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Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As technology and many users develop, communication between institutions and society needs to be humane and communicate directly with the public. One of the most prominent modern technologies for communication in advertising design and digital marketing is the visual elements embodied in emojis (emojis), memes (memes) and asylum for influencers, the visual elements have a powerful influence by connecting society on different platforms, It reflects real feelings without direct contact status, expressing people's condition and helping to build virtual communication status between others and becoming a reflection of the trending state of any event. Its use in marketing has become an expressive force of the product and brand in the absence of direct communication and its spread has helped the incursion of social platforms and the use of many applications. The research aims to study the visual elements in the communication process as a means of expressing the trend and its influence in marketing for digital advertising and to provide some graphic and appropriate design solutions for digital design with the power of visual elements. The problem of research is to study the spread of visual elements and how to employ visual elements as an expression of tendency in digital advertising design, Research limits on digital advertising in the period 2018- 2023. The research follows the descriptive curriculum followed by analytical study and then the designs of the researcher's work.

يتناول هذا البحث ظاهرة من أبرز الظواهر التي برزت في القصيدة النسوية السعودية المعاصرة، وهي ظاهرة (التشكيل البصري)، ومن مظاهر هذه الظاهرة البارزة التي رصدتها الدراسة: البياض بالصمت، وذلك بترك الجملة دون اكتمال، بترك أحد مكوناتها أو أكثر، وهذه الجملة يمكن تسميتها بـ(الجملة المفتوحة)، وهذه التقنية برزت عند الشاعرات السعوديات بشكل لافت في عناوين قصائدهن.ومن تقنية البياض أيضًا تقطيع أوصال الجملة وتفتيتها وبعثرة مكوناتها على الأسطر الشعرية، وهذا النوع أتى عند الشاعرات السعوديات في عناوين القصائد وفي داخلها.ومن هذه التقنية كذلك توزيع حروف الكلمة الواحدة من خلال فك ارتباطها الطباعي على الأسطر الشعرية.وتوظيف تقنية البياض التي تجمع بين الكتابي اللفظي والبياض البصري تؤدي إلى وجود نصين: نص مغلق بالكتابة ونص مفتوح بالبياض.ومن ظواهر التشكيل البصري: استخدام علامات الترقيم بأشكال بصرية مختلفة، ومن أبرز تلك العلامات حضورًا عند الشاعرات السعوديات المعاصرات: علامة الحذف (...)، هذه العلامة التي جعلت العنوان مفتوحًا على العديد من التأويلات.ومنها أيضًا: توظيف المد بالألف بطريقة بصرية صادمة؛ حيث كررت الشاعرات السعوديات ألف المد أكثر من مرة في كلمة واحدة في بعض عناوين القصائد، وشكل هذا ظاهرة بصرية لغوية طباعية/ مكانية، وصوتية/ زمانية.This research dealt with one of the most prominent phenomena that has appeared in contemporary Saudi feminism, which is the phenomenon of (visual formation), and one of the manifestations of this phenomenon that the study monitored is: whiteness with silence, by leaving out the sub-legal sentence, by leaving out one or more of its components, and this sentence can be called (The open sentence), and the third technical one, appeared remarkably among Saudi women poets in the titles of their poems.Another technique of whiteness is cutting the pieces of a sentence, breaking it up, and scattering its components over the poetic lines. This type came to Saudi women poets in the titles of poems and within them.This technique also includes distributing the letters of a single word by separating their typographical connection onto the poetic lines.Employing the whiteness technique, which combines verbal writing and visual whiteness, leads to the presence of two texts: a text closed with writing and an open text with whiteness.Among the phenomena of visual composition is the use of punctuation marks in different visual forms, and one of the most prominent signs present among contemporary Saudi female poets is the ellipsis (...), which makes the title open to many interpretations.Also including: employing the tide of the thousand in a shocking visual way. Saudi female poets repeated Alif Madd more than once in one word in some poem titles, and this formed a visual, linguistic, typographical/spatial, and audio/temporal phenomenon.

The elements of space have an important role in the formation of thermal comfort within the urban space and the formation of a visual image of it. Therefore, the study aims to determine the elements of urban space and the effect of each element on thermal comfort and the formation of an appropriate thermal image for it using various practical experiments, in addition to studying the role of trees in thermal performance and creating a suitable climate for it and knowing the best raw materials for use within the urban space. This study relied on the use of the experimental method by conducting an experiment in the city of Alexandria (Muhammad Naguib Square) to find out the effect of the different materials used in the voids on their thermal performance. The experimental phase was carried out using Design builder, a simulation engine that uses Energy Plus, and many passive cooling solutions were tested in the reference building through testing the types of materials for glass and walls proposed to be used, through which appropriate thermal and visual comfort can be achieved in the urban space ,the cooling energy used in the reference building can be reduced by 60%. Furthermore, the study demonstrates the potential of the design options examined by calculating the amount of thermal comfort that each alternative might achieve.

Visual memory is the first inventory when recalling abstract concepts, it is the image that dramatically gives the idea and conveys it to the recipient, and just as people can pronounce their thinking they can visualize it, for example diagram, map and painting are all examples of the uses of visual language, which includes its structural units, for example line, shape, color, shape, movement and texture, and those elements in the picture represent concepts in a spatial context rather than the linear form used for words, speech and visual communication. They are parallel and often interrelated means in the exchange of information by human beings, and this is what the research is about through a graphic formative experience that carries abstract expressive concepts about Eastern women in general and Egyptian, in the light of a societal reality that constantly stresses her freedom and feelings and the researcher has shed light on the psychological extent suffered by women to reach psychological stability through her study of the physiognomy, which helped her to discover personality and the general situation From his exterior only , Any study of the type of thinking and personality through its influence on the features of the personality in general, and has dealt with women in her work as she can’t control her emotions so she addressed the woman in particular and highlighted her inner emotions and she has handled the works by drawing sketches in India ink then modifying the by different Graphic programs and using digital arts then printing them with the technique of silk screen, using the school of abstract expressionism which she found her way of doing because it cares about feelings and conscience.

