Journal of Nabo

Abstract :
The researcher studied the manifestations of the concept of simulation, and its representations in the art of classical realism. The importance of the research lies in clarifying the concept of simulation technically and philosophically, and revealing its representations in classical realism. The aim of the research is to know the representations of simulation in the art of classical realism. He studied the realist school in European painting. The research community consisted of (120) paintings of classical realism artists from France and America, determined by the time period (1840-1920). Classical realism is simple simulation with social realism metaphors, and simulation is real and direct and indirect metaphors as The simulation expressed interactive metaphors, and conclusions, the most important of which is that the simple and accurate direct simulation was represented in classical realism through realistic social metaphors, and also a simulation of the non-rigid or expendable substance represented by typical interactive metaphors.
Keywords: simulation, representations, realism.

Research Summary :
Bullying is a form of abuse and harm that is directed by an individual or group towards an individual or group towards an individual or group that is mostly physical. or physical or psychological .
Where the current research focuses on the question of the research problem 0 Bullying and its reflections in the Saudi theatrical text "The Water Watchman play as a model 0 The aim of the research was to study bullying and its reflections in the play The Water Watchman as a model 0 and the limits of the research 2010-2020. The research included three chapters as well as results, recommendations, suggestions and sources, done in the first chapter. Addressing the research problem and the importance, objectives and terminology of the research, while in the second chapter the focus was on the theoretical framework of the research and it consisted of two topics, the first of which focused on bullying in terms of the concept 0, while the second focused on bullying in the global and Arab theater, while in the third chapter the research community and its eye, tool and approach The research, in addition to the analysis of the same research, and the results of the research showed that bullying generates physical assault, such as beating, pushing, stabbing, and deliberate physical abuse, as well as bullying leads to defamation of the person, injustice, cruel treatment and threats. Saudi women as an important subject in the process of bullying, through their exposure to defamation and bargaining over the body or reputation in order to Responds to the purposes of others to try to threaten her and is a masculine healer through bullying .
Keywords: Abbas Ahmed Al-Hayek - bullying – theater

ABSTRACT
Although repetition extends in the language horizontally and vertically, the concept of repetition extends beyond the limits of language, as it was drawn into the human subconscious through his continuous observation of the succession of night and day, the recurrence of seasons, the birth of life again and the rotation of the spheres. Which is reflected in the remaking and organization of life, there is no agreement on a specific definition of repetition, and repetition is an artistic phenomenon known to Arabic poetry since ancient times, used by great poets to express their thoughts and desires. Repetition carries different psychological and emotional connotations, imposed by the nature of the context, and is a means of forming internal music. The phenomenon of repetition is one of the important and exciting phenomena in contemporary Iraqi poetry. Repetition in poetry adds artistic beauty, semantic richness, and rhythmic rhythm. Contributes to creating a harmonious atmosphere that encourages the reader to enjoy the text free from fatigue, boredom and monotony. The first study area, and the research seeks through the analysis of Iraqi theatrical performances to know the intention of repetition in the contemporary Iraqi theatrical performance. In addition to mastering the use of scenography, there are elements in the theatrical performance that are more exciting and claim to draw the attention of the audience, and the makers of the theatrical show must identify and employ them in repetition, despite the fact that pragmatics is a relatively recent term and as a branch of knowledge, its rules have not been fully established and many questions are still being asked about it. Unresolved controversy. Repetition has its presence in the theater in all its forms, and since its appearance as a spiritual ritual in Mesopotamia, Greece and ancient Egypt. In fact, repetition can be embodied in the theater, starting from the simplest vocabulary of theatrical performance, up to the repetition of the general idea of the show, passing through the repetition of dialogue, performing movements and maneuvering with lighting and music, and repetition in the play depends on its character..
Keywords: repetition, intentionality, directing, criticism, Iraqi theater, contemporary

Abstract :
The research was concerned with the study of refusal in Iraqi texts, where the research focused on four chapters. The first chapter included the research problem centered in the following question: What is refusal in the texts of contemporary Iraqi feminist theater? The aim of the research is to identify refusal in contemporary Iraqi feminist theater texts, and the importance of the research and the need for it came Towards the research interest in shedding light on rejection in the texts of contemporary Iraqi feminist playwrights within the limits of the research from 2010-2020. There are customs and traditions in society that affect individuals and their behavior. The second chapter was the theoretical framework and previous studies, which included two sections. The first was entitled conceptual rejection of philosophers, psychologists and sociologists. The second topic was rejection in the Iraqi feminist theatrical text, while the third chapter included procedures The research, where the researcher chose the sample in an intentional way, in line with the topic, problem and objectives of the research. As for the fourth chapter, it included the most important results and conclusions.

Summary
The current research dealt with (the employment of folk rugs with ceramic models inspired by contemporary folk rugs) and the research contained four chapters. The methods of forming ceramics. The second topic focused on the emergence and development of the folk rug industry and the most important previous studies. The third chapter included the research methodology used and the analysis of research samples. The fourth chapter included the research results and their discussion, and then came the conclusions, recommendations and suggestions, then a list of sources and references.

Research Summary :
This research means studying: (The diversity of techniques of painting on trees in contemporary global formation), what distinguishes the stylistic visions of artistsdrawing on treesHe is the exalted one of the attributespHariya The artistic and aesthetic techniques used to express natureAnd theThe psychological impact, loaded with the search for unfamiliar technical modalities, art is produced by any material that falls within the artist's reach. The current research consisted of four chapters, the first chapter dealt with the methodological framework of the research, including the research problem, its importance and the need for it, as the problem focused on the diversity of techniques and their relationship to drawing on trees, their effectiveness and mechanismsShow it andIts work and the materials used to implement modern techniques, technical diversity constitutes a basis in reconfiguring the form of the artwork starting from the idea to its final stages and the extent of the artist’s relationship with his nature and environment affecting him and what are the ways to enhance his art on trees and benefit from the tree trunk and its cracks and the shape it takes, the research problem is summarized in the following question Is there a diversity of techniques for drawing on trees in the plastic arts?Globalcontemporary? As for the limits of the research, they were limited to the study of drawing on trees and the analysis of models of global drawing, and the theoretical framework included two sections, the first topic (ThediversityTechnology in contemporary art), and the second topic (Manifestation mechanisms in artDrawing on trees), and the research procedures included the research community and the available technical models. It resulted from the theoretical framework as criteria in analyzing the research sample. The research dealt with the most important results and conclusions, and the most important results were:
The art forms executed on tree trunks varied, in line with the shape of the trunk or branches, recruitment methods and working mechanisms according to the artist’s style and technique adopted in direct execution.
Conclusions: Painting on trees represents a global artistic experience, as it has spread in all cities, parks, public gardens and forests in the contemporary period.
Keywords: (diversity, techniques, drawing on trees, composition, contemporary).

Research Summary
The current research dealt with (poetics in the pottery works of Mona Al-Gharib). Poetics is a theory of modern literature concerned with the study of literary and artistic genres. It also studies the branches of these terms from simulation and fiction and the relationship of literature to reality. The research included four chapters, the first chapter of which included the methodological framework of the research, which represents the research problem, its importance and the need for it.
The research aims to identify poetics in contemporary Egyptian ceramics through the mechanism of its concepts and data in contemporary Egyptian ceramic works. During the time period between (2010 - 2022), as well as defining the terms that were mentioned in the title.
As for the second chapter, it included the theoretical framework and previous studies, and included two parts, the first part dealt with the genealogy of poetry, while the second part dealt with the visual discourse in contemporary Egyptian ceramics. The second chapter ended with a set of indicators that resulted from the theoretical framework and previous studies .
As for the third chapter, it included the research procedures that included the research community and the research method (descriptive approach) and (2) samples that were deliberately selected and analyzed.
As for the fourth chapter, it included the results of the research in addition to the conclusions, recommendations and suggestions, and the researcher reached a set of results, including them.
(1)The recipient has an active role in reciting poetry in the artistic subjects of contemporary ceramics . (2)The potter derives some of his works from the cultural and historical heritage within the indications of the civil and social correspondence
The researcher reached a number of conclusions, including :
- (1)Transforming the structure of the ceramic text poetically in contemporary Egyptian ceramics with local aesthetic approaches to artistic proposals.
(2)Poetics in the ceramic text is the displacement that occurs in the gaps and filling them with interpretations that cannot be removed from the text space for the recipient.

Research Summary
The current research studies (the aesthetic features of organic forms in contemporary American ceramics), how nature affects the formation of the artist's artistic image, and how to employ it in building the artwork, through how the artist perceives its components. The mental image of these forms and how they are formed in his imagination, including their mental, structural and art features as well as the sensory image of them, the employment of such works of art depends on formulating and giving the organic pattern of natural forms. The artistic image is a conceptual dimension on the one hand, and on the other hand to show the power of nature over the entity of the artwork and to be an integral part and not differ from the real reality, benefiting from the influence of the environment. On the recipient through his sensory construction and pairing it with mental abilities and how to form sensory impressions of the artist.
The research was divided into four chapters, the first chapter included the research problem, its importance and the need for it and the research objective (the aesthetic features of organic forms in contemporary American ceramics) and the chapter included the temporal boundaries during the period (2000-2022). The second chapter is the theoretical framework and previous studies, and it consists of two parts: the first section: beauty and aesthetics, and the second topic is the features of organic forms in art. The chapter ended with the indicators of the theoretical framework and previous studies, and the third chapter included the research procedures, as it included the framework of the research community, which amounted to (153) models, and a sample was extracted from it in the deliberate in-kind method that covered the limits of the research by relying on the descriptive approach to analyze the research sample. It came expressing ideas and contents based on the applications of the aesthetic features of organic forms in contemporary American ceramics, and among the most prominent results reached by the researcher:
1- Contemporary international ceramics employed an expressive and imaginative vision to achieve aesthetic values.
2- Contemporary international potters emphasized the activation of organic forms that express expressive energies mixed with truth and imagination in the structure of ceramic work and the aesthetic expression of ceramic work.
The research also included conclusions based on the results, the most important of which are:
1- The results of the research showed that the aesthetic, expressive and organic values preferred by the potters are their reliance on the multiplicity of colors, due to the ease of reading the organic shapes through them.
2- Contemporary international potters relied on structural elements (color, texture, line, and movement) to present works with a diverse structural thought for ceramic work.

