the researcher will prove the list of sources, references, appendices and abstract of the research in English.
Keywords: features, phenomenology, presence, cinema, theater.

Abstract
Addressing the current research called (The aesthetic values of nature in the customs of Atta Sabri) The discovery of the aesthetic values of medicine in the customs of Atta Sabri through the embodiment of the contents and meanings in an innovative way, whether it is through the technique, color, or style, the research has included the four chapters of the first chapter. The methodological framework, including the research problem, the importance of the research, the purpose of the research, the research limits that include the objective limits:- It is represented by the study of the aesthetic values of nature in the artist Atta Sabri's customs, as for the spatial limits:- it does not include the works done inside and outside of Iraq, but the temporal limits:- 1940 to 1960.
And the second chapter deals with the theoretical framework and guarantees:-
• Aesthetic values.
• Nature and art.
• The early beginnings of Iraqi art.
• Ata Sabri and the advantages of the technical style.
And the end of the chapter with the theoretical framework, but the third chapter includes the research procedures, the research complex, the research sample, the research method, the analysis of the samples, and the fourth chapter deals with the results, conclusions, and recommendations, and then the sources.
Keywords: (aesthetic values, Atta Sabri, Natural beauty)

Abstract
The research problem identified to impose question following
Does the abstract style role in the backs of visual attraction in modern textile designs?
The research aims to reveal the role of the external design in modern women's textile designs printed, design and develop foundations for practical purposes to achieve visual attraction through abstract style used in the design of modern women's fabrics
In regard to the second quarter, which contained the theoretical framework and previous studies, it was included in the board three sections, the first section included the concept of abstraction, while the second section included in place of attraction and infrastructure design, In regard to the third topic was concerned with the concept of modernity.
The third chapter dealt with the search procedures, as follow researcher descriptive survey method (content analysis).It then took the fourth quarter results and conclusions Among the most important are:
1- Most designs have focused on non-formal vocabulary familiar style design using geometric abstract and abstract.

Abstract:
Studying the concept of clarity is necessary because we need great awareness and knowledge in this field, as the designs of commercial advertisements or advertising designs in general have an influential and effective force in human communication, because of their great impact on the awareness of the recipient and his guidance by the designer, and here comes the problem that The researcher puts it forward, which is the concept of clarity in some designs of commercial advertisements and revealing the mistakes that some designers make in using design elements that are not clear and unreadable to conduct commercial advertisements and their needs, despite the existence of a large number of computer programs that are capable of showing design products at the best levels, and there are One of the typographic designers who do not keep pace with the tremendous development in the field of typography and advertising design that exists in the world and lack of contact with well-known and experienced designers, because of its great impact on the awareness and guidance of the recipient, in terms of clarity of images and line readability. This research came in four chapters, as it dealt with The first chapter is the research problem, which is represented by: the weakness of the clarity and reading aspect of some commercial advertisements, and does the lack of experience of some designers lead to the production of designs with confusing meanings for the recipient, as well as the importance of the research, the aim of the research, and defining some of the terms that were mentioned in the research. The second chapter contained the theoretical framework, The third chapter included a presentation of the research procedures and sample analysis, while the fourth chapter dealt with the results and conclusions of the research, and the chapter ended with the recommendations and proposals assumed by the researcher.
Keywords: 1- Clarity 2- Readability 3- Advertising Design 4- Typographic

Research Summary
The time that the writer chooses to complete the picture of the event is active into a present time and a retrograde time according to the narrative technique. The narrative regression in theater has an aesthetic effect from the space to be crystallized in a form of coordination and intentional order by the text, and through contrast, the directorial vision desires to change the place according to the change in time or to remain in the place and enter into the process of splitting the formal event into a regressive retrospective in which the performance, the psychological feeling and its motives return to an event. His conception of the external and internal conflict was preceded by his creation, so the narrative regression is a small unit within the overall unit of presentation that forms the general narrative unity. The current research consists of four chapters. The first chapter is the model framework. The research question is based on what is narrative regression and its psychological effects in contemporary Iraqi theatrical performances? The time that the writer chooses to complete the picture of the event is active into a present time and a retrograde time according to the narrative technique. The narrative regression in theater has an aesthetic effect from the space to be crystallized in a form of coordination and intentional order by the text, and through contrast, the directorial vision desires to change the place according to the change in time or to remain in the place and enter into the process of splitting the formal event into a regressive retrospective in which the performance, the psychological feeling and its motives return to an event. His conception of the external and internal conflict was preceded by his creation, so the narrative regression is a small unit within the overall unit of presentation that forms the general narrative unity. The current research consists of four chapters. The first chapter is the model framework. The research question is based on what is narrative regression and its psychological effects in contemporary Iraqi theatrical performances? The aim of the research is to identify narrative regression and its psychological motives in contemporary Iraqi theatrical performances. Then the importance of research, the need for it, the limits of research, and the definition of terminology. The second chapter is the theoretical framework, which included two sections, the first on narrative regression, the concept of style and style, and the second section on narrative regression and its psychological motives in the international and Arab theater, then previous studies and indicators of the theoretical framework. The third chapter included the research procedures, which included the research population, its sample, the tool, the method, and the analysis of the sample. The fourth chapter included the results and their discussion, conclusions, recommendations, and proposals, then sources and references.

Abstract
The current research tagged (the aesthetic of emotional methods in contemporary plastic art) dealt with a number of methods that were characterized by technical emotion through the mechanisms of manifestation that the artist used, to show the aesthetic aspect that was not present in all the achievements of art history because of its rationality, and from here the research problem was summarized by asking The following: How can aesthetics be achieved in certain artistic methods in the partial absence of the role of the mind? The definition of the problem in the first chapter was followed by the importance of the research, the goal, the limits of the research, and the definition of the most important terms.
The second chapter dealt with the theoretical framework of the research, which came in two sections, the first of which was under the title of emotion in the plastic arts, which included two axes, the first (emotion) and the second (aesthetic), while the second topic came under the title (contemporary plastic art).
And then the third chapter, which included the research procedures of society, sample, method, tool and analysis of the research sample, which numbered (5) technical model.
The research ended with the fourth chapter by a review of the most important results and conclusions, among the results (the stylistic aesthetic of the artist was manifested by presenting the artwork in an expressive, abstract style in an innate manner characterized by spontaneity by pouring and distillation technique, an indication of the presence of artistic emotion, and this appeared in model (1) from a sample Research.) and then recommendations and suggestions., and then came a list of all the sources that the researchers used, the appendix, a summary in English and the English interface of the research.

