Journal of Nabu

The research deals with the topic of (composered dialogues and their use in school theater performances) in terms of the importance of lyrical melodies in school theater performances, as they constitute an important element of its elements that contribute through its tonal tools to the real meaning of the kinetic and verbal act on stage, as well as the Its importance as an aesthetic element that imparts an enchanting plasticity dimension through its harmony with the rest of the elements of the show in an integrated scenographic form
The research included four chapters:
The first chapter dealt with (the research problem), which is summarized by the following question (What is the method in which composer dialogues were employed in school theater performances)?
The chapter also included the importance of research and the need for it, as it sheds light on the topic of melodic dialogues to reveal the mechanisms of their operation in school theater performances. Composer dialogues in school theater performances.
The chapter (the limits of the research), which were determined chronologically in the year (2017-2018)  Gregorian and spatial (Iraq), and objectively included the study of school theater performances that employed composer dialogues (singing) and adopted them in their performances as an important element of theatrical performance, and the chapter concluded with (identifying and defining search terms).

As for the second chapter, it contained (the theoretical framework and previous studies and their discussion), and it included three
Investigations, the first topic dealt with (conceptually school theater), while the second topic dealt with (the importance and goal of employing melodic dialogues in school theater), and the chapter concluded by revealing previous studies and the most important indicators that resulted from the theoretical framework.
The third chapter was concerned with (research procedures), where the research community and its sample included three performances from the school theater that were chosen in the intentional way due to the variation of the performances and their differences in terms of employing singing in particular, and this chapter also included
Research requirements, tools and methodology, as the researcher chose the (descriptive-analytical) method for its suitability to the research, and concluded the chapter by analyzing the samples of the research sample.

The current research included four chapters, which dealt in the first chapter with the research problem, its importance and the need for it. As for the second chapter, it included the theoretical framework in two sections, the first included a philosophical presentation of eclecticism, and the second topic dealt with eclecticism in art, while the third chapter contained research procedures that included the research community, its sample, tools and method, and then the analysis of the sample, which amounted to (4) paintings. The fourth chapter contains the results of the researchIncluding (the eclecticism has given contemporary American art the character of diversity and reproduction to new forms through the cross-fertilization of selection and technology. Surrealism relied on the role of the senses because they are the main source in selecting and embodying images and transcending the camera), and its conclusions, as well as recommendations and suggestions.researcher.

The current search consists of the first order that is achieved in the view of the view of the problem of the view of the view of the show that was presented with the following query:
- What are the aesthetic dimensions of the pots Alhamra pots?
Then the importance of the research and the need for it, and the research objective represented in:
- Know the aesthetics of pottery Alhamra pots
And the details of terminology, as for the second chapter, it included references: the origin and development of Iberian pottery before Islam, and the second topic: the
aesthetics of Andalusian ceramics, and the indicators that the theoretical framework ended with. And the leader is the fourth chapter, so the results of the research will be, the most important of which are:
1- The large vases that relieve the red pots are inspired by the ancient Greek ceramic forms (the necked amphora), but they develop them on the aesthetic and structural levels and the technical treatments, which elevate them to a higher and more civilized dimension.
2- The Andalusian potters were inspired by the Greek and Roman amphora in glazed works of art in a scientific style, which is effective with metallic luster, and added touches of the aesthetics of Islamic decoration.
Consultations, recommendations, reports and details of the research sources.

This research dealt with the study of the aspects of beauty in the drawings of the Timurid and Safavid eras in comparison. The first chapter deals with the research problem, its importance and the need for it and identifying the most important terms contained therein. The research problem included the issue of the aspects of beauty in the drawings of the Timurid and Safavid eras in artworks produced by Islamic painting schools such as the Persian School. The Mughal school, the Safavid school.
Where every artistic school has characteristics that distinguished it from the other in terms of artistic composition, distribution of artistic elements, use of colors, selection of subjects, and many more. The problem of the current research emerged through the following question: How was the Muslim artist able to achieve aspects of beauty in the paintings of the Timurid and Safavid eras.
The second chapter included the theoretical framework and includes four sections. The first topic is an overview of the Timurid era, the most important flags of photographers, the most famous Timurid manuscripts.
The second topic is the most important artistic features of the Timurid manuscripts, and the third topic is an overview of the Safavid era, the most important flags of photographers, the most famous Safavid manuscripts.
The fourth topic is the most important technical features of the Safavid manuscripts, while the third chapter included the research procedures. As for the fourth chapter, it was concerned with the results and conclusions.