: Research Summary
The research tagged (morphological formulations in contemporary Iraqi art) is concerned with tracing the experiences of contemporary Iraqi painting, and studying them is a morphological study that investigates the formulations that form aesthetic texts. The research came in four chapters: The first chapter (the methodological framework of the research) contained the research problem that centers on monitoring and investigating morphological formulations in contemporary Iraqi art, the importance of research and the need for it, and the research objective in which the morphological formulations in Iraqi art are identified, its limits and definition of its terms. . As for the second chapter (theoretical framework), it included two sections: The first topic dealt with the nature of morphological formulations. The second topic: the visual experience of Iraqi art. As for the third chapter (research procedures), it included the research community and its sample of (3) artworks, and the analysis of the research sample. The fourth chapter contains the results and conclusions. Among the most important findings of the research: The structure of the visual discourse of contemporary Iraqi painting is morphologically based on dedicating artistic performances, methods of painting and modernist formation and beyond in most of its artistic texts. The artist (Diaa Hassan) emphasizes the engineering and architectural structures and the way they are installed, which is reflected in its visual forms and the suggestions it evokes. His abstractions and reductions of (organic) forms seem to be composed of geometrically and with a design tendency, consistent with the nature of the formation of artistic decorations. The artist (Makki Omran) presents his visual vision through an aesthetic formation based on occupying the visual space with forms and artistic signs that he borrows features from various worlds to fuse with his own crucible. The human formations and their formation gather on the pictorial surface according to the aesthetic and semantic premise intended by the artist. Likewise, the artist (Fakher Muhammad) intended a visual formation that took the fields of acting and work in equal parts to build his artistic work, so that he built his building on a fragmentary visual installation; The upper part of the work is a formal unit that forms the focus of attention and formation, and the lower part is occupied with shapes and multi-colored natural signs and lines, which represent the ground for the work. Among the most important conclusions: The visual experience of contemporary Iraqi painting has benefited from the discourse of formation and the nature of Western visual representation according to the cross-fertilization of knowledge and aesthetics and the investment of its artistic data. The artists of the research sample confirmed, through their artistic texts, the optimal performance method that suits their themes and the ideas they wish to convey to the recipient. The search ended with a list of sources.
Keywords: (morphological formulations, visual text, Iraqi art, contemporary)

Abstract
The tagged research means (the aesthetic of decorative mineral diversity in Persian art), as it is a scientific effort to reveal the aesthetic of decorative diversity in Persian art through the selected artistic output from the Achaemenid and Sassanid Persian period. To know the Persian ornaments through the following question: What is the aesthetic diversity of metallic ornamental in Persian art? The aim of the research is to know the aesthetics of the decorative metal diversity in Persian art. The research shows its importance. The topic of the research is unique. It deals with the current period of Persian civilization and reveals the aspect of metal utensils and the need for it to inform our local and Arab libraries of what it means in Persian arts and its aesthetics. The second chapter also studied the first topic: the entrance to the aesthetic of Persian thought and Greek thought. For the second topic, it included decoration and its types and foundations. The third topic studied the emergence and development of Persian art of metal utensils. Four works of inflatable metal utensils , and the research ended with a set of final results: the superior Persian ornamental engineering in the transmission of geometry, vegetation, humanism, and sima, and that the ancient Persian civilization was not in all its parts the same and of one character, it found differences that distinguished the Achaemenid civilization from the Sassanid civilization, with a system that determined He determined the character of each of them, for the first time and the most important of them directly, and that the aesthetics of the formations were influenced by the environment, the religion of those that were present on the body of the silverware, and that the decorative diversity of Persian art was revealed by the reality and ceremony of the social system.

Research Summary:
The current research included, according to the title (the dialectic of demolition and construction and its representations in Ali Reda theatrical performances), to be a subject for research. The chapter included the importance of research and the need for it. The importance of the current research comes in that it sheds light on the work on the two terms of demolition and construction within the work of contemporary directors' presentations, And identifying those concepts and applying those concepts of demolition and construction by the modern director (Ali Rida), who formed a phenomenon in the Iraqi theater, as well as trying to stand on his most prominent artistic stations and directing experiences by identifying his performances that contributed to the crystallization of a new concept, which is demolition and construction through His dealings with text and presentation, as for the need for it, is that it benefits all scholars and researchers in the theatrical field, in addition to that it benefits those concerned with theatrical arts to develop their directing vision, as well as the goal of the research focused on (recognizing the dialectic of demolition and construction and its representations in Ali Reda’s theatrical performances) and the temporal limits of research. 2005-2019), spatial (Iraq) and objectivity, revealing the demolition and construction dialectic and its representations in Ali Reda’s theatrical performances, and defining the terms contained therein , while the second chapter was devoted to (theoretical framework) with three sections, the first topic included: (the dialectic of demolition and construction, the concept and the term) and the researcher dealt with the theories of philosophers and their differences by putting forward these two concepts of demolition and construction. In the third topic, which is tagged (the director’s intellectual and artistic references), and then the investigations resulted in indicators from the theoretical framework. As for the third chapter, it included (research procedures) and the research community included (12) theatrical performances. Then the research sample came and the selection of (indigestion) was intentionally adopted. The researcher in her research tool on the indicators that came out of the theoretical framework, and the researcher concluded with the fourth chapter, which included the research results, conclusions, recommendations and suggestions.

Abstract
For centuries,rituals constituted a milestone in the lives of people at the time, as “all rituals are essentially dramatic rituals, because they pull between parts of a scene, something seen and heard by a living audience, and from here we should meditate on (the divine sacrifice)* or the coronation or The official burial ceremonies. Accordingly, one can look at the rituals as dramatic actions and theatrical events, as one can consider the drama as one of the rituals. The dramatic aspect of the rituals is revealed in the indissoluble reality of simulation in this aspect.” (The ancients were more open to the divine, In it he laid out his own views on creation, cause, end, and destiny, as well as his resulting myths and religious rituals. These rituals allow man to reveal to himself his true destiny as an integral part of the world. This means that religious rituals not only reveal the structure of truth or existence in one of the dimensions, but also give meaning to human existence. Thus, the myth appears in its initial form as a religious response related to rituals and rituals, and thus the study of this research came to reveal the features of performance based on instinct in the performances of the theater of condolences. Research objectives and limits A procedural definition of some terms has been allocated
In the second chapter, the researcher tried to build a theoretical framework from one topic that included the study of condolences and approaches to performance in the East. General, referring to the general concept of teleology and the most prominent international directors who dealt with the actor according to this concept. While the second axis in this topic dealt with the finality in the performance of the Al-Taziah theater actor, this axis resulted in several features, the most prominent of which was showing a religious intention through which the actor wants to draw closer to God and his religious belief. in its surroundings and regional community. While in the third topic, the researcher touched on the study of resemblance and its approaches to the performances of the theater of condolence. and methods. Then, at the end of the second chapter, the researcher extracted the indicators that resulted from the theoretical framework. In the third chapter, the researcher conducted his research procedures, where he identified the community, the sample, and the research tool, according to what is commensurate with the nature of the research, as well as what the researcher was able to reach from the observations and visual sources. And meetings and interviews, and then he analyzed his research sample. As for the fourth chapter, the researcher extracted the results and conclusions
Keywords: (rituals, innate performance, consolation)

- Research Summary:
The current research dealt with the topic (Attributes of abstraction in Ali Jabbar's sculptural works), as sculpture is no longer a simulation of reality, but rather has become abstract and diverse, i.e. the so-called (non-diagnostic), that is, the form was abstracted and departed from the familiar image. Accordingly, the research contained four chapters. The first chapter dealt with the research problem, which was determined by the following question: What are the characteristics of abstraction in Ali Jabbar's sculptural works? It contained the importance and need for research, and the research objective represented by (recognizing the features of abstraction in Ali Jabbar's sculptural works), and identifying the most important terms contained therein. As for the second, it included a study: First; the concept of abstraction. Second: Abstraction in Contemporary Iraqi Sculpture. Third: Abstraction in the works of Ali Jabbar. As for the third chapter: it included the research procedures, and the selection of samples from the sample, which amounted to (3) models, by adopting the descriptive approach. The fourth chapter included; results and conclusions, as well as recommendations and suggestions.
Among the most important search results;
1.The artist adopted the ideal philosophical thought in employing forms and formulating them in an abstract geometric style. As in all sample models.
2. The artist was inspired by the cultural heritage and formulated in a new and unique style in the visual forms, achieving leadership, uniqueness and originality in creating these abstract structures.
Among the most important conclusions;
1.Contemporary Iraqi sculptural works included the representation of abstract meanings as far as they were related to thought, religious beliefs and civilized thought in ancient Iraq.
- Keywords: (abstraction, sculpture, Iraqi formation, Ali Jabbar).

Summary:
This study, tagged (Features of Metamorphosis in Gustav Klimt's drawings), is concerned with investigating and searching for retouching features in the works of this artist and studying them through methodological frameworks and following procedural means that depend on philosophical and aesthetic approaches. This study consists of four chapters:
The first chapter (the methodological framework of the research): Firstly: the research problem, which raises the following question: What are the features of retouching in Gustav Klimt's drawings? Second: the importance of research and the need for it. Third: The aim of the research: To know the features of retouching in Gustav Klimt's drawings. Fourth: The limits of the research, which were limited to the study of artworks by Gustav Klimt in Vienna from the year (1898-1908), Fifth: Defining and defining the search terms.
Chapter Two (Theoretical Framework and Previous Studies): This chapter includes two topics: The first topic deals with the features of retouching in artistic painting. The second topic deals with the artistic characteristics in the work of Gustav Klimt. After that, the most important indicators produced by the theoretical framework and previous studies were reviewed. The third chapter dealt with (research procedures): the research community (30) and its sample of (3) artworks, the research method, and the research tool, as well as the analysis of the research sample models.
As for the fourth chapter, it includes the results of the research, conclusions, recommendations and suggestions. Among the most important findings of the research:
1. The aesthetic stylistic characteristics are subject to the creative imagination that depends on the abstraction of plant, geometric and animal motifs, as well as the use of colors that carry bold, sharp and glowing contrasts to become like sublimation by emphasizing the artist’s subjectivity to stem from the interiors of subjective reality, as in model (1,2 ,3).
2. The artist presented a mixture of allegorical and realistic themes, which gave the work a special harmony for the art of patina and mosaic, as in the model (1,2,3).
The research reached a set of conclusions, including:
1. The term embellishment features allowed freedom of interpretation away from the necessities of concrete reality.
2. The artist based his practical applications of stylization on the art of decoration, including its units and forms, on the theory of the golden ratio of geometric shapes.
The search ended with proven sources, references, and appendices.