Research Summary
The art of sculpture is one of the first plastic arts that accompanied man since ancient times, and it is known that sculpture depends on various materials, including materials with durability and high resistance, so it is a documentary art in addition to being an aesthetic art. , and the nature of religious and worldly ideas, social life, and the economic and political situation and others, and this is what was expressed by the prominent sculptural monuments, including the anthropomorphic ones, in which the artist documented in various civilizations, including African artists, and others, and each civilization had its unique, aesthetic and stylistic characteristics, and this is what characterized it African civilization, especially in the art of sculpture, due to the multiplicity and diversity of the culture of its tribes and peoples, as well as the harsh environmental and political conditions that affected most African countries, which was reflected in the nature and style of African art, including the art of sculpture in particular. of Contemporary African Sculpture), seeks through its four chapters to shed light on the intellectual dimensions of African sculpture. The four questions represented in (what are the intellectual dimensions of contemporary African sculpture?)
As well as the importance of research and the need for it. The aim of the research is: (Learn about the intellectual dimensions of contemporary African sculpture.)
Research limits and terminology.
As for the second chapter, represented by the theoretical framework of the research, it included two sections: the first topic: a brief overview of ancient African sculpture, and the second topic: the concept of intellectual dimensions in African sculpture. Contemporary African sculpture, and the intended research sample that was chosen from the research community at the rate of (3 samples) belong to artists from the Republic of Egypt and the Republic of Senegal and at the rate of (2 samples) from Egypt and (one sample from Senegal) belong to distinguished sculptors in their countries and the world, as well These models were characterized by the diversity of their intellectual and plastic dimensions, in line with the aim of the research, after being presented to a number of experts in the field of sculpture.
- As for the research method: it is the descriptive analytical method, in line with the nature of the research and achieving its goal.
The research tool: It consisted in relying on the results of the theoretical framework in terms of indicators, and on the sources and references and the information obtained from the sources of paper and electronic books and the Internet information network with solid sources.
- As for the fourth chapter, it is represented in: the research results, conclusions, recommendations, and proposals. Some of the researcher's findings include the following:
1- The nature of tribal social relations and their heritage influenced the intellectual pattern of African society, including artists, which was reflected in their contemporary sculptural works, as in (sample 1-2-3).
2- The political dimension effectively affected the thinking of African society in general and the educated and conscious class, including artists in particular, which made them document the political situation of their countries in a variety of artistic works, including sculptural works and memorials that emphasize their identity and authenticity of themselves, as in (sample 1, 2, 3).
and conclusions
1- The harsh nature of life and its dangers necessitate the emergence of a social human bloc close by blood, creed, or housing that represents the tribe, sect, or citizenship that agrees well intellectually to defend their entity and existence by various means, including art.
2- The environment as a holistic incubator for living beings, including humans, and since it differs from one place to another, it will generate different ideas among its inhabitants according to their different circumstances.

Summary:

Since its inception, drama simulates the human relationships that make up societies and starts from the components of society - women and men - according to the givens of nature and their religious, social and political influences, customs and traditions, and all of these words have their influence on the basic action of man, specifically women. Throughout its long history, drama has presented many models that discuss the reality of its characters by identifying the conflict that constitutes the basis for the growth and development of the dramatic action emanating from discussing the reality of the human soul within the givens of the era in which it lives, and at the forefront of that stands (the woman), who constantly forms the duality of existence.
This study attempts to reveal the presence of women in theater and the extent of the influence of women (actresses) in society, through the research framework labeled (dramatic presence in contemporary theatrical performance). This study was divided into chapters and sections according to the following:
The first chapter: It contained the research problem, then the importance of the research, the objectives of the research, the spatial, temporal and objective limits of the research, and the basic definitions on which the researcher relied on the subject of her research, while the second chapter included the theoretical framework that includes two sections: The first section - the concept of presence and its relationship to absence. The second section included the researcher’s focus. Spotlight on women on the world stage. The second chapter concluded with indicators of the theoretical framework.
The third chapter: The procedural framework, which included the research community, the research tools, and the research sample, and included the research play (intentionality) in a way that is compatible with the research topic and its spatial and temporal boundaries. The fourth chapter includes the results and conclusions, and then the sources and references.
Keywords: presence, drama, women, theatrical performance.

Abstract
The current research (aesthetic theories and their reflection in contemporary art) dealt with the aesthetic theories that were the product of modernity and their reflection in contemporary arts. The problem of the research was summarized by the following question: What are the effective aesthetic theories in contemporary art? The research came in four chapters, the first of which included a definition of the problem, the importance, the goal and limits of the research, and a definition. Terminology. The second chapter included two sections, the first of which was titled (Aesthetic theories from classicism to modernity), the second section (a reading of contemporary plastic art trends), and then the third chapter, which included the research procedures and ended with an analysis of the research sample, and then came the fourth chapter, which included the research results. Which include: 1- The theory of simulation has achieved a clear reflection in the achievements of contemporary art, by imitating the form and the material that makes it up or actually evoking the original form as a component of the artistic work. This was shown in the sample model (1) of the research.
1- The artist achieved a new type of reception methods through the pictorial elements of line, shape, mass, and space through the artist’s distribution of the elements with great harmony and fluidity. This was shown in Model (2) of the research. The research conclusions include: 1- Simulation is represented by the three methods, which are (simple - matching nature, simulating the essence - deep structure, simulating ideals - reality, abstraction, diagnosis). 2- There is a new type of communication through new tools. For example, in land art, they used plastic and also added the body as a tool for art. Then came the recommendations and proposals, and then came the research sources.