Aesthetics occupied an important aspect of artists' concerns in their different ways of artistic expression and methods of performance. The art of representational performance includes those aesthetics, which include the production of meaning by the actor and its reception by the recipient, so this research will shed light on the aesthetics of performance in the Iraqi monodramatic theatrical performance, so this research includes the first chapter - the methodological framework, and includes the research problem in the form of The following question: What are the aesthetics of performance in the Iraqi monodrama theatrical performance? The importance of the research and the need for it lies in the fact that it benefits students in institutes and academies of fine arts, especially students in theatrical acting specialization. The research objective is to identify the aesthetics of performance in the Iraqi monodrama theatrical performance. As for the limits of the research 1- Temporal 2009-2014. 2- Spatial: University of Babylon / College of Fine Arts. 3- The limits of the topic:- Identifying the aesthetics of performance in the Iraqi monodrama theatrical performance and identifying the terms in order to reach the procedural definition. As for the second chapter - the theoretical framework - it includes the first topic that deals with the concept of the aesthetics of monodramatic performance, the second is philosophical aesthetics, the third is monodrama through the ages, the fourth is the characteristics of the performance of the monodramatic actor, and the fifth and last is the aesthetics of receiving. And then previous studies and the results of the theoretical framework of indicators. The third procedural chapter will be an analysis of the play (either or), the play (days are gone) and the play (carrying in the mirrors of wolves). In the layer of voice, and in singing . 1-The monodrama actor embodies different characters, so he has the skill of diversifying the layers of voice and singing
2-The monodrama actor possesses a motor skill represented in his ability to dance, mime and kinetic improvisation .
3-The monodramatic theater actor sometimes deludes and sometimes embodies
4-The ingenuity of the monodramatic actor lies in the use of imagination or emotional memory in transforming the familiar pieces of decoration on the stage into unfamiliar or realistic forms
5- The monodrama actor is a good singer 6-The time for the monodramatic theatrical actor is related to the past or considered psychological time .
7-The recipient interacts with the actor, either by applauding, screaming, laughing, or even talking, and the actor may touch the recipient
This research concludes with the most important references, sources and summary in English

The study was concerned with the feature of phenotypic intensification in calligraphy formations, for its contribution to the construction of calligraphy formations and the cohesion of its parts, which require technical skill from the calligrapher and the employment of new ideas characterized by modernity. I found that the research problem is represented by the following question: What is the characteristic of phenotypic complexity in calligraphy formations? Therefore, the research was concerned with revealing the characteristic of phenotypic condensation in calligraphy formations, in formations implemented on raw paper, in each of Iraq, Syria, Egypt and Pakistan, and for the period from (1405 AH - 1985 AD) until 1432 AH - 2011 AD. The second chapter included the theoretical framework through three Investigations, the first topic dealt with the concept of phenotypic intensification, and the second topic represented the development of calligraphy formations, while the third topic was concerned with phenotypic intensification in calligraphy formations, then indicators of the theoretical framework and previous studies, and the third chapter included research procedures and the adoption of the descriptive analytical approach, and the community reached 40 Formally, the researcher chose 4 samples, which constituted 10% of the total community, and the analysis was done using the analysis form, and the fourth chapter included results, including that the calligrapher employed the feature of phenotypic complexity in his formations according to agglutination, inferiority and convergence of linear elements, and intensive formations appeared in several bodies such as (geometric, iconographic and free), and conclusions were reached, including that the distribution of linear elements with intense space work through space reduction contributes to the production of a coherent, closed and superficially intense linear structure, and the employment of To combine the existing letters in the braided Kufic script for aesthetic and ergonomic goals to achieve the phenotypical intensification of the composition