Abstract
This research discusses studying (the dystopia of war and its representations in the drawings of Muhammad Mehr Al-Din), and it consists of:
Four chapters, the first chapter is devoted to explaining the research problem and the need for it, its aim and limits.
Define the most important terms used in it
The second chapter included two topics about me, the first in (dystopia between term and interpretation) with regard to what I mean
The second topic (representations of dystopia in contemporary Iraqi painting) also included a presentation of indicators
Theoretical framework As for the third chapter, which included the research procedures in terms of limiting the research community,
The descriptive approach and the method of content analysis were adopted to help in analyzing the samples of the research sample
Which numbered three models, while the fourth chapter deals with the results and conclusions of the research as well as the
Recommendations and suggestions, and finally, research sources and supplements

Abstract
The current research deals with the possibility of reproducing the figurative symbols in the role of Samarra into contemporary ceramic models, as these symbols were considered one of the first institutions in achieving the semantic meaning of things, and those graphic symbols have taken a large space in the process of collective communication between individuals and also to determine the meaning of the various sensibilities of the life reality of man and contained The current research consists of four chapters, including the first chapter of (the methodological framework), which reviews the research problem, which was determined by the following question: Can the Samurai figurative symbols from the Mesopotamian heritage be referred to contemporary ceramic models? The research also dealt with the importance of the research and the need for it, and the aim of the research was to identify the figurative symbols in the role of Samarra from the Mesopotamian heritage and the possibility of referring them to contemporary ceramic models. The limits of the research were limited to the completion of re-produced ceramic works from the historical period (the Neolithic Age - the role of Samarra) (5500-4800) BC and the inclusion of spatial boundaries (Babylon - Iraq). The graphic origins and the concept, and the second topic dealt with the Mesopotamian symbols from (the role of Samarra), and the third topic dealt with (the figurative symbols in contemporary Iraqi ceramics), and through these sections, the researcher extracted the indicators of the theoretical framework and devoted the third chapter, which included the research procedures, and (5) was implemented Ceramic works by the researcher. The researcher adopted the (experimental) method in analyzing the samples. The fourth chapter contains the research results, the most important of which are:
1- Of all the samples (5), the ceramic models were made with sculptural treatments of the graphic symbols drawn inside the pottery pots in the Mesopotamian civilizational heritage, from the role of (Samarra) while preserving the spirit of the graphic symbol from the design aspects and constructive dialogue to stereoscopic and sculptural blocks.
2- The researcher performed the treatments to produce the shapes of the graphic symbols (human, geometric, animal and cosmic) and referred them to sculptural models of the drawn graphic symbol.

Abstract:
This research is concerned with studying (representations of the Mesopotamian heritage in the works of the sculptor Amer Khalil) and includes four chapters. The first chapter is devoted to clarifying (the research problem - the importance of broadcasting and the need for it - the research objective - identifying and defining interests) and the research problem has been summarized in answering the following question: ( What are the representations of the Mesopotamian heritage in the works of the sculptor Amer Khalil?
The researcher found that there is a necessary need for this study, represented in the fact that the subject has not been studied in this detailed manner, and for the availability of scientific material that meets the needs of Iraqi libraries.
The research has a comprehensive goal, which is to identify the representations of the Mesopotamian heritage in the works of the sculptor Amer Khalil, in terms of the limits of the research, it was determined by studying the representations of the Mesopotamian heritage in the works of the sculptor Amer Khalil, executed on the sculptural works of the artist Amer Khalil, for Nafrah from 1984 AD to the year 2020 AD, and the second chapter included On the theoretical framework and it has two sections, the first topic is the ancient Iraqi sculpture, while the second topic is the first section is the inheritance in contemporary Iraqi sculpture and the second section is the sculptor Amer Khalil, the reference and the foundation. The amount of (85) and the research sample, which amounted to (4) models in order to achieve the goal of basil in an intentional way, then the research approach, and the analysis of the sample). The fourth chapter included the results of the research, conclusions, recommendations and suggestions. Among the results reached by the researcher are:
1. The features of the faces, their human forms, were characterized by the expression of the sadness that followed, and this was what appeared in the shapes and colors of the faces and their expressive features.
2. The stone was adopted to highlight the contradictions of humanity, as well as the formal contrast in texture and form, through which he created a balancing of an answer to a contradiction in a single work.
3. The sculptor (Amer Khalil) relied on the inspiration of the vocabulary of the ancient Iraqi folklore as a compressive effect in establishing his works
Among the conclusions:
1. (Amer Khalil) presents some unique ideas stemming from special artistic visions, such as getting close to the characters of his works or creating a form of confrontation between the characters of his works, which represents a special expressive tendency through which he aspires to express uniqueness and creative privacy.
2. The artist (Amer Khalil) added some aspects and psychological dimensions that bear the representations of the Mesopotamian heritage in the works and that constitute the contents of his artistic works, and in some of them the features of flatness are also dominated by the limits of the two dimensions only.
Keywords: (representations + inheritance + al-Rafidini + Amer Khalil)

The abstract
This research is concerned with the study of visual formation in Hassan Abboud's drawings. Thus, the research headed towards investigating the experience of the artist, Hassan Abboud, and for its importance. This research was called visual formation in Hassan Abboud's drawings. The subject of the research is the following question: (What is the visual formation in Hassan Aboud’s drawings) and how to embody it visually in his artistic experience? The importance of this study also lies in expanding the scientific and cognitive circle for the Iraqi artistic achievement and to fill the knowledge gap in the art libraries. and photographers, and published in the World Wide Web of World Wide Web Communications, and art museums, and defining the terms related to the topic. As for the second chapter, the theoretical framework. The first topic includes: visual formation in contemporary Iraqi painting. The second topic: the artistic style of the painter Hassan Abboud, and what resulted from the theoretical framework. The third chapter will be devoted to research procedures. The research community provided the technical models available to the researcher. Three models were chosen for the research sample, as the researcher followed the descriptive approach in analyzing the samples. The fourth chapter consists of results and conclusions, and this research concludes with the importance of references, sources and summary in English.
key words: Formation, visual, embodiment, experiences

Abstract:
The importance of the current research came that it studies the phenomenon of cynicism embodied in the sculptural works that befell post-modern societies, by investigating and searching for the reasons of the existence or non-existence of this case in a manner with a scientific method, so we see it in the works of this era, in order to achieve a goal, which is to identify On the works that contain sarcasm in postmodern sculpting, and from this goal a problem arose. What is the phenomenon of cynicism in postmodern sculpting? And all this will be evident through the study of the sculptural works for this period from (1945-2020) and the research problem has been summarized in answering the following question: What is the phenomenon of cynicism in postmodern sculpture?
As the second chapter has two sections: the first is the concept and philosophy of sarcasm, while the second topic is sarcasm in postmodern art, and the third chapter is concerned with the research procedures that include the research sample that reached (5) samples in order to achieve the goal of the research in an intentional way.
Keywords: (sarcasm + sarcasm phenomenon + postmodern sculpture)

Research Summary

This research aims to highlight the aesthetic features of the use of masks in ancient civilizations, as its importance lies in identifying the meaning of the mask through its passage on the history of the concept of the mask, its philosophical root, and the products of artists in the ancient civilization. On the research problem that the researcher showed in the summary of his question, what are the aesthetic features of using masks in ancient civilizations? The researcher identified a time period represented by the arts of civilizations (5th century BC-1925 AD) within the spatial boundaries of (Iraqi civilization - Egyptian civilization - Greek civilization), which showed the objective limits represented by artworks in civilizations, and the terms contained in the text of the research were identified, the linguistic and philosophical context And the technical and procedural, while the second chapter included a theoretical framework, it contained two sections, the first topic: (the philosophical root of the mask), while the second topic (masks in ancient civilizations), was divided into three axes 1- The mask in the ancient Iraqi civilization 2- The mask of civilization in ancient Egyptian 3- The mask of civilization in ancient Greek, and the second chapter ended with the results of the theoretical framework of indicators, while the third chapter included the research procedures and included the method used in the research, as the descriptive research was adopted. The researcher chose (3) artworks from different civilizations to serve The aim of the research is from the research community, where this was an intentional choic.
Then the researcher touched in the chapter to review the results and
1- The idea of the mask was shaped in art history. The idea of employing the mask came because of its magical, aesthetic and expressive dimensions, and it has the ability to hide the entire face or part of the face and transform from one character to another and to show a new identity that the artists took in their subjects to express thoughts and emotions, and self-expression. Existing within the human / artist within the processes expressed by the human through this mask.
2- The artist emphasized the clarification of the idea of the mask through the mixing of texts, and this mixing between the animal/human races that the artist worked on from memory and evoking ideas for these vocabulary and provoke the recipient about the concept of the mask and its work in social life and its employment and mixing its formal structures of the mask and employed in its gains The mythology that this idea took from the Iraqi civilization as a magical presence that underwent treatments about ideas and imaginations through this human face and animal body using this mask and its body through its traditional meanings and acquiring these historical connotations due to the formative overlap of the shape of the mask

Abstract
The importance of the research came in that it lays the foundations for a phenomenon that draws attention in the field of modern and contemporary art, as it requires revealing its characteristics and reasons first, and its aesthetic work in the artistic achievement of abstract art secondly, by investigating and researching it academically, in order to take note of its artistic features and conceptual references, and its intellectual implications and foundations. and aesthetics, as the current research goal sought to (identify the aesthetics of the abstract form and its representations between modernity and contemporary), and the emergence of the problem of the current research in an attempt to find out: (what is the aesthetic of the abstract form and its representations between modernity and contemporary) through the artistic achievements of the period (1872-1996) to study artworks From painting and sculpture in the United States and Europe, as for the theoretical framework, it included three sections, the first (conceptual references to abstraction), the second (features of abstraction in modern plastic art) and the third (postmodern art, foundations and premises), and the research ended with a number of conclusions, the most important of which were: The nature of The artistic productions in the level of abstraction of the form were characterized by a shift from simplicity and reduction to the level of abstraction in the postmodern arts, and the research resulted in the most important recommendations, including: - Openness through the laboratory. He died and pictures of live and direct works in an abstract form via the Internet.