Research Summary
The visual hierarchy confirmed its existence and its aesthetic effects on the artistic form of graphic design for advertising, and the designer was able to employ it in the design work to enhance the recipient’s perception. The researcher intended to study this topic and divided it into four chapters. In the first chapter, he dealt with the research problem, which the researcher formulated in the following question (What is the role of the visual hierarchy? In achieving order and coherence in advertising design (Cravicky)? The goal of the research is (revealing the role of the visual hierarchy in achieving order and coherence in graphic advertising design) and the limits of the research, as well as defining the term visual hierarchy mentioned in the title of the research. As for the second chapter, the theoretical framework, the researchers divided it into two sections. The first is (concepts of the visual hierarchy) indicating its most prominent references. The second section is (mechanisms of order and interconnection in graphic advertising design), after which the two researchers concluded the second chapter with the most important indicators. As for the third chapter, it specifies the research procedures and the descriptive approach was chosen to analyze the content of the researched samples. It concluded with the most important results of the sample analysis and the conclusions reached. The two researchers recommended a set of recommendations in addition to proposals, a list of sources and references, and a summary of the research in both Arabic and English.
Keywords: visual hierarchy - system - design – advertising

Abstract:
Approaches of psychological and social sciences appear in the contents and layers of theatrical texts, and their cognitive and aesthetic frame works are dominated by the complementarity of their intellectual contents and their dramatic treatments of the horizon of human reality. In which psychological disorders are manifested by the clashes and conflicts of life and their contradictions, schizophrenia, self-separation, and its incompatibility with itself and with its society, so the distressed self emerges psychologically, socially, economically, and politically, and accumulated predicates and pressures crystallize in its structural frames, so that depression manifests itself in its daily behaviors and actions, which exacerbates to be a chronic pathological focus resulting from frustration and repetition of failure in life, the meaninglessness and futility of life and escaping from reality to unreality, illusion, existential rejection and rebellion against reality in multiple ways.
The writer Chekhov is considered one of the most famous of those who laid down the basics of realism and highlighted the self-conflicts of humanity in most of his plays to address the state of hierarchy, static, and the current reality carried with its negatives, which turns man into a means to pass his interests and achieve them at the expense of the human self by deceiving it and subjecting it to a future and a hopeful unfulfilled destiny dominated by depression, sadness, despair, frustration, repression and alienation.
The current research highlights its goal to identify the phenomenon of depression, and the texts studied are determined for the period (1886-1897). The research included in the second chapter the theoretical framework on three topics:
1. Depression, its concept, causes and treatment in psychology theories.
2. Psychological criticism and the phenomenon of depression in the Texts of the int. theater "selected examples".
3. The stylistic characteristics of Chekhov's plays. The chapter also included indicators of the theoretical framework and previous studies.
While the third chapter included the research community, which included five theatrical texts. Two plays, namely the (Play Ivanov ) and the play( Uncle Vanya ) , were chosen as a sample for analysis and extracting the results that crystallized in the fourth chapter, which included the results, conclusions, recommendations and proposals.
Among the most prominent results are:
1. The phenomenon of depression prevails in Chekhov's theatrical texts as one of the theatrical writing techniques that the writer invested in building the dramatic event and creating a realistic effect on the reader.
2. Investing in the act of depression as a psychological stimulus for the structural construction of the characters in the plays with their reality (psychological - sociological) and as a stimulus for the theatrical action and the behavioral change of the characters in their self-construction.
3. 3-Depression represents images of the existential contradiction that the characters suffered from between the current reality and the aspired reality, and the behavior disorder resulting from frustration, failure, despair, sadness, hesitation, pessimism, repression, and suicide.
4. The phenomenon of depression represents a blatant intellectual philosophy in Chekhov's theatrical texts against the types of social, political and economic authorities. And its exploitation of the individual and humanity to serve its own interests.
Keywords: phenomenon, depression , frustration, suppression and Chekhov's texts.

Abstract
Decoration is one of the basic elements of the theatrical performance, a dimension that establishes the discourse of the theatrical performance to form and shape the environment in which the character lives. Without this environment, the personality appears to be alienated from the elements of time and space, so that it has no cultural or historical affiliation, especially since the decoration is a basic and very important factor in conveying a clear picture of the general atmosphere. The play and the dramatic events that take place in it reveal to us the nature and dimensions of the characters, the type of conflict, the nature of events related to the environmental components and their dimensions, and what is intended to be communicated in terms of ideas and goals through a number of symbols and symbols produced by those lines, tools, raw materials and accumulated shapes in the production of the decoration’s shape, nature, transitions and semantic movement. Changing from one form to another in order to create a number of interpretive readings in the show by relying on the mobile decor subject to the director's vision and philosophy in shaping the show's environment and its aesthetic image.
The research included four chapters. In the first chapter, the (methodical framework) dealt with the research problem represented by the following question: What are the functions of mobile decoration in modern directorial experiences? The importance of the research, which is the study of the mobile decor in the contemporary Iraqi theatrical show and what it carries of other actions, meanings and functional features in the theatrical show, and the need for it is to shed light on the concept of decor in general and the mobile decor in particular. The aim of the research is to identify the functions of mobile decoration in modern directorial experiences and its limits, and to define the most important terms. As for the second chapter (theoretical framework), it included the first topic: historically animated decoration, and the second topic: moving decoration and its preoccupations in recent directorial experiences, and we ended the chapter with a set of theoretical framework indicators. The analysis of the sample, which is (a security objective), and the fourth chapter included the results and conclusions of the research, and finally a list of references and sources.
Keywords: Decoration, movement, work, Iraqi theatre.

Abstract
This research, tagged with popular heritage in the drawings of Nateq Aziz, is concerned with studying the folklore through the works of the Iraqi artist Nateq Aziz in highlighting the manifestations and elements of the artistic style of the artist and standing on these popular and historical formations that came in his artworks. The research consists of four chapters. The first chapter is represented by In the methodological framework, in which we dealt with the research problem through the following question: Did folklore appear in the drawings of the artist Nateq Aziz? The importance of the research is that it sheds light on the symbols of folklore in the artist's drawings. The second chapter, represented by the theoretical framework, deals with three sections. The first deals with the concept of folklore and the impact of the environment on folklore, folklore and folklore. The second topic deals with realism and folklore, folklore in contemporary Iraqi painting and the painting in the city of Mosul. And the third topic talked about the spokesman of the dear person and the artist, and his artistic style. With the conclusion of indicators for this theoretical framework, the third chapter represented by the research procedures included the research community, research samples and its tools. We followed the analytical descriptive approach in analyzing three intentionally selected models of the artist's drawings. The fourth chapter came with the most important results:
1. Folklore Islamic, with all its elements, is the primary inspiration for Nateq Aziz's artistic style.
2. Nateq Aziz collected the popular heritage of Baghdadi and Mosul in his artistic works.
3. Most of his works work as a symbol of the palm tree in a style taken from the ancient Sumerian Iraqi civilization.
In addition to the conclusions, recommendations and proposals to reach the goal of the research, which is to identify the popular heritage in the drawings of Nateq Aziz.
Keywords: Islamic folklore, dear speaker.