This research came under the title: (Contemporary Arab Plastic Discourse in the Confrontation of Intellectual Terrorism), in an attempt to reveal concepts about the value relationship of thought free from injustice, tyranny, arbitrariness and terrorism, and the fact that this study is new on the social arena.
The research included three chapters, the first chapter contained: the summary in English, and the research problem represented by the following question: Did the contemporary Arab artist create a contemporary Arab plastic discourse with aesthetic, political, and religious dimensions against various types of terrorism? What are the manifestations that reinforce this concept in contemporary Arab formation? Then we reviewed the importance and need for the current study, as well as:
The aim of the research: (to know the contemporary Arab plastic discourse in the face of intellectual terrorism)
Research limits: fees implemented with different materials and for the period (2006-2016) in (Iraq - Egypt - Syria - Lebanon - Tunisia). As well as specifying search terms.
The second chapter (theoretical framework): two topics: - The first: themes of terrorism in modern European painting, with two axes: The first axis: an introduction to the concept of discourse and terrorism, and the second axis: - Topics of terrorism in modern European painting, and the second topic: Contemporary Arab formation (roots and characteristics) ). And ended with the most important indicators. The third chapter also dealt with (research procedures): 1- The research community 2- The research sample 3- The research method: the descriptive approach (content analysis), 4- The study sample analysis. The research ends with the most important: (results, conclusions, recommendations, suggestions). The most important scientific sources have also been documented.

The study (Inspiration and It's Manifestations In Contemporary Iraqi Theater Discourse) included four chapters. The first chapter included the research problem that centered around the following question: (How does inspiration In Contemporary Iraqi Theater Discourse ?), And the importance of the research, which was attributed to the fact that it presents a cognitive effort specific to mental awareness by proposing a term that is a necessity of contemporary thought , It is (Inspiration) and its role in the receiving process, and the need for it in that it benefits students of colleges of fine arts and their institutes in particular, and the aim of the research: (Know Inspiration and the mechanics of It's Manifestations In Contemporary Iraqi Theater Discourse . And the temporal limits of research (2012 - 2014), And spatiality: Iraq, Babylon, and objectivity: (studying the inspiration and following It's Manifestations In Contemporary Iraqi Theater Discourse), in addition to the procedural definitions of the terms mentioned in the title of the research. As for the second chapter (theoretical framework), it included two topics, in addition to mentioning the indicators that resulted from the theoretical framework . The researcher discussed in the first topic: (conceptual inspiration), and it is on two axes: the first axis studies (inspiration psychologically). While the second topic dealt with (social inspiration), the second topic came to study the inspirational scene in the theater through two axes, the first included: (Inspiration for the international theatrical text), While the second axis included (Inspiration for the international theatrical shows). The researcher devoted the third chapter to the research procedures, in which the research sample was defined, and it included the play (wars) written by (Sami Abdel Hamid) and directed by (Ibrahim Hanoun), and the play (I, Alazab and Hawak) written and directed by (AwatifNaim). They were chosen by the intentional method, and they were taken as a model in the analysis, and the researcher adopted the (descriptive) method in the sample analysis, according to the nature of the present research. The researcher concluded at the end of this research to mention the results that filtered from the analysis of the research sample, the conclusions, then the list of sources .

The current study included the use of the three-dimensional design program ds max 20203 and its effectiveness in designing ceramic achievements that simulate the realistic achievement and then the implementation of ceramic models by manual formation, and the achievements were designed through design orders in the program and then the achievements were formed according to the design vision of the researcher using local clay Prepared in advance by the researcher, and then the processes of pride and glazing, and the researcher concluded that the commands in the program are effective in designing everything that the potter can imagine, with three designs and three ceramic achievements.