Abstract
This research deals with the formation of ceramic models inspired by the designs of Assyrian weapons. The first chapter included the general framework of the research, which included the research problem, which was represented by a question: the formation of ceramic models inspired by the designs of Assyrian weapons?
The importance of the research also lies in 1- The importance of the research lies in shedding light on the formation of ceramic models inspired by the designs of the Assyrian weapons and showing its aesthetic dimensions according to the aesthetic, cultural and intellectual criteria. 2- It benefits specialists and workers in the field of ceramics, especially students of primary and higher studies.
As for the objectives of this study, they were to know the formation of ceramic models inspired by the designs of Assyrian weapons. While the study dealt with the temporal limits for the implementation of ceramic models from 2021 to 2022, And spatial boundaries, University of Babylon, College of Fine Arts. As for the objective boundaries, the current research is limited to the formation of ceramic models inspired by the designs of Assyrian weapons, as the researcher defined the terms in light of the nature of the current research.
As for the second chapter, it included two sections: the first topic was the Assyrian art, and the second topic included the designs of Assyrian war equipment. From those sections, the researcher extracted his indicators about the theoretical framework represented by this chapter, while the third chapter contained research procedures and samples analysis.
The fourth chapter, which included the results and conclusions, is one of the most important results that he reached through his research, which is:
1. The ceramic model was formed, inspired by the designs of the Assyrian weapons, according to the researcher's design vision.

The most important conclusions
1. One of the most important properties of ceramic clay is that it gives space for formation. It enables the potter to create worlds specific to the potter by employing, borrowing and renewing, and this is evident in the research achievement of forming ceramic models inspired by the designs of Assyrian weapons.

Abstract
The current research is concerned with (studying the local tendency and its representations in the drawings of (Fadhel Toama), as the study dealt with the definition of the concept of tendency in art and how it appeared in Europe in the late nineteenth century and was advocated by a class of intellectuals. And practice, and evaluation, artistic trends and tendencies are in themselves the result of research and discovery. The tendency in art emerged as a result of objective circumstances that the artist touched with his sensitive sense and his emotions towards those conditions, which made its reflection on the human in all activities and events, including the arts, and this was done based on artistic references, books and their role. In defining the concept of tendency and its impact on art in general and the art of Iraqi painting (in particular), and the artistic productions of Karbala artists, including (Fadhel Toama).
The research consisted of four chapters. The first chapter was devoted to explaining the research problem, its importance, the need for it and its objective, in addition to its objective limits, which were determined by (the local tendency and its representations in the drawings of Fadhel Toama), the temporal for the completed drawings from (2000-2020 AD), the spatial (Iraq - Karbala) and the definition of terms. contained in it, where the research problem dealt with the topic of the local tendency of man, who was often affected by his environment and localities, and since the beginning of creation; As the artist dealt with nature and reformulated it to give it his intellectual and aesthetic concepts, and that was the connection with the earth and the sky and through the materials available to him, and with myths and religious teachings, as he dealt with what is above nature, appealing to immortality and survival.
And over the ages and the developments that took place on the Iraqi environment, which was and still is a source of inspiration for many artists, which made the continuous artistic communication pursued by the Iraqi painter, despite the successive and continuous events that passed through Iraq, made him a creative creator that has perpetuated and developed his artistic approach, and established the adoption of The roots of the environment and its extensions are a founding factor for his creative and creative thought in the production of his artworks, and Karbala is one of the most important Iraqi cities that has proven its creative ranges through the plastic movement in it, while the second chapter is organized on the theoretical framework and on three sections.
While the second topic studied (the impact of local tendency in the Iraqi formation), while the third topic was entitled (the local heritage and its work in the works of Fadhel Toama), and the third chapter was concerned with the research procedures, where the research community included the available technical models and three models were chosen for the research sample and were followed The descriptive approach in business analysis. In the research tool, the researchers relied on the indicators of the theoretical framework in analyzing the sample, and then the fourth chapter reviews the results, conclusions, recommendations and suggestions

Research Summary
This research is concerned with the study of (feminist criticism and its representations in the productions of contemporary American feminist graphic art). Feminist Criticism in the Contemporary American Feminist Graphic Products? The importance of the current research and the need for it was evident because it presents the most important proposals and ideas of contemporary feminist criticism. The research presents the products of American feminist graphic art and the most important female graphic artists.
The study also aims to reveal the representations of feminist criticism in the productions of contemporary American feminist graphic art, and then review the most important terms mentioned in the title and define them procedurally.
As for the second chapter, it included two sections, the first topic concerned the emergence and development of the concepts of feminist criticism, while the second section dealt with contemporary American feminist graphic, and the third chapter was reflected in the research procedures and then analyzed the samples of the five samples, while the fourth chapter was devoted to presenting the results Research, conclusions, recommendations and proposals.
The most important findings of the research
1. Feminist criticism emphasizes that women achieve their human identity by confirming the privacy of their thoughts and attitudes among others, so any individual must embrace a specific view of himself, the world, and others in order to work, live, and communicate, as in Model (2, 3, and 4).
2. The feminist artwork reveals the hidden aspects of the woman and the rest of the women. Therefore, the artist must declare her thoughts and inner feelings without falsehood, so that others understand the distinctive nature of the existence she represents. As in form (1, 2, 3, 4).
3. Feminist criticism fights the positions of visible or invisible authority that besiege women, their aspirations, and their ability to express themselves, which is reflected in portraying female bodies and faces in positions that suggest loneliness, isolation, refraction, and submission to authority. (1, 2, 3).
And then the most important conclusions reached by the research
Feminist thought represents a hidden motive in the psyche and feelings of female artists before they turn into artistic ideas formulated in forms and compositions that explore the role of sensory perception, especially the act of vision, in provoking feelings of rejection and rebellion in the mind of the recipient.
1. Most of the artists work on silkscreen printing because it suits the nature of their subjects and the ability to accurately copy the shapes through the optical sensing mechanisms of the photographic image that the artists choose to be the focus of their printing work.
2. The reflections of the concepts of criticism in widespread feminist print art achieve the required displacement towards knowing the value and status of women equal to men and their ability to create, protest, reject and spread the culture of difference between races or races.
Keywords: representations, feminist criticism, art, graphic, American, contemporary

Abstract
Movement is considered one of the aesthetic and applied foundations in the visual arts in general because it is considered one of the factors of tension and attraction. Artists in art schools were keen to record a sense of movement on a continuous basis in order to give the work an appearance full of vitality and permanent movement by harnessing color, light and color gradations and occupying the painting space with objects, shapes, and straight and diagonal lines. He presented the characters of the illustrated scene with various curves, adding the kinetic aspect of the painting to the currents of contemporary art, which took upon themselves the employment of the movement of lines, ripples of colors, and bends of blocks and shapes to make the artwork more mobile. An image that would arouse pleasure and surprise for the recipient. The current research, according to the title, included four chapters. The first chapter included the research problem, its importance and the need for it, as well as the goal of the research, its temporal and spatial limits, and the definition of the terms contained therein, while the second chapter was devoted to two chapters that included the first topic ( The aesthetic values of movement in contemporary arts (while the second research included) movement The third chapter deals with the study of (the movement and its technical characteristics in contemporary arts), and then the investigations resulted in indicators from the theoretical framework, while the third chapter included (research procedures). It included (the research community, the research sample, the research method, and the analysis of samples), while the fourth chapter included (research results, conclusions, recommendations, and suggestions). Where the contemporary artist was only able to move forward to search for new and diverse experiences and narrations to introduce the fun factor in the movement of the elements of the artwork, where the aesthetic movement was represented in contemporary currents through the artist’s focus on spiritual and emotional values and that the artist was freed from the restrictions of recording visual impressions, as it showed its refusal to represent The objective facts of nature in order to release all the creative energies of the artist. One of the most important results reached by the researcher is the multiplicity of the nature of the construction of the technical work in the work of the research sample, which led to it being given a technical character that adopted the fit of the form with the material implemented in the completion of the technical work. The aesthetic of the movement was represented by the movement of color, color gradation, movement of texture, line and shape.