Abstract:
The term unfamiliar in theatrical show is a fragmented concept resulting from its inclusion of all the formal contradictions that occur in the formulation of the stenographic image of the presented show. Perhaps its spread in contemporary theatrical performances is due to its inclusion of aesthetic visions that carry a philosophical dimension that contradicts cultural and traditional production, as well as its acquisition of the digital elements that contributed to building its scenic formulation presented in the theatrical performance, and the unfamiliar is characterized by its fusion of many technologies and their mixing and coexistence within the performances that carry within them many expressive scenography and semantic features and elements within the theatrical performance influenced by the overall new moods and experiences of the theatrical designs within practical mechanisms that differ from one theatrical performance to another with maintaining its continuity for the sake of evolutionary openness that includes all the components of the theatrical presentation, which seeks to form an unusual plastic art painting to be a theatrical image that is capable of multiple visual readings and has a fundamental role in consolidating the meaning that the director/designer seeks within multiple visual visions, and to show everything that raises astonishment, it is loaded with fragmented and unfamiliar visual transformations in the public environment for the recipient, and it is possible for the director/designer to achieve the unfamiliar in formulating the theatrical image by presenting a theatrical image with visual transformations spread with illusions that contradict the aesthetic value and with scenic visions that are unfamiliar in the theatrical presentation, therefore, the director/designer must create a visual environment that is in harmony with the scenic image of the play in order to achieve a theatrical image that destroys the familiar image of the presented scene and gives a contrasting dimension. This is what requires the director/designer to depart from the norm in a displacement transformation of the invaluable system between the scenography elements in a multi visions language for the presented structural image in the show.
Accordingly, the current research included four chapters, the first chapter included the research problem, which centered on the following question:
- What is unfamiliar and how does it appear in the Iraqi theatrical show?
While the importance of the current research was evident in studying one of the topics that reveals the technical treatments whose solution is determined by the director/designer and reaching a technical vision with a visual image that dazzles the recipient in the theatrical presentation, as for the limits of the research, the time limit was limited to the year 2023, and the spatial limit came in Iraq, in the national theater, the objective limit is the study of the topic of the unfamiliar and its technical treatment in the theatrical presentation and the introduction in the box theatre. As for the second chapter, it included two sections, the first section came in studying the concept of the unfamiliar, starting with its roots in theater throughout history, and the changes and developments it brought about that affected the theater. The second section concerned with studying the concept of the unfamiliar and its scenography developments among contemporary directors. Then I finalized the chapter with the indicators that resulted from the theoretical framework. As for the third chapter, it included the research procedures, where the researcher reviewed the presentation of the play (Yes Kudwa) directed by Anas Abdel Samad, as an analytical sample for the research, adopting the descriptive approach in analysis of his sample. In the fourth chapter, the researcher came up with a set of results, conclusions, sources and references. The research ended in the fourth chapter by listing the results of the sample analysis, the most prominent of which were:
1- The presented theatrical show contained an unusual visual distortion that worked to elevate the aesthetic standards consisting of the scenography image scattered and fragmented into the functional signs of the natural meaning.
2- The unusual theatrical image of the presented show was achieved through the multiplicity of the concept of visual language, which produced formations with chaotic readings of the meaning concept.
The chapter also included a number of conclusions, the most prominent of which were:
1- Creating the visual space of the theatrical performance presented in a different and unfamiliar decorative manner with a multiplicity of structural centers for the visual image that works to interject the show with materials that are contradictory and far from reality.
2- The scenography elements in the theatrical performance carried the characteristic of dazzling, based on the collage tendency, with the predominance of the assemblage character, which led to the creation of a sense of visual contrast and harmony in creating unfamiliar events.
The researcher made some recommendations and suggestions intended to serve scientific research, followed by a list of sources and references.
Keywords: (the unfamiliar, manifestations, theatrical performance).

Summary:
This research was concerned with studying the topic of representbetween the gods in the prints of ancient Iraqi cylinder seals, as artistic productions that were distinguished by prints that dealt with the topic of the struggle between t expressed intellectual activity with wonderful artistic skills. Hence, this research came to study the representations of the struggle of the gods in the prints of ancient Iraqi cylinder seals, which included four chapters: The first chapter dealt with a presentation of the research The aim of the research and the temporal and spatial boundaries. The second chapter, where the theoretical framework included two sections on the first, the concept of conflict in ancient Iraqi thought, while the second section dealt with the art of seals. While the third chapter presented the research procedures, the research community included five samples, which the researcher completed within the limits of the research. Four technical models were analyzed, and the fourth chapter came with a set of results, the most prominent of which are:
1. The scenes of conflict in the seal prints emphasized the divinity of the protectin wearing a loincloth, or the form of a bull man or a mounted creature.
2-The representations of the conflict embodied the the.Then the two researche a set of conclusions according to the results they reached, including
1-astithar alsirae alaa fikrat aliaetiqad ban alalihat yadumuwn alealam wahum wahdahum yastatieun altatalue alaa alkhayr wamujabahat alshari
2-artabat sirae alalihat bifikrat alkhulud kamadmun fikriin murtabit bihaqiqat albaqa' walaistimrariat wahadha bida tawdihiat tarbit bayn alhayaat walmawt kama dama albahth eddaan min almuqtarahat waltawsiat taliha alhawamish walmasadir alearabiat walajnabi.
Keywords : Representations, conflict, characters, conclusion