This research consists of four chapters, the first one includes the research problem which is summarized by the following question: What are the features of diagnostics in the contemporary Arabic woman ceramic sculpture and what is the importance of the research, needs for it, and its aim representing in identifying the diagnostics dimensions in Arabic woman ceramic sculpture and then the research limits and terminology.
The second chapter includes two topics: the first one is the diagnostics in art throughout history and the second one is the evolution and development of Arabic woman ceramic sculpture as well as the findings of the theoretical framework.
The third chapter contains the research procedures representing in the research community, sample, methodology, and analysis of five samples of Arabic woman ceramic sculpture works.
The fourth chapters includes the findings such as:
1- Most Arabic woman ceramists inspire their subjects from the real life in Arab homeland according to simple diagnostics focus on the contents of diagnostic forms.
2- Expressionism dominates the products of Arabic woman ceramic sculpture through facial and body features and focus on psychological and mental sides which can be expressed in their works.
As well as the conclusions such as:
1- Arabic woman ceramists seek to find an innovative and outstanding site for their art works through expressing subjects and issues that concern Arabs with the concentration on the privacy of Arabic women's ideas and interests.
And finally the recommendations, suggestions, English abstract and references.

The first chapter contains the research problem, its importance, the nature of its objectives, limits and defining its terminology, where the research raises a question and identifies a problem revolving around it through the intellectual and expressive connotations of symbols as a value given aesthetically and creatively with a continuous and renewed mental product, whether in the elements, symbols or formations, and communicating with this creative legacy. With a renewed concept and interacting with contemporary changes, the research problem comes through the following question;
What are the intellectual and expressive connotations of the symbols in the drawings of Fakher Muhammad?
The current research aims to reveal the intellectual and expressive connotations in the drawings of Fakher Muhammad
The second chapter contained the theoretical framework and consisted of three sections. The first talked about the symbol and its connotations in Mesopotamian thought. The second section touched on a philosophical and expressive reading of the concept of the symbol. The third section on the symbol included: its civilizational affiliation and its contemporary ideas according to Fakher Muhammad.
As for the third chapter: it contained the research procedures, including: the research community and its sample and the nature of the method in it, and then the analysis of the sample, which amounted to (6) models
The fourth chapter contains the results of the research, conclusions, recommendations and suggestions. The results that have been reached are:
1- The artist (Fakher Muhammad) used various Mesopotamian symbols (human, animal, plant, vehicle, birds and fish, geometric and others) expressing artistic value according to his vision affected by the surrounding environment and in a symbolic style resulting from intellectual and religious contents
2- The artworks of the artist (Fakher Muhammad) reflect the contents that depict the daily realities of the contemporary Iraqi society to be depicted by art (with signs and symbols) based on the intellectual content of the heritage in a spirit moving between realism, expressionism, abstraction and symbolism.
1- Among the most important conclusions: The artist (Fakher Muhammad) drew his artistic texture through harmony with the civilizational heritage with contemporary techniques, contents and intellectual and expressive proposals, which resulted from a mentality that crossed the boundaries of time and space so that the artist finds his place in the mindset and taste of the recipient, including what was in violation of the content as a value Ritual or local thought coincides with contemporary society as a meaningful form through its symbols that mimic its lived reality.

School theater is one of the important pillars of the educational process and seeks to build the individual and develop his skills and creative abilities. Based on this concept, the researcher studied the practice of acting activity and the extent of its impact on the development of individual skills gained by the student through his participation in theatrical performances.
The research contained four chapters. The first dealt with the research problem and represented the following question: What is the effect of the practice of representational activity on the development of individual skills among middle school students? The importance of the research was based on the use of representational activity, which rids the student of the tensions that permeate his life and contributes to overcoming many of the difficulties facing students. As for the second chapter, it contained the theoretical framework, which included two topics, the first of which was about the origins and stages of development of representational activity in schools. The second was under the title of school theater goals. As for the third chapter, it included the research procedures that included the research community, the research sample, the tool and the research method, and the fourth chapter contained the results, conclusions, recommendations, and suggestions.