Abstract
The art of puppet formation is one of the ancient Chinese arts, dating back to the (Zhou) Dynasty, as the first chapter included the research problem and its importance and then defining the temporal and spatial limits in China, material and objectivity, which dealt with the study of the aesthetics of puppetry in Chinese folklore, and then ended The chapter in terms of research, and the second chapter dealt with the aesthetic of Chinese aesthetic thought, and what folklore is, puppetry and popular culture, and ended with indicators of the theoretical framework, while the third chapter included the research community, which amounted to (15) and a sample of (3) artworks that were selected in a photo. intentional according to several well-studied justifications, and ended with the analysis of the sample. As for the fourth chapter, it contained the results of the research that included the following points:
1- Chinese folk dolls were made with exaggerated shapes and colors, characterized by simplicity, accuracy and many decorations, suitable for decorating homes in addition to their role in the theater.
2- Chinese folk dolls embodied historical themes and stories, legends and myths, and they espoused human life and lived with his beliefs for a long time, so they were associated with divination, astrology and human imagination to reach integration.
A number of conclusions were reached, including:
1- The abundance of materials and raw materials in the environment such as mud, wheat straw, bamboo, palm fronds, old pieces of cloth and others helped creativity and ease of work.
2- The puppet art expresses the civilizational symbols and the deep culture of the Chinese people, as it formed a special artistic language through its heritage, history, social and intellectual outcome.
Keywords: aesthetics, bridal dolls, folklore

Abstract
The current research dealt with representations of Gestalt principles in the visual text of Islamic schools of photography (Persian and Turkish school as a model), which is an attempt to reveal the extent of representations of Gestalt principles in the Persian and Turkish schools The research included four chapters, the first chapter dealt with the methodological framework, starting with the research problem and passing through the aim of the research and its limits and defining its terms, while the second chapter represented the theoretical framework of the research, which contained three sections, within the first topic the Gestalt visual perceptual process, the second topic focused on organizational factors for the Gestalt cognitive process, and the third topic included the schools of Islamic photography (Persian and Turkish. The third chapter included the research procedures in terms of limiting the research community and the tool that included gathering information, and to achieve the purpose of the research and to reach results the researcher was able to take several masseurs to put together a good number of visual texts which reached to (172) visual texts, (110) visual texts for the Persian School of Islamic Painting and (6 2) visual texts for the Turkish School of Islamic Photography. After in-depth investigation and reconnaissance, the researcher excluded (24) visual texts from the current research total, (8) visual texts for the Persian school and (16) visual texts for the Turkish school.
The researcher considered the number of the remaining visual texts of the total of the entire research as a sample for this research, (92) visual texts of the Persian school, (38) visual texts of the Turkish school, a total of (130) visual texts, the researcher adopted the descriptive approach (content analysis study) for the purpose of analyzing the research sample.
Finally, the fourth chapter included the results and conclusions that resulted in matching its objective, and its connection with the theoretical framework data.
Keywords: Gestalt visual perception, Gestalt principles, Islamic photography schools

Abstract
The current research was concerned with a study (representations of mental disorders in post-impressionism drawings), which included four chapters, the first chapter dealt with the research problem, since art is a human product, it is always affected by intellectual, psychological and social currents, so that artistic productions are not just relationships of artistic elements, but rather The artist is full of human suffering and psychological disorders, which he projects on his work through art, He turns his repressed psychological burden into something that is easy to digest and absorb, and because these disorders affect the human self and its psychological and social compatibility, so the research problem has been identified by the following question (What are the representations of mental disorders in post-impressionism drawings?), This chapter also includes the importance of The research, the need for it, its goal and limits, and the definition of the terms contained therein. As for the second chapter, it included two sections about me, the first studying mental disorders, and the second topic dealing with post-impressionism drawings.
The second chapter ended with indicators
As for the third chapter, it included the research procedures represented by the research community, which amounted to (30) artworks, and the research sample, which amounted to (3) artworks in an intentional manner, then the research methodology, and the third chapter ended with the analysis of the research sample, while the fourth chapter was concerned with the results and conclusions of the research, including:
1- The artists were able to make the shapes used in the artwork embody their psychological projections, which were characterized by their mysterious nature that suggests frustration and extreme sadness.
2- The European artist was able to embody human suffering and its subjective and objective struggles to express the dark side of his chaotic and isolationist life in the marginal corners of society.
The search ended with sources and appendices
Keywords (representations, psychological disorder, post-impressionism drawings)

Research Summary
The current research dealt with "Cultural Pressure in Contemporary American Ceramics", where cultural pressure in philosophical and aesthetic thought and its role in postmodern arts and the accompanying development of the conditions and crises of the capitalist industrial society were studied. As well as the growing sense of the role of the potter in creating artistic and aesthetic sculptural work, and how he contributed to replacing the artistic and aesthetic vision of American ceramic art, through its openness to the neighboring artistic genres.
The study is summarized in four chapters, the first chapter is the methodological framework and includes the research problem, the importance of the research and the research objective, which was summarized to identify the cultural pressures in contemporary American ceramics As for the limits of the research, they can be summarized by the objective limits and the spatial and temporal limits between the period from (2014 - 2022) and then defining and defining the terms contained therein.
As for the second chapter (the theoretical framework), it contained two parts, the first dealt with the concept of social culture pressures, while the second topic included (contemporary American ceramics), and the second chapter ended with an explanation. The most important indicators that resulted from the theoretical framework and previous studies, while the third chapter included (research procedures), which included each of the research community (descriptive approach) and presented (3) a model that was deliberately selected and analyzed.
1- The ceramic figure is a modern building type that invests in design relations to produce values based on creativity that characterized all samples of the sample.
2- Technical experience in the production of sculptural work in terms of the foundations of composition and design based on the foundations of design in the stage of forming the idea, so to speak.

Research Summary

The research includes four chapters The first chapter (the methodological framework of the research) includes the research problem centered in the following question: What is the aesthetic manifestation of the costume and its representations in the contemporary Iraqi theatrical performance? Theatrical performance and deals with the relationship between representations of aesthetic appearance and between costumes, and the need for it lies in the fact that it benefits institutes and colleges in the fine arts, as well as directors and designers for performances in Iraq and outside Iraq, and it benefits researchers and scholars in the field of designing theatrical costumes as well as other performance costumes, as for the purpose of the research And the need for it is (you know the aesthetic appearance of the costume and its representations in the contemporary Iraqi theatrical performance). As for the research limits, the temporal limits were 2022. The spatial limits were the University of Babylon / College of Fine Arts. Finally, define the terms.
As for the second chapter (theoretical framework), it includes two sections. The first topic talks about aesthetic presentation in theatrical presentation techniques, while the second topic talks about aesthetic presentation and its representations in theatrical performance. The chapter contains indicators of the theoretical framework and previous studies.
As for the third chapter (research procedures), the research community consists of twelve models distributed over the specified time period. The chapter also consists of the research sample, the research method, the research tool, and finally.

Analyze the model or sample

As for the fourth chapter, it included the results of the research in addition to the conclusions, recommendations and suggestions.

Among these results:

1. The design is subject to inclusivity through the availability of the design elements and foundations of fashion.
2. Diversity in the texture of the materials, it may be a rough texture and another soft, as in the chest area, the texture is smooth and the waist area is rough, and then the research includes conclusions, recommendations and suggestions, then a list of sources and references.
key words:
Appearance, beauty, aesthetic manifestation, outfit, representations:

Summary of the research
Summary of the research The research contains four chapters in addition to the sources and references:
The first chapter: included the methodological framework of the research: The research problem: It was determined by the following question: Was there a multiplicity of structural treatments for ceramic surfaces in the work of the potter Thamer Al-Khafaji?
The importance of the research: It was limited to:
1- This study will be based on an explanation of the formative treatments in the works of the artist Thamer Al-Khafaji ceramics.
2- The current study will explain the philosophy of formative treatment and stylistic transformation according to the treatments have found . Search objective: Revealing the formative treatments in the ceramic works of the artist Thamer Al-Khafaji.
- search limits : Objective limits / revealing the formative treatments in the ceramic works of the artist Thamer Al-Khafaji.
Time limits: 1980-2010 AD.
Spatial boundaries: Iraq The first chapter ends with a definition of search terms The second chapter contained the theoretical framework in two sections in addition to previous studies.
The first topic: Formative treatments in art
The second topic: ceramic surfaces historically.
The third chapter contained the research procedures:
(1)Research community: The current research community included the ceramic works completed by the potter Thamer Al-Khafaji (1970-2020) AD, which the researcher obtained from some relevant sources, the Internet, and the artist’s private group, where she looked at ( 50) Ceramic work The research sample was later selected from this community.
(2)Research sample: The researcher chose her research samples, which achieves the goal of the research, as the community models were presented to a number of specialists in the field of research.
The selection came according to the following justifications: The selected models represented the research community in terms of the formative treatment of the ceramic surface, as the potter did not leave an empty ceramic surface except to fill it with decorations, formations and letters.

The abstract
The current studydeals with the study of (the problem of man and age) quoting this problem from the emergence of different methods specific to each artist, and the transformations that accompanied those methods in the intellectual, value and social system and the new effective political and economic variables and the reflection of all this on the paths and visions of modern Western plastic art in form and content.The study community was accurately limited, so the researchers were compelled to adopt what is available anddocumented from photographers in foreign sources, technical books and the global Internet to benefit from them in a way that covers the limits of the research and achieves its objective. The total number of works amounted to (20) models of artistic works of the expressive schools (Expressionism -Dadaism-Surrealism) which represent the current research community. The researcher adopted the descriptive analytical approach and chose three samples from the study community.
The most important results are:
1. The relationship between man and the age has witnessed a psychological and social problem, especially in the contemporary world, man’s sense of alienation, duality and individuality, and the tendency of man and artist to have a taste that allows acceptance of noise, violence, ugliness and distortion.
2. The human view of science, its discoveries, and technological development varied, as the early ages witnessed great fascination with these discoveries as a kind of compromise with the times and as part of its renaissance. Real-time daily life, and this is what art strongly embodied.
3. The problem of man has grown with the times and increasingly, through the growth of revolutions, opposition and protest against all traditional patterns of power that were crushed by class struggle and human idiocy, which energized towards humanitarian and enlightenment movements, human rights associations and charitable associations, and this is what embodied the basics of artistic expression.
Keywords: (problematic, man and age, its reflection)

Abstract:
The research includes four chapters, where the first chapter dealt with the methodological framework of the research and the research problem represented by the following question: (What is fear and its representations in the contemporary Iraqi theater?).
While the importance of the research and the need for it came to shed light on fear and its representations in the Iraqi theatrical text, while the aim of the research is to know fear and its representations in the contemporary Iraqi theatrical text, and the chapter ends with terms and procedural definitions, where fear is defined as a natural emotional state that the theatrical character feels as a result of a realistic external danger. Threatening her with danger, which leads her to issue an unexpected reaction accompanied by some multiple physical and motor responses.
As for the second chapter, the theoretical framework and previous studies, it included two sections, where the first topic dealt with fear in the theories of psychology, while the second research dealt with fear in the global theatrical text, while the third chapter dealt with the research procedures, the research community and the research sample that the researcher deliberately selected to match With the topic of the research, its problem and objectives, either the limit of place (Iraq) and the limit of time (2020). As for the third chapter, it dealt with an analytical study in the Iraqi theatrical text (Pandemic Spirits) by the writer (Saad Hadabi).
As for the fourth chapter, it contains the most important results:
1- Saad Hadabi linked fear in the text of his play by drawing close to God Almighty at all times.
2- Fear was embodied in the play (Pandemic Spirits) in the theatrical characters such as (Fawaz) and his fear of closed places, and the character (Wadih), in which she shows fear of the truth and confronting it, while the character (Mother) was her fears that her husband would not return to them as well as her fear of The epidemic is to kidnap one of her children.
And then came the conclusions and then a list of sources and references.
Keywords: psychology, fear, text.