Research Summary
This research means studying [The disobedience of parents in the Iraqi theatrical text]
Disobedience to parents is one of the actions that the Islamic religion forbids, and it is considered a major sin, denial of favor and rewarding kindness with abuse, and it is one of the most severe types of severing ties of kinship. The great impact on the psyche of the child creates a motive that leads to disobedience, and this has a direct impact on society.
The research falls into four chapters: The first (the methodological framework of the research) includes the research problem focused on the following question: How was the disobedience of parents employed in the Iraqi theatrical text?
As the research shows its importance by shedding light on an important value topic for social life and theatrical art, studying the disabled personality and presenting it as a sinful personality and imitating it intellectually. The aim of the research included identifying the disabled personality and employing it in the Iraqi theatrical text, and the limits of the research were limited to theatrical texts published for the period of time from (1976 - 2019 AD) and the chapter concluded with the procedural definition, which means: It is the character who possessed a behavior whose legislation rejects the heavens and the social and value laws of man. Against the most important people, mother and father .
The second chapter dealt with the theoretical framework in four sections:
The first topic: disobedience of parents in religious and man-made laws.
The second topic: disobedience of parents in psychology and anthropology.
The third topic: disobedience of parents in the international theatrical text.
The fourth topic: the disobedience of parents in the Arabic theatrical text, and the chapter concluded with previous studies, as the researcher did not find, during her investigation and review of previous studies, published studies on the subject of her research or any comparative study. And the indicators that resulted from the theoretical framework.
As for the third chapter, it dealt with the research procedures. The researcher identified the research community, which consisted of (11) theatrical texts, and three plays were analyzed:
1- Once upon a time a play.
2- Bab Al-Hawaij play.
3- Palm play.
The fourth chapter contains the findings of the researcher in her research, including:
1- Parents’ disobedience has different psychological and social conditions, and it depends on each environment in which it is found, it may be psychological, social or intellectual.
2- Disobedience to parents has its own twisted ways to reach its goals and objectives without caring for the humanity of the opposite person.
3- The disobedient does not care about his social and personal status, except that he deals with the closest people to him (mother and father) in bad ways, so his personality becomes small in front of people.
The conclusions are summarized as follows:
1- The negativity of disobedience to society and the family because it is apparently destructive.
2- Disobedience has many forms, including what is family, social, political or economic.
3- The family’s interest in the child and dealing with him with care without neglect helps him to not be disobedient at all.
The chapter concluded with a set of recommendations recommended by the researcher as a point of view worthy of taking it into account in the future, and then I mentioned the proposals, then a proven statement with sources and references, and a summary of the research in English.

Abstract
The parable is the experience of a nation and the life experiences of a people, describing much of life, with its hopes and pains, and its psychological phenomena of deep dimensions, inundation and roots in the reality of man and society, and the parable is a method of expression stemming from an idea, sentiment and feeling, created by a real experience or a set of experiences, and thus the example becomes a social, psychological and moral manifestation It is a manifestation of human life.
The research meant studying (the parable and its activities in the contemporary Iraqi theatrical text), and the research consisted of four chapters. The first chapter dealt (the methodological framework), including the research problem, which was identified by the following question: What are the working mechanisms of the example in the contemporary Iraqi theatrical text? .
The importance of the research was evident in the following points:
1. The study of the parable and the mechanism of its operation in the contemporary Iraqi theatrical text, is an aspect of communicating the idea to the recipient clearly through the use of the example in the theatrical text, and the accuracy of its use with its elements (variables) and their clarification.
2. It is also an important source for achieving artistic and literary motives in conveying the message to the recipient.
3. The parable is found in public life, which serves as an argument for the recipient, and the importance of this research stems in the study of the parable and its functions in the contemporary theatrical text to reveal the tools of expression used in the parable and to seek to clarify the apparent and the implicit and its intellectual, psychological and aesthetic impact on the recipient.
4. It has great importance in the theatrical texts where this importance came in that the parable makes the topic distinct by using various methods and ideas to influence the recipient.
5. Addressing social issues, as the importance of this research is to deliver messages and ideas more easily and have a more impact on the recipient.
6. This research benefits those concerned with theater inside and outside the faculties and institutes of fine arts, especially in acquainting them with the importance of the example and the mechanisms of its operation in the theatrical text, and making good use of it.
The research aims to know the example and its functions in the contemporary Iraqi theatrical text, and then the objective temporal and spatial limits of research. The spatial boundaries have been defined for research on Iraq, as for the time period that extended from 2010-2017 AD, the topic unified the study of the example and its functions in the contemporary Iraqi theatrical text.
The second chapter dealt with (the theoretical framework), which included two topics. The first topic is about studying the concept of the parable, and the second is about studying the example in the theatrical text.
As for the third chapter, which is (the procedural framework) in which the researcher identified his research community consisting of (16) theatrical texts, the researcher relied on what was referred to in the theoretical framework of indicators for analyzing the research sample, and it is an auxiliary tool for sample analysis, after he came out with a tool to analyze the sample The selected group was presented to a group of experts to make some adjustments to it, for each of the text of the play (Qabeel Returns Again) by Amal Kashif Al-Khat, the text of the play (Countdown to Macbeth) by Ali Abdul Nabi Al-Zaidi, and the text of the play (The Missing Circle of Silence) by Sabah Al-Anbari The chapter also included the research method, validity of the tool, and the stability of the tool and statistical means. The researcher concluded the chapter by analyzing the research sample.
While the fourth chapter contained the findings, conclusions, recommendations and proposals that the researcher had reached, and the most important conclusions of the research were:
1. Symbolic and historical personalities and famous personalities contribute to the formation of an example due to their open contents and multiple possibilities.
2. By using and employing factual stories and events, historical situations and conflicts, examples are formed.
3. Authors' resort to world-famous religious books and plays because of their role in shaping the parable, as it contains multiple messages that can be generalized and made unified and comprehensive.
4. The example is done by using notation. The parable is brief and carries a great meaning and is comprehensive.
5. The example helps the author to express and explain to the reader in a more pleasant, beautiful and influential way.
Key words: parable - text – contemporary