The current research dealt with (features of exoticism in modern wilderness painting), which revolved around the concept of exoticism represented by the aesthetic and cognitive transformations in European art and culture witnessed in the nineteenth and twentieth centuries, which contributed to undermining the cultural and epistemological structures of art due to the dominance of ambiguity, alienation and unfamiliarity.. in the production of new and unfamiliar ideas. The problem of the current research is summarized in raising the following question:
Does exoticism - as a differentiated cognitive structure - have a specific role in the performance and value variables in the products of modern monster painting?
The first chapter included the methodological framework of the research, which included recognizing the features of exoticism in modern wilderness painting, within the period from (1905) and also included defining terminology, passing through the second chapter (theoretical framework), which included two topics, the first of which dealt with: exoticism (between concept and theory and application), while the second topic included: exoticism in the products of the brutal painter George Rooh.
The third chapter also dealt with the research procedures and in view of the expansion of the research community, the research sample was intentionally selected with (2) models for the research sample.
As for the fourth chapter, it included the results and conclusions of the research, as well as recommendations and suggestions. Among the most prominent results reached by the researcher:
1 - Exoticism Grotsky’s imaginative style in which the modern savage artist examines reality with a different eye, which sees what we do not see to form different textual formulations of various facts called heterogeneity based on irrationality, reality, and entering into spaces that conflict with the norm of life rationing, which in contemporary narrations are carved. It is high, and a language of tight visions that is concerned with penetrating the familiar, and entering the depths of the crumbling soul in the hateful world of matter.
2- The exoticism in the savage painting is nothing but a free creative product that depends on the aesthetic intentionality in exploding the self that transcends its consciousness over material sensibilities at the moment of creative manifestation of the grotesque exotic image, transforming all the usual material things into a world that speaks of the strange, the unfamiliar, the ambiguous and the reduction and establishes its laws in a different way for everything that is Ordinary in everyday reality, which means that exoticism is based on an element of imagination associated with the self.
Among the most prominent conclusions reached by the current research:
1- The exoticism in the productions of the brutal painter George Woroh is the creation of what is strange, contrary to the ordinary and fragmented, and that transcends the possible, to penetrate the impossible, and achieve the unattainable, creating a state of astonishment and strangeness, relying on innovation that establishes unexpected and impossible relationships between things. Exoticism is the product of a simple spontaneous imagination closer to naivety and spontaneity.

(Tabu) is a positive term that belongs with its historical roots to the emergence of man since the early ages, as anthropology revealed the relationship between man and (Tabu) as the meeting points of those concepts that developed with the development of the social structure of man, as (Tabu) can change according to natural variables. Social, political, psychological, and even physical, as psychology shares that concept as well as politics, sociology and anthropology, so these sciences issue their dominances and effects on the human being as he lives in that environment that he is affected and affected by, and later on those taboos become value constants or inherited beliefs, or Religious legislation through sacred texts imposes its sanctity on man.
Based on the foregoing, the researcher tried to reveal the determinants of (taboo) and the mechanism of its formations anthropology in the structure of postmodern theatrical performances, by accessing the emergence of (taboo) and its forms and development, and then the mechanism of its formation in the structure of the postmodern theatrical performance anthropology, to reach the goals The desired through a set of indicators contributed to the description and analysis of one of the intended samples to reach the results and then conclusions and some recommendations and suggestions, then the margins, sources, references and appendices, then the research summary in English.

The current research (memes of the image of violence in the Assyrian arts) examines as an analytical trend to explain cultural development, as through this approach memes are pursued to a subject within certain limits temporally and spatially. The first chapter therefore contained the problem of research and the purpose and importance of the research and ended with the identification of terms. The second chapter included the theoretical framework. It includes three investigations, the first of which dealt with a history of evolutionary development. In the second research, the concept of the image was studied from the visual image to the mental image. The research was summarized by the study of violence in Assyrian art. Chapter 3 dealt with the research procedures represented by the research community and its sample of (40) samples and the identification of (4) models for analysis