Abstract:
The current research (feminist discourse features in the work of the artist Barbara Krueger) examined the conceptual dimensions and philosophical foundations upon which the feminist discourse was based to demand justice, equality and fairness for women due to the poor diagnosis of the causes of the violation of women’s rights or the undermining of their social status, especially the artistic ones. Modernity with a group of emerging movements in the late twentieth century, and among these movements is the feminist art movement, where postmodern arts were accompanied by an advanced intellectual concept from its predecessor, and this aroused the interest of the artist Barbara Kruger, this interest arising from the desire to keep pace with the latest developments in the world At the level of ideas or at the level of their practical applications in the field of art, so the researcher returned her current study to four chapters. The first chapter of it was concerned with the methodological framework of the research represented by the research problem that is determined by answering the following question: What are the characteristics of feminist discourse in the works of the artist Barbara Krueger? The first chapter also included the objective of the research, which is (discovering the features of the feminist discourse in the works of the artist Barbara Krueger). The artist Barbara Krueger during this period and with the materials of the Hariri photograph, and then the aforementioned chapter was concluded with the special terms of the title of the research. As for the second chapter, it included a presentation, Which included two sections: the first topic consists of two axes, the first topic (the concept of discourse), the second topic is the intellectual concepts of the feminist movement, the second topic (the feminist art movement) and (feminist discourse characteristics in the work of the artist Barbara Krueger) and the end of the chapter with indicators of the theoretical framework for research, and it was specialized The third chapter presents the research procedures and in terms of monitoring the research community and its limits by (35) formative work, and the information related to it in order to select a sample of it in an intentional way, which amounted to (4) samples of the sample that covered the limits of the research by adopting the descriptive approach and the descriptive analytical method for the purpose of analysis, and the fourth chapter included Research results and conclusions, as well as recommendations and suggestions, followed by a list of sources.

Keywords:- (the trait - discourse - feminism)

Research Summary
The research tagged in presenting and addressing the concept of formal formulations, the method of constructing and composing In postmodern art the extent of their importance, the methods of their formulation, and what materials are used in his works. The research problem focused on answering the following question
What are the formalformulations in Rauschenberg's work?
As for the second chapter, it included the theoretical framework in two sections. The first topic talked about formal formulations and their relationship to the diversity of materials. The second topic included the formal formulations in Rauschenberg’s work.
In the third chapter, it included an analysis of samples of the works of the artist Robert Rauschenberg
The fourth chapter includes the results, conclusions, suggestions and recommendations

Research Summary
The current research dealt with the production of contemporary ceramic models inspired by the shape of women in ancient civilizations (Iraq - Egypt). The research contained four chapters: The first chapter included a presentation of the research problem as well as the importance of the research and the need for it. The aim of the study lies in: Re-designing and implementing the form of women in the arts of Iraqi and Egyptian civilizations in a contemporary style and vision. The limits of the research included:
1. The objective limit: the implementation of contemporary ceramic works that imitate the form of women
2. Time limit
The form of women (2000-2021)
Implemented models (2021_ 2022)
3. Spatial limit: (Iraq – Babylon)
The second chapter of the research included several topics that served as the theoretical framework and the most important indicators that resulted from the previous studies. The theoretical framework included two sections: the first topic included: the form of women in the ancient civilization of Iraq, while the second topic: formation and glazing techniques in contemporary ceramics.
As for the third chapter, it contained the research procedures, where the current research community included a number of ceramic models inspired by the shape of women in the ancient civilization (Iraq - Egypt), and the number is (100). , and there are (11) ceramic models.
The researcher relied on the (experimental and descriptiv approach) for its compatibility and specificity of the current research, based on indicators that resulted from the theoretical framework as a tool for analyzing the research sample.
As for the fourth chapter, it included the results, conclusions, recommendations and suggestions.
The most important results that the researcher reached are:
1. The researcher formulated the figure of Ishtar through cumulative images of the cultural heritage between the exaggeration of the imaginary and mythical symbolization and the exaggeration of the modern semantic disclosure to formulate the presence of Ishtar by interrogating the clay material to show it in the most beautiful pottery composition.
At the end of the research, the research was committed to providing a list of sources and references, as well as appendices and a summary of the research in English.
Keywords: (the figure of women, ancient civilizations, ceramic formations)

ABSTRACT
The tagged research dealt with (the metaphysical signs in the modern Assyrian cylinder seals), by studying the metaphysical signs in the cylinder seals of the modern Assyrian era. Metaphysical Signs in Modern Assyrian Cylindrical Seals.” Then the researchers finished the aforementioned chapter by defining the terms that have a direct relationship to the title of the research and its objectives. ) By reviewing the symbolic connotations as a concept in ancient metaphysical thought, while the second topic was concerned with (the aesthetics of the art of cylinder seals in the Mesopotamian civilization). This topic included the modern Assyrian arts and the impact of metaphysical symbolic connotations in the arts of that era. As for the third chapter, it was concerned with monitoring the research community. By adopting the descriptive analytical approach for the purpose of analyzing it according to the indicators adopted by the researchers, and samples of it were chosen in an intentional way. It reached (4) cylinder seals that covered the limits of the research. As for the fourth chapter, it contained the results of the research, which included:
1- The modern Assyrian sculptor used symbolic signs represented by the wings that reveal when he was affected by flight and an attempt to reveal the upper world that includes mythical creatures, as in all models.
2- The artist stressed the prominence of the muscles to show them in a style that was prevalent in the sculptures of the ninth century BC, as it symbolizes muscular strength against mythical creatures, as in all models. And then the conclusions that emerged through which to achieve the goal of the research through the indicators developed by the researchers, including: 1- The modern Assyrian cylinder seals were characterized by extreme accuracy and high craftsmanship that exceeded previous ages and were closer to embodiment than the prominent inscription. They also worked hard by mentioning recommendations and suggestions, followed by sources and forms. 2- Legendary symbols dominated most of the works of the modern Assyrian sculptor in his cylinder seals.
Keywords: denotation, symbol, metaphysics, cylinder seal

Research Summary
The current research is concerned with studying the semantics of the symbol in the drawings of Saadi Al-Kaabi, and the aim of the current research included identifying (the semantics of the symbol in the drawings of Saadi Al-Kaabi). As for the theoretical framework, it included two sections, the first (contains two axes, the first is the concept of significance and the second axis is symbolic philosophically) and the second (contemporary Iraqi art). The research ended with a number of results and conclusions, the most important of which were:
-The artistic works combined the concept of the body as outputs and readings that have several axes, some of which are symbolic, and others that have deep connotations and meanings.
-The concept of the body and its connotations constitute a scene of anxiety and pain, which is represented by the reflections of pain, pain and unhappiness as a hidden subconscious of the Arab and Iraqi person, in particular, in an abstract and symbolic way.
Conclusions hope:
-The artist contributed, through his style, to liberation from methodological and situational restrictions that could limit the artist's expressive ability.
- The works of the artist Saadi Al-Kaabi contained several aspects of psychological, philosophical and historical concepts.

Research Summary
Theatrical digital platforms have constituted a remarkable importance by shedding light on the Arab theater culture, which prompted the researcher to choose the title (theatrical digital platforms and their media reflection on Arab theater culture) to be a topic for research. (Methodological framework), the research problem: which was identified in answering the following question: What is the reflection of theatrical digital platforms in the media in the Arab theater culture? And the attempt to identify the most prominent of those sites and the mechanisms of working on them and how to document them for festivals and theatrical performances, as well as the chapter included the research objective: focused on (recognizing the media reflection of theatrical digital platforms in the Arab theater culture), and the chapter included the limits of the research, which was limited spatially in the Arab world. , and for the period from (2002 AD to 2015 AD), as well as defining terms.
The second chapter began with (the theoretical framework and previous studies), and it was divided into two sections, and the first section dealt with the study of (digital cultural references (historically)), while the (second topic) in which the researcher studied (theatrical digital platforms (global)), and after this The review concluded the chapter with the indicators adopted by the researcher as a tool for analyzing the sample after presenting it to a committee of specialized experts.
As for the third chapter, it was concerned with the procedures, including the research community, which included (8) digital theater platforms, and the analysis tool, in which the researcher relied on the indicators of the theoretical framework and the tool that was built and presented to a group of Arab and Iraqi experts. The third chapter included the research sample and Which were chosen in an intentional way by the researcher, as for (Chapter IV) it presented the most important results and conclusions / which were reached by the researcher, and then the chapter concluded with recommendations and suggestions, a list of sources and supplements, and then the summary in English.