Abstract
The concept of indeterminism represents a form and content in many theatrical texts that embrace the themes of freedom, freedoms and free will which itself represents a problem in its lived reality to be represented by theatrical currents and doctrines in post-drama and after post-drama, so that the individual’s life has the possibility of indeterminism in which he can choose and participate in life with all his effectiveness, the research included four chapters, which includes (the first chapter) the methodological framework of the research problem, which was briefed by the following question: What are the most important features of indeterminism in the Iraqi theatrical text? While the importance of the research and the need for it began by highlighting the concept of indeterminism in the theatrical text, the goal of the research was briefed in: Identifying the concept of indeterminism in the theatrical text. This chapter included (the limits of the research), which were determined by the time period from (2018-2020), spatially limits were the Iraqi theatrical texts, the chapter was ended by specifying the terms then defining them linguistically, terminologically, and procedurally. As for the second chapter (the methodological framework), it included two sections. In the first section, the researcher studied indeterminism cognitively, which included five axes, the first of which included essence and origin, and then philosophically, psychologically, and socially, during which the researcher reviewed the viewpoints of scholars, their opinions, and their theories of indeterminism, which varied according to their scientific and humanitarian specializations. While (the researcher) studied in the second section the study of the use of indeterminism in the international and Arab theatre, especially the Iraqi one, to enable (the researcher) to carefully monitor the manner in which the features of indeterminism were dealt with in the theatrical text (Internationally-Arabic). The researcher then concluded the most important indicators that resulted from the theoretical framework. As for the third chapter, which is (the procedural chapter), the research community was determined, and its sample was chosen intentionally, as for the analysis tool, the indicators that resulted from the theoretical framework were relied upon, and the descriptive (analytical) method was used to analyze the sample models.
The fourth chapter included the results, including:
1- Ammar Nima Jumaa explained indeterminism that defends human freedom, his will, freedom is one of its basic laws, because it makes the man free to take a stance toward circumstances, and not be restricted and subject to the circumstances that surround him.
2- The author also explained probability, one of the laws of indeterminism, to measure the occurrence of accidents and the rate of their recurrence, then the conclusions, recommendations and proposals, so that the research ends with a list of sources and references.
Key words: Indeterminism, theatrical text.

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 the industrial revolution in modern European painting? The importance of research and the need for it, then the goal of the research is to know the representations of the industrial revolution in the products of modern European painting. Then the limits of the research and definition of terminology, while the second chapter included two sections, the first dealing with: the industrial revolution and its repercussions on European society. The second section studied industry and its representations in art throughout history. Then the indicators that the theoretical framework concluded, and the third chapter included the research procedures represented by the research community, the research sample, its tool, and the research methodology, then the analysis of the research sample of (5) examples of the products of modern European painting art in the currents of (Impressionism, Cubism, Futurism, Expressionism, Surrealism). The fourth chapter includes the research results and conclusions, then recommendations and proposals.
Keywords: industrial revolution - modern European painting.

The current research (Digital Art Education Proposed Curriculum) studies the concept of digital art education, as the research aims to build a proposed curriculum for digital art education, explaining the importance of modern techniques for contemporary art education in formulating a new curriculum for digital art education, and the research is located spatially in the colleges of fine arts / Iraq and temporally. In the academic year (2022-2023), objectively, a proposed curriculum for digital art education was built. The second semester studied the concept of digital art education, the concept of the curriculum, and the stages of its construction. The researcher came up with a proposed curriculum for digital art education. She also proposed several proposals and recommended possible recommendations, as well as recording sources and appendices.
key words: Digital art education , Method

Abstract:
Since man found himself in this vast world and its many phenomena، he has been searching for the truth about these phenomena، what they are، and reaching to decipher their codes with the motive of exploration and identification of their nature، and breaking the barriers between the self and the living space، and since man is associated with the place through daily coexistence، he feels suspicious towards him Which prompts him to deal with it with caution، or he may feel the familiarity of the place، so he takes it as his stable.
Communities organize space according to the type of culture، as they are distinguished from one society to another، as they are established according to specific communicative relationships. Language and body movements play an important axis in determining the type of proxima through the process of organizing personal space، and since proxima deals with places through impressions formed through sensation. place، in a sensory way through which the place is perceived، the place may be determined through the formed mental images، thus forming the process of human interaction with the place by evoking the memory places that work to alleviate the state of alienation and the feeling of marginalization، as a result of forced coexistence imposed by specific political or social factors.
Keywords: Proxima، Theatrical text.

Research Summary
In the current research titled (Dialogue and Its Representations in the Contemporary Iraqi Sufi), a person begins to touch upon his dialogical questions, becomes clear about the answers that made him happy with his anxious being, without losing the ability to find the justifications that make him move in a certain direction and not another, and in this way he sees the world that surrounds him through, and on. This foundation begins the dialogical assumption of the plurality of elements.Dialogue has been presented by a critical movement expressing the crises of contemporary man, who, with his absolute individualism in dialogue and his isolation, is in dire need of an explanation in a world full of contradictions and lack of opposition to the world. This makes us see clearly that critical dialogic starting points are closely linked to the lived subjective reality, and the relationship to that independence is complete. For everyone, that is, he finds his own reality by thinking about the present.And their experience as an artistic trend in contemporary Iraqi celebrities, and tracing the paths of the creator in Iraq. This is in researching and investigating the origins, sources and characteristics of dialogue among its great pioneers and their artistic groups, and the extent of its influence on contemporary Iraqi ceramics among successive generations, starting with the generation of pioneers, then the generation of the sixties and seventies, all the way to the current generation in the eighties and the end of the nineties, that is, over the course of half a century of the history of the plastic movement in Iraq. . This includes analyzing the ceramic works of Iraqi potters, private collections, private exhibition halls, sources, photos, and exhibitions.
The researcher identified the problem with the following questions:- The Iraqi decides in general and the plastic arts movement?
While the study aimed, through the above-mentioned research mission, to distinguish between dialogue and its examples in contemporary Sufism in the field of ceramic art due to the necessity of this research and studies in contemporary plastic arts, revealing the plastic arts technology in Iraq, and also revealing the skills and creativity of the contemporary Iraqi plastic artist.As for the limits of the research, they were represented by the spatial borders (Iraq), then the temporal scope of radiation (1998-2017) within the objective borders that preside over the luxurious, luxurious works displayed in Iraq, and elsewhere, which appear (art galleries, public collections, museums, the electronic information network, magazines and newspapers)The content of the second chapter is three sections, the researcher in the first section: a conceptual dialogue, the second section Fate, which relied on the concept of technology and aesthetic transformation, Francisco, the third section, which includes contemporary wireless Internet, while the researcher in the third section touched on conducting the research, and the research community, and the sample of the research in analyzing the results of the research. . The results of the research and its productions were stated in the fourtchapter, the most important of which were: There are Sufi dialogic innovations and their representations in contemporary Iraqi ceramics that are constantly renewed. The nature of dialogism expressed an elaborate system, so the adoption of dialogism as a representation of highlighting the digital identity and revealing its heritage and inherited features and traditions has characterized the artistic products as stemming from The weight of the accumulation of tourism, civilization, and culture has been employed in dialogue with others and others. The Kazakh has employed contemporary dialogue as a means of communication, expression, and desires of society.Therefore, proposals, a list of Arabic and foreign sources, an appendix that includes collections of images of the research community, and a summary in English were required.