Abstract
The world of cinematography is one of the worlds of image performance within the the theatrical performance system and it works to transform it from stillness to the visual event instead of remaining it in the talkative narrative and static scene images. Therefore, the scenography can be considered the visual aspects built and implemented by the screenwriter and implemented in an attempt to make the director' It is the mechanism of building theatrical performance with images and visual formations. The research included four chapters, the first of which contained the problem of the research, its importance and the need for it, and the goal of the research, which was summarized in the following question (What is the mechanism through which the scenography of the theatrical space of the performances submitted by Ali Abdulnabi Al-Zaidi's theatrical texts is addressed?) The limits of research and the definition of terms, while the second chapter came with two topics: (synophological space conceptually) and the second (processing the theatrical space scenography globally), then the indicators of the theoretical framework, and the third chapter, which is the separation of procedures and sample analysis, which is a theatrical performance (thematic The fourth chapter is the separation of results and conclusions and then the sources of research and its references.
Keywords: The place, Practiced, The organization, Use

Abstract:
Children face many difficulties within the learning process such as understanding, thinking, cognition and attention, and perhaps in the skills related to the above-mentioned processes, and these difficulties affect the individual’s life in education, learning, social adaptation and in all life activities. Interest in this term began at the beginning of the twentieth century in the sixties of the last century, which It is one of the main and basic axes for the emergence of a generation with experience, behavior and culture that contribute to the development and building of the country and its civilization
Sensory memory in general and visual memory in particular is the basis for most of the mental and mental processes that individuals depend on in all the activities and areas they perform, and that any defect or weakness in visual memory leads to learning difficulties, and the research included four chapters - the first chapter dealt with a problem The research, its importance and the need for it and the aim of the research, which is summarized in the following question (What is the Visual memory and its representations for students who face difficulties learning drawing?) and the limits of the research and the definition of terms. and the developmental learning difficulties of memory), then the theoretical framework indicators, the third chapter represented by the research procedures, and the fourth chapter, which dealt with the results and conclusions, and then the research sources and appendice
Keywords: visual representation,evocation, boys and girls of the primary stage, problems

Abstract
The current research dealt with studying (the expressive diversity human figure in contemporary Iraqi painting), as it dealt with the nature of the expressive diversity of the parts of the human figure, based on the artistic references and books and their role in the expressive diversity in the artistic production, as it necessarily deals with what is declared and appeared only, but there are some psychological, intellectual and social manifestations that are manifested in an artistic way, which are the real content of the artwork, and this is an introduction to the study of the expressive diversity of the parts of the human figure in contemporary Iraqi painting, because of the philosophical and expressive concepts that have a variable meaning according to the idea and type of time period.
The research includes four chapters. The first chapter explains the research problem, its importance, the need for it, its goal and limits, and identifying the most important terms contained therein. Where the problem of the topic dealt with the issue of the expressive diversity of the parts of the human figure in contemporary Iraqi painting in displaying the expressive diversity in Iraq as well as modern European art, which took a clear space in the expressive diversity of painters, and the importance of the research was to know the artistic expressive diversity built by Iraqi painters, as for the second chapter, it dealt with the theoretical framework consisting of two sections, the first section tackles the concept of human figure in European painting, and the third section deals with the human figure in contemporary Iraqi painting and the experiences of the most prominent artists contemporary Iraqis. While the third chapter is concerned with the research procedures, where the research community includes the available technical models in specialized sources, books, magazines and the internet. As for the third chapter, it includes a review of the results, conclusions, recommendations and suggestions.

Abstract:
This research (The Difference Structure in Contemporary American Realist Paintings) is concerned with tracing the realist works in American paintings, and how the difference structure had an important and creative role in showing various aesthetic and structural features in American paintings, searching for and studying them through methodological frameworks and following procedural means that depend on intellectual approaches. It is located in four chapters: The first chapter dealt with the research problem, which came with an introduction and ended with the following question: (What is the difference structure in contemporary American realist paintings?) And it addressed the importance of research and the need for it, as well as the research goal represented by (knowing the difference structure in contemporary American realistic painting? The first chapter contains the limits of the research and defines its terms.
As for the second chapter, it included the theoretical framework for research and previous studies, and it included two chapters, the first dealt with (The Difference in The Critical Perspective), while the second dealt with (General Characteristics in Contemporary American Realistic Paintings), and the chapter ended with a set of indicators. As for the third chapter, it included the research procedures, where the research community included the available technical models, and three models were chosen for the research sample, and the descriptive approach was followed in analyzing the works. And conclusions, recommendations and suggestions.
Keywords: Structure, Morphology, Transformations, Engagements, Referral

Research Summary
The current research is an attempt to reveal the totality of stylistic shifts in the art of miniature in its general form, as well as what are the aesthetic values carried by those stylistic shifts in the art of miniature,
The art of (miniatures) is a distinctive art with a historical documentary nature similar to the narrative narrative record through the construction of serialized narrative art miniatures. The miniatures included a documentary formula for recording events that preceded generations. The importance of the current research lies through the blending between poetry, literature and image, which was one of the features of this the art . Add to that the peculiarity of the art of miniature painting in terms of its upbringing, which is associated with East Asian countries bearing the influences of those countries.
The art of "miniatures" is characterized by ideological, historical and aesthetic connotations. It is an artistic production of small dimensions, and is characterized by accuracy in drawing and coloring. The miniatures that abound in Islamic arts have their entrances and exits and patterns of pampering them. Each of them contains a text, and like all texts that are determined as a special organization of semantic units Manifested through symbols, signs, and signs in their various positions and the interaction between these elements, and the forms of their presence in space and time define the semantic worlds that the miniature hoard.
Where the current research contained four chapters, the first chapter included the research problem, its importance and the need for it. The research problem was identified in finding an answer to the following question - What are the stylistic shifts in the art of Persian miniatures? The aim of the research was determined by shedding light on the plastic and formative aspects of the art of miniature As well as clarifying and determining the aesthetic value of the art of miniature painting, by revealing the development of this art, its methods and formulations in terms of form and content through time periods. As for the limits of the research, they were determined by a group of artworks within the time period (1450 AD - 1550) AD, as well as defining the terms mentioned in the title of the current research.
As for the second chapter, it included the subject of stylistic transformations in the art of Persian miniatures. While the third chapter included the research procedures, which included the research community, which is miniatures (artistic paintings), which is an intentional sample of (5) models and research methodology, the descriptive analytical approach. As for the fourth chapter, it included the results, conclusions, recommendations and suggestions reached by the researcher. Among the results of the current research:
-The productions of the miniature artists reflected a craftsmanship that exceeded all expectations and expectations, through the rich aesthetic achievements they presented by the artists of this art.
The research ended with the most important sources in Arabic and English.
Keywords: transformations, stylistics, miniature art.

Abstract:
This research tagged (references influencing the diversity of the visual discourse of postmodern arts) aims to reveal the perceptual and imaginative cognitive mechanism influencing postmodern arts and their visual outputs. Was it in the formal construction or the diversity of display methods or the change in equipment and tools and the diversity of materials and raw materials on the visual surfaces, while the second chapter dealt with (theoretical framework) and included the first topic: the data of the visual discourse in art: and in it the tracking of the outputs of the visual discourse in the stage of modernity, is Reaching out to different visual forms and formulas that go towards the depth of transformations and the scientific revolution in the twentieth century, The visual discourse in art follows the change and change of the aesthetic sense of man, and the beautiful is based mainly on the relationship between form and the aesthetic need, so it does not lie and subject the single beauty and creativity to abstract concepts - with regard to the artwork, because the values of beauty were closely linked to the relationship between the subject and the object Which forms the basis for all awareness of aesthetic phenomena, that visual discourse contributes to the development of the individual's ability to imagine and present an idea or information using visual data. As for the second topic: motives and influences in postmodern arts The research traces the overall trends and methods of postmodern art, its visual discourse, and the diversity of display techniques, since postmodernism is a set of overlapping strategies based on difference and contradiction in postmodern society as a result of globalization that led to the mixing of societies and civilizations and provided information, as the typical postmodern artwork, Realizes those elusive strategies and restrictions on identity and human discourse; then presents postmodern currents within the limits of the research topic. As for the third chapter, the research procedures followed the influential references in the visual discourse of postmodern arts, the diversity of techniques, the multiplicity of materials, the openness of visual display in different directions, the overlap of genres, and the displacement of the physical borders of the artwork, and the research ends with the fourth chapter, which deals with the research results, conclusions, recommendations and proposals Among the most prominent results: the visual discourse in the arts of postmodernism acquiesced in removing the geographical boundaries between the genres for the overlapping of arts and knowledge fields, and continues within influential technical and aesthetic data. The interaction of photography and its formal outputs and the diversity of techniques in it with postmodern arts through its direct entry into the core of expressive language and display techniques as a new means of aesthetic communication with the recipient. And as the equipment and tools of modern thought displaced the dominance of the mind towards the thought of the model of individual pragmatism in cultural data and based on benefit and the state of adaptation to the variables imposed by events, then recommendations and proposals were put forward.

Abstract
This research is concerned with the study of (the manifestations of cubism in the ceramics of Sheryl Zakaria) and it includes four chapters. contained therein.
As for the second chapter, it included two sections. The first topic dealt with cubism as an artistic and visual system. In the second section, the researchers reviewed the aesthetic appearance in contemporary ceramics. The sample, while the fourth chapter included the results of the research, its conclusions, recommendations and proposals, and the most prominent results of the research were:
1. Ignoring sensory data, relying on mental images, displacing the traditional form towards the currents of modernity are among the necessary considerations for the visual system in cubist ceramics.
2. Destroying the iconographic solidity of the form and establishing something like a link between the sensual pivot to the unaxis aesthetic, and this is undoubtedly one of the mechanisms for the aesthetic manifestation of the visual system in cubist ceramics.
Among the most important conclusions:
The cubist appearance resulting from the sensory compatibility between the components of the single ceramic work of the same material and the optical category, which is evident from the compatibility of the coloring areas that bear the characteristic of lighting with the light projection areas and vice versa. between the contacts made by the potter

Abstract
Undoubtedly, every new literary phenomenon calls for multiple questions and reactions, and the emergence of Ahmed Shawky constituted a new phenomenon and an important poetic event at a time when the cultural and poetic atmosphere specifically was living towards aspirations and critical moments, and if poetry needed someone to return it to its paradise What is missing is his original elegance and his possession of poetic expression, flowing with life... However, the change, if we may express it, was a retrospective change, meaning that Shawqi sought to change it to consolidate the old classical model that he lost during that period. Hence, the change was not a radical change. In the sense that it was not a change at the level of form and style, such as the change that occurred in the structure of the Arabic poem later, and from here any attempt to change in that period was faced with many difficulties, because the poetic taste and the literary mentality did not have preparations for this type of change and at the same time it was There are critical tendencies that seek change at the level of theorizing, and among the owners of those theorizing were those who adopted Western critical statements that were not responded to by the poetic taste at the time, and because of that, these statements were unfair. Shawky is right because she was unable - unfortunately - to extrapolate Shawky's role in the light of the cultural pattern that was dominant in the Arab literary scene at the time, and these statements did not stem from the reality of the current culture in that period, but rather were ahead of its stage, and were leaked sayings that described Shawky's poetry as weak and weak. She demanded Shawqi and Shawqi's poetry for what was outside his role at that stage, in addition to what Shawqi enjoyed in terms of a literary personality that was responding to the requirements of the Arabic poem at that stage and did not have an expressive or mental readiness for the calls for change demanded by the critical movements that specifically dealt with Shawqi's poetry.
Keywords: poetic memory, classical poetry, Shawqi, innovative meanings, ancient Arabic poem, renewal.