Abstract
The research dealt with the issue of the effectiveness of cultural dialogue in the design of interior space by presenting the objective variables of research according to the premises of culture, its types and its inputs in the design of the multiple levels of interior space, including the outer, inner and middle layer. The reasons for the development and cultural change in the interior design were explained based on the human cultural history and how the changes and cultural variables affected the interior design and the nature of the relationship between cultural values and space design. And then the layers of meaning of space design and the relationship of space to place and identity were determined. A number of factors affecting the design of cultural values in the interior space were identified, such as: social and economic factors, the user's relationship with the environment, spatial self-identity, the use of traditional symbols, color and light treatments, and the type of furniture. A number of conclusions were reached, which were an analysis of the nature of the relationship between cultural values and the design of the interior space.
Keywords: Dialogue, civilization, spaces, design, heritage.

Research summary
The research dealt with (the aesthetic values of contemporary Egyptian graffiti art), as graffiti art is considered one of the most important deliberative arts in contemporary formation, which gained great popularity, as the political and social changes had a clear impact on the overall changes that accompanied the methods, trends and themes in contemporary Egyptian art, so graffiti was an art Communication and deliberation is one of them, so this research came with its four chapters, beginning with the introduction of (the research problem), where the problem came from the general framework to the framework of a logical scientific gradation and chronological sequence, then the importance of research and the need for a mechanism, then the temporal limits of research, the limits of spatial research, and the limits of objective research, and then the definition of terms and from Then move on to: Chapter Two (theoretical framework), its indicators and previous studies if the theoretical framework includes three topics. The first topic, philosophical aesthetic values, and the second topic, the political transformations of the art of graphite in Egypt, and the third topic, the political transformations of the art of graphite in Egypt. In selecting models according to intentional random sampling according to several justifications, and by moving to the fourth chapter, the researcher showed results such as

(1)The artist's ideas bore a social and political character, so he produced symbolic forms indicating the suffering of society, while avoiding exaggeration in details.
(2) The political idea that this topic discusses is the impact of art as a tool for opposition in the political field, and how art developed until it reached writing on walls to express anger and protest as a means of documenting events that take place in society.
The researcher also reached several conclusions:
(1) Through what we have discussed in this research, it becomes clear to us that the art of graphite is as old as man and we found it in caves, but in the modern world it expresses a global phenomenon and is present in all countries. , rich or poor, from the United States to the Maghreb, from Europe to Africa, this expansion has made graffiti art open to all destinations, because it serves all parties.
(2) Graffiti art broke barriers and gave artists and practitioners an opportunity for expression and an infinite scope for creativity and the creation of new forms of art, after art was a monopoly of a certain class of society.
Keywords, values, aesthetics, graffiti art

Abstract :
the research was concerned with studying (Daily and Manifestations in the Performances Kinetic of Wroclaw mime Group (Termini Station show " as a sample play ") , and it contained four chapters, the first chapter in which (the methodological framework) dealt with the research problem that was defined by the following question: What's daily? How were his images revealed through the narrative of the Kinetic body in the performances of the Wroclaw mime Group? . The importance of the research and the need for it is that it benefits researchers interested in the field of performance, laboratories, and theatrical workshops in fine arts institutes and colleges, as well as private theater institutions. The aim of the research is to present the concept of the daily and transfer its intellectual and artistic categories into a method of analysis and interpretation through his work in the theater corridor, and to reveal the manifestations of its images through the experience of the theatrical (Wroclaw mime group), and to demonstrate the extent of benefiting from the concept of the daily through the construction of the body text and the form of the performance. Then, the temporal limits of the research were set in the year (2010 AD) and the spatial ones in (Poland), and the topic was defined as (Daily and Manifestations in the Performances Kinetic of Wroclaw mime Group (Termini Station show " as a sample play ") , and the chapter concluded by defining and defining the terms.
The second chapter (theoretical framework) included two sections. The first was concerned with (Daily: An epistemological exploration into the paths of the concept) by studying the concept of the everyday and the mechanisms of its presence through the works of philosophers and critics on it and the overlap with those propositions. The second was concerned with studying (Forming methods the Performances Kinetic of Wroclaw mime Group), and the chapter concluded. With the indicators resulting from the theoretical framework.
The third chapter (the procedural framework) was devoted to defining the research sample. The chapter also included the research methodology and the research tool. The chapter concluded with an analysis of the performance of the play (Termini Station show) by the Wroclaw mime group, which was chosen intentionally.
The fourth chapter discusses the results, including:
1- The images of the everyday appeared through the performer’s body through his summoning of aspects (the banal, the unspoken, and Trans), and presenting them as they are in their nature and with high spontaneity as they are based on the sensual and emotional experience of the body within the space of the everyday in all its forms .
2- (The familiar ’ ordinary) that is filtered through movements, gestures and dances. Acrobatic movements consistent with what is daily, popular, and dedicated to exercise have contributed to the formation of a performance type characterized by (fluidity, speed of expression, and free physical narration).
3- .Investing in the form of performance and the body’s text of everyday practices, which were represented by (walking, reading, watching...) to create an uninitiated performativity space starting from the womb of the everyday surrounding the bodies.

The chapter also included conclusions, recommendations, and proposals, and the research concluded with a list of research references, and then listed the sources and references.
Opening words: daily, performance, Wroclaw, Termini station

Research Summary:
The current research investigates "Exaggeration in Form and its Relationship to Content in Digital Art Graphics." The study examines the concept of exaggeration in art and its connection to content, comprising four chapters. The first chapter outlines the research's methodological framework, addressing the research problem of defining and understanding the relationship between formal exaggeration and content in digital art graphics.
The research's significance lies in its cognitive exploration of methods and trends contributing to formal exaggeration. The chapter also defines the research's objective: to define the concept of formal exaggeration and its connection to content in digital art graphics. The research scope is limited to the study of two-dimensional digital art graphics from the years 2011 to 2013, sourced from personal artist websites and virtual galleries.
The second chapter includes two sections: the first discusses exaggeration in thought and art, while the second explores form and content in drawing. The third chapter focuses on research procedures, encompassing the research population, sample, methodology, research tool, and analysis of sample models. The fourth chapter presents the main research findings and conclusions.
Based on sample analysis and theoretical framework, the researcher arrived at several conclusions, including:
1. Exaggeration in digital art graphics is influenced by aesthetic and stylistic considerations, shaped by the artist's individual creative process and the organizational linking of shapes.
2. Digital drawing relies on the artist's unique vision of artistic composition, incorporating their skill set and the computer's capabilities to support creative freedom.
Key findings also include:
1. Artists endeavor to embody formal exaggeration in alignment with their perspectives, aiming to express concepts that align with their imagination.
2. Formal exaggeration in digital art graphics serves as a virtual expression of societal realities or the artist's imaginative concepts, intended for communication to the recipient.
Keywords: Exaggeration, Form, Formal Exaggeration, Content, Digital Art

Research Summary
The current research included its topic (the process of sculptural formation in the sculptures of Naoum Gabo). The research specialized in studying the concept of the process that the artist Naoam Gabo employed in his sculptures. Represented by the research problem, which ended with the following question: What is the process of sculptural formation in the sculptures of Noam Gabo? And the importance of the research and the need for it, and the aim of the research represented by (to know the process of sculptural formation in the sculptures of Naoum Gabo) and the limits of the research through which the time period to be studied was specified. The first chapter ended with defining the most important terms contained in the title of the research.
The second chapter contains two sections that represent the theoretical framework:
The first topic: becoming a philosophical approach.
The second topic: Becoming and its representations in the sculptures of Noam Gabo.
As well as defining the indicators of the theoretical framework, and addressing the previous studies of the research.
The third chapter dealt with: research procedures, as the research community and the sample taken from it were identified, and the method used in the research was presented, and the research tool, ending with the analysis of the research sample consisting of (3) models. As for the fourth chapter, it included the results and conclusions, recommendations and suggestions, and among the results reached by the researcher:
1-Becoming is a basic concept in the work of the elements of the sculptural achievement and their relationships through the artist’s endeavor to find a continuity between his sculptural works, and this was expressed by productions that take sculptural forms as a basis in employing the elements and making them continuous, as lines, shapes, colors and space appeared as their expression of movement And continuity, as the straight line continues with its endless continuity, which refers the viewer's eye to a continuous movement, while the curved line has created a process through its flexibility that moves towards the infinite, as it appeared in all samples of the sample.
2- The artist deliberately made the surface of the work filled with shapes, lines and colors, and did not leave it empty, but there is a space in which these lines and shapes swim, and thus the process came to be formed through the artist’s employment of the space that moves and continues its movement, as it appeared in the sample (1, 3).
3- The viewer of the sculptural achievement finds himself moving with his gaze to infinity, as this is evident through the artist’s employment of colors and shapes that are distributed within the work with a plastic vision commensurate with the spirit of sensory data, to form a sense of an endless process, through its transmission within the work on the one hand and orientation to the work space On the other hand, as shown in sample (2).
Among the conclusions reached by the researcher:
1- The sculptures of the artist Naoum Gabo are characterized by an endless process that is evident through the formalism of its artistic elements, which move effectively due to its repetition, which indicates the continuity of communication and its flow towards infinity.
2- The sculptural achievement is considered a special existence that interacts with the data of the spatial structure in which it is located, so that this interaction forms a continuous movement with an endless process.
The researcher suggested conducting a study (technical demonstration in the sculptures of Noam Gabo).

Adstract
The current research, titled (Narrative of Visual Discourse in Ahmed Al-Bahrani’s Sculptures), is concerned with studying narrative and its representation in sculptural visual discourse. Hence, the problem of the research came in the form of asking: What is the narrative of visual discourse in Ahmed Al-Bahrani’s sculptures? The sculptor used different materials and used various themes in creating his sculptures. Which embodied the scenes of human life in Iraqi society. He chose topics that have an important place in this society, and narrative is a human phenomenon that has its roots deep in human history. It is suitable material for a person to include in his narratives. The sculptor's imagination became linked to reality as an essential tool in establishing the text, and it benefited to a great extent in all forms of technical and artistic development. All the sculptor had to do was convey what he saw of the events, phenomena, and social issues that he was experiencing in his daily life. The sculptor sought to try to give social appearances their value. And embodying it realistically in sculptural works. Keywords: discourse, narrative, Iraqi sculpture.

Abstract:
The purpose of the study was to evaluate how well middle school pupils responded to an educational theater-based training program designed to instill certain social values in them. The experimental method with a quasi-experimental design was used, and the results of the study demonstrated that there was a statistically significant difference at the significance level (0.01) between the average scores of the students of the two research groups (experimental and control). The study sample consisted of forty male and female middle school students (20 students for the experimental group (10 male students, 10 female students) and (20 students for the control group (10 male students, 10 female students) The social values scale, which includes the dimensions of tolerance, respect, kindness, honesty, and social behavior etiquette, has been found tobenefit the experimental group. Specifically, there is a statistically significant difference between the average scores of the students in the experimental group in the pre- and post-applications of the social values scale, which includes the dimensions of tolerance, respect, kindness, honesty, and social behavior etiquette. In light of this, some research proposals and recommendations have been developed.
Keywords: Educational Treater , Social Values.

Abstract
Summary of the research This research included an extensive study that presented the research in three chapters, which clarified the title of the research that concerns the mythological aspect and its expressions within the mythological structure. The introduction was in which the researcher reviewed the relationship between art and society and the extent to which art was affected by the events and phenomena that accompanied our daily lives, and then The research problem showed what is the inevitable relationship between mythological forms and contemporary ceramic texts at their chronological levels, and then the goal of the research focused on revealing the mythological secrets that led to the integration of the contemporary ceramic text in its apparent form and its deep hiddenness. The importance of the research came in seeking developments and transformations in artistic methods and characteristics. Formalism and ceramics, as well as the possibility of investing in fine artistic production in general and ceramic art in particular.

Research Summary
The current research seeks to study the dramaturgy of the other side depicted in the work crew across successive eras. The research includes four chapters. The first (the general framework of the research) is represented by the research problem and the need for it, and the problem ends with an answer to the following question: How is drama manifested in visual formation? , it became about the importance, need and limits of research The research identified the most important terms included. The second chapter contained two sections, the first on the dramatic image in theater, while the second section included the dramatic image in plastic art. While the third chapter included the research procedures and included the inductive community, fifty works were selected for it, and the research sample was represented by five works, and the method followed was the descriptive analytical method with sample analysis. The fourth chapter included the research results and their discussion .
Keywords: transfiguration - dramaturgy - PLASTIC ART - Renaissance