Abstract
The plastic arts presented its artistic productions through aesthetic and constructive treatments related to the visual phenomenon and the impressions it generates on the levels of sensory perception and the dark self. The vision of the eye, so the formative structures of its aesthetic achievements were formed in colors, lines, and forms that take the structural and relational interdependence in them to a more effective level in producing achievements that affect and are affected by the nature of society and its rapid movement. Hence, the research problem came from the question of what are the visual perceptual factors that contribute to the reception of contemporary ceramic production? While the aim of the research was to identify the factors of visual perception in contemporary ceramic formation according to theories of perception. This necessitated a theoretical review that included research in, first: perceptual theories, second: the ceramic image in visual reception.
Then analyze three contemporary ceramic models, and reach the most important results:
The Gestalt theory focused on the perception of the ceramic hologram tends, according to its laws, to the realization of the relationship between the perception of the different parts and their placement within a whole or each one through the laws of aggregation, and then distinguish or perceive the distinct parts after realizing the totalities.
- The mental schemas stored in the recipient's memory are adopted and combined with what they feel in order to be evaluated and the due action taken towards the visual ceramic formation of the viewer.
Keywords (visual perception, perception theories, contemporary ceramics).

Research Summary:
The research aims to shed light on the historical personality and the way it is dealt with dramatically, as it is one of the most important elements of a successful dramatic work. It is one of the elements that have the characteristic of attraction for dramatic writers. Which makes it applicable to every era, and the writer Ali Al-Khabbaz is one of those who sought to treat the historical personality according to a modernist vision that looks at the past with the eye of the present. Hamid Ibn Muslim) historical, it is a trial of the reality of the contemporary personality, including falsehood, grievances, deception, and the like. The research included four chapters.
Keywords: personal, historical, treatments, Ali al-Khabbaz.

Abstract
This research dealt with ( stylistic diversity in contemporary Spanish sculpture),which contained four chapters the first of which was concerned with explaining the research problem ,which was determined by answering the following question :
What is the stylistic diversity in contemporary Spanish sculpture ?led
A specific reading ? Then comes the importance of the research to contribute to highlighting the stylistic diversity in contemporary Spanish sculpture , and also the current research is a serious attempt to clarify the stylistic diversity in contemporary Spanish sculpture and the extent of its diversity . It also contains the objective of the research , which : Know the stylistic diversity in contemporary Spanish sculpture .As for the limits of the research , it was limited to the study of stereoscopic works in which the stylistic diversity appears in contemporary Spanish sculpture . sculpture (1955-2020) , in addition to defining some of the terms contained in the research . The second chapter , it included the theoretical frame work and the indicators that resulted from it . The theoretical frame work contained three sections . The third chapter dealt with the research procedures , which contained the research community , which amounted to (147) sculptural works , and (16) works . The fourth chapter contained the results and conclusions , in addition to the recommendations and suggestions

Abstract:
This research included four chapters. The first chapter came (the methodological framework), represented by presenting the research problem centered on the following question: What is the poetics of the musical text in the Iraqi theatrical performance (individual oud - a model)? While the importance of research and the need for it was represented by highlighting one of the active elements in the formation of the structure of theatrical performance. The need for it came from the fact that it benefits students and those interested in the field of theatrical arts to understand the mechanism of poetic work in generating the variable and different formulations for the elements of theatrical presentation. The goal of the research was It is set temporally in 2020, and spatially, Iraq, Baghdad, the National Theatre, and thematically - the poetics of the musical text in the Iraqi theatrical performance. The second chapter (theoretical framework), included two chapters. Then I conclude the chapter with the indicators that resulted from the theoretical framework. The third chapter (research procedures), included presenting a model (individual oud) and analyzing it to find out the poetics of musical texts in the theatrical performance.
The fourth chapter presented the findings of the research: The poetics of the musical text played an important role in enhancing the importance of dialogue in the performance of the actor, making the musical text a supportive ground for the actor to deliver in a harmonious manner, approaching the details of the voice and its performances, such as choosing the appropriate layer and the temporal rhythm consistent with the dialogue, as it achieved aesthetic value. To work through surprise events.
The research also contained conclusions, recommendations, and suggestions, and concluded with a list of sources and references
Keywords: musical text, poetry, music, text, theatrical performance.

Summary
Art is a language that communicates as long as every language (idea) is shared by all ages because it is a link to all ideas. Art since the early ages has a utilitarian function, because it satisfies social needs (material and moral), on the one hand, it represents a tool for living and working.
On the other hand, it is used in recording stories, heroisms, legends and political events for purposes related to the beliefs of those peoples, so that art reveals to us its political, social and cultural content. With its various works of art that have evolved and matured with the passage of time.
Therefore, art allowed us to have a better understanding, and a broader knowledge of the roots of civilization and human culture of these peoples. The current research focused on studying (political discourse and its reflection in contemporary Egyptian painting), through which the Egyptian artist was able to display his skills and abilities, which enables him to portray the political events that Egypt went through and conveyed the opinion and suffering of the Egyptian people to the world.
The research included four chapters. In the first chapter, we discussed the research problem, passing through the aim of the research, which is (knowing the political discourse and its reflection in contemporary Egyptian painting) and according to the time period (1947-2012) for the modern state of Egypt. And analysis of painted paintings and murals representing various scenes of political events, as well as defining the terms that the research was exposed to.
As for the second chapter, it was devoted to the theoretical framework that dealt with the contemporary painting movement in Egypt. The third chapter included the research procedures through which the research community was identified. The descriptive analytical approach was adopted in analyzing the sample samples content and using it in analyzing the research sample of (3). Artworks that came in line with the research goal is to show the political discourse, while the fourth chapter is devoted to reviewing the results, conclusions, recommendations and suggestions.
key words: discourse; political; Egyptian painting

Research Summary
Human knowledge, in all its branches and ramifications, is based on imagining everything. Even if it is one of the topics that a person does not find a corresponding (pictorial representation) in the lived reality, because man is in his nature; A being inclined to visualize everything that goes on in his mind, this is the feature by which the human being differs from all other beings. In the body of his study, the researcher worked on detailing these rationales to clarify the demand. In the first chapter (the methodological framework of the research), he formulated his problem, which he culminated in: What is the manner in which artists worked in alternating between specific and abstract images to create (image messages) for the recipient to represent
A group of ideas that need a lot of explanation and detail? In addition to mentioning the importance of the research, its objective was set, and then terms were defined and defined. In the second chapter (theoretical framework of the research), the researcher detailed the intellectual processes that range from abstraction to specification of mental images and their relationship to the emergence of concepts. Then the third chapter was devoted to analyzing some models as a sample for research. Through it, the researcher reached several results and conclusions in (Chapter Four), and some of the results were: 1. Because of the abstract mental images of (nothing), dispersion, or excitement leading to the expression of things that are not absolutely identical to reality, the artist sometimes resorts to Going from abstraction and back to it again 2. Most of the images that artists have represented are images of abstract concepts; does not match My eyes are with the living reality, except in some partial human actions and phenomena. And the conclusions, including: the coding and innovation leading to the visual representation of concepts by artists; such as fragmentation, pain, loneliness, and anxiety, whose meanings are not achieved in the concrete world except through coding that refers to the realization of the concept; who emerges from abstraction (language) into the realm of possibility and images; It is an abbreviation for much of the pictorial and linguistic explanation. researcher mode; The sources on which it was based at the end of the research; with which the research was completely concluded

Research Summary
The song constitutes one of the factors that begin to appear in the atmosphere in the atmosphere that begins in employment and the melodies that tamper with the child’s conscience, as it is a tool of moral, sensory and emotional education and a means of education, and the song is a manifestation of music that uses poetry. It is also rare to find a child who does not have the ability to influence the release, that children from the first days of the cradle knocking on their ears singing by what prompts the songs of the cradle or the songs of mothers who sing songs of simple rhythms to calm them and reassure them to play with sleepiness and echo some of the songs that A child's exercise is considered a form of play.
The research included chapters:
The first chapter dealt with the research problem, which is summarized in the following question: What is the mechanism of employing songs in children's theater performances?
And within the importance of the research and the need as it sheds light on the subject of songs and their use in the children's theater, this study praised the song to be present, artistic and aesthetically pleasing to form an image in the children's theater performances.
The research aims to identify the mechanism of employing songs in the children's theater
As for the limits of the research, it consisted of temporally 2022 and spatially (Iraq - Karbala) and objectively studying songs and employing them in the children's theater. The chapter concludes with the main terms in the title and their definitions.
As for the second chapter, it contains the theoretical framework of the previous studies and their discussion. It included two topics, the first topic (the artistic and educational characteristics of the children's theater). As for the second topic (the mechanism of using songs in the children’s theater)
The chapter concludes with previous studies and the most important indicators that resulted from the theoretical framework. As for the third chapter (research procedures), it included the research community and the research sample, as well as the research tool and its methodology. The research, through the fourth chapter, was devoted to the list of the candidate results from the analysis of the research sample, and then the conclusions, recommendations and suggestions.
Among the most important findings of the research:
1. The songs contribute to strengthening the theatrical structure through its musical characteristics.
2. Singing has the ability to create specific temporal and spatial spaces and various experimental images through anticipating and retrieving events.
3. Songs save time by transforming verbal incidents into lyrical dialogues.
4. Singing has the ability to strengthen the rhythm of theatrical work and contribute to its renewal and transformation on an ongoing basis to achieve a state of pleasure and suspense.
5. The festive atmosphere in which singing is produced in the theater has achieved a state of interaction between theatrical personalities and the recipient.
The research summarized a group of
The research summarized a set of conclusions:
1-Songs are one of the basic elements in children’s theater performances because of the excitement they provide to the recipient
2- The songs mix the emotions, feelings and emotions of the child about the character he is performing.
3- The songs stimulate the imagination of the child, which makes the recipient move in a vast world of imagination.