The aesthetic artistic expression of Islamic arts represents a vital form in the decorative arts. Islamic arts realize the beauty of things. From this concept, Islamic civilization provided its artists and children with the need for serenity and beauty of the inner spirit and the development of their external visual enjoyment, The research problem includes the need to change the view of the consumer and the owners of ready-made garments printing factories, and the development of the visual culture of the print designer, the consumer, and the factory owners of ready-made garments by making use of the basics of aesthetic artistic expression in Islamic decorative arts, Employing the aesthetics of Islamic arts in the work of contemporary print designs that carry new formal values and achieve excellence and individuality, and study the basic concepts that emphasize the promotion of creativity and link the innovative aspect to the applied aspect in the field of textile printing for ready-made clothes, Design plays an important role in the development of the aesthetic aspect in the life of the individual and the design of the printed uniform is the first source of consumer attraction, The research aims to study the essential characteristics and features that raised the manifestations of Islamic aesthetic art and to reach how to take advantage of the concepts that link the innovative aspect and practical application to obtain print designs for ready-made clothes that carry distinction and individuality and show the extent of benefit from the aesthetic thought of Islamic arts in terms of its decorative vocabulary, Reviving the innovative aspect of the contemporary designer artist to create innovative contemporary print designs that change the external visual enjoyment of the consumer and owners of printing factories and ready-made clothes. The research depends on the descriptive analytical approach with applied study, From the results of the research the researcher proved that the Islamic decorative artworks were distinguished by their individuality, which resulted in the purity and beauty of the inner spirit and the visual enjoyment of the outer, Which helped the researcher to achieve the goal of the research and to know the textile printing designer how to revive his innovative side in obtaining new, contemporary creations for the printing of ready-made garments that help develop the visual culture of producers, factory owners and consumers, And there is a statistically significant relationship between benefiting from the aesthetics of the aesthetic expression of Islamic decorative arts and making innovative print design applications for ready-made garments of an Egyptian character with a distinct individuality and occasion.

This research deals with the study of the criteria for designing an institutional visual identity guide for Helwan University, given the important and increasing role that the corporate identity “branding” plays as one of the most prominent means of institutional communication. minds of the masses. Because of its positive role for the institution, it is its spirit and identity through which it communicates with its employees and customers. It also determines the institution’s vision, mission and path, and the values on which it is based, as well as reflecting the reactions towards it and the size of its impact. Here, the importance of each institution having its own digital, visual, audio, textual, and kinetic identity, in order to achieve its objectives at the internal level, as it integrates it and makes it related to its customers and present in their minds, and on the external level contributes to distinguishing it from its counterparts and from the rest of other bodies and institutions , in order for the institution to ensure its survival and continuity, and to enable it to obtain a strong position among its competitors in its sector of activity. The world of institutions has witnessed a great development as a result of many factors affecting the decisions of the institution’s functioning, especially the variables of its external environment, and we find that the most prominent of these variables are imposed by the economic and technological environment, and perhaps university institutions are one of these institutions that use communication with its various means and mechanisms, which is the main driver for it. It helps to improve, activate and revitalize the performance of employees while carrying out their administrative tasks and this is in pursuit of achieving the pre-planned goalsAnd university institutions are not immune to changes and renewable indicators of the local and global shopping environment, and in this context, the research presents an applied study and a design vision of an integrated institutional identity guide for Helwan University that fits with the university’s philosophy and vision in light of the innovations of marketing thought for university education.

The design and the field of logo's design is considered one of the most important cultural approaches in the current era to preserve the visual and cultural identity for people in general and for the Arab child in specific, especially during the wide spread of globalization and expansion of knowledge, the Arab child need to receive direct and indirect communicative messages related to his cultural values to make him be able to distinguish what is suitable to his own culture or not. Our research is concerned with analyzing children's channels to clarify their weaknesses and how is it engaged to the Arab identity and also how it's affectioning in the child behavior. The research problem is in how there are many children's channels logos don't represent the cultural and civilizational dimension of those countries. But also is represent the features and characteristics of the global logos and the global trend in design so that it's reflecting in the formation of the Arab child in the pre-school stage which is the logo in this stage one an important engine in developing the child behavior and contributing in the development of his innovative and sensory skills. So that the design of the logo directed to the child, must be based on main basis includes a symbolic and cultural meaning which helps to build his cultural and visual identity.

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current research aimed at identifying the impact of the Gardens of Ideas strategy on developing visual-spatial intelligence among female fourth-grade literary students in Islamic education according to the Gardens of Ideas Strategy. To achieve the aim of the research, the researcher intentionally chose Al-Tale'a Preparatory School for Girls. In the same way, Group (A) was chosen to represent the experimental group that studies Islamic education subjects according to the Gardens of Ideas strategy, and Group (B) to represent the control group that studies Islamic education subjects according to the usual method. The size of the research sample was (57) students, with (29) students in Group (A), and (28) students in Group (B). The researcher conducted the equivalence between the students of the two research groups in the following variables: (the chronological age of the students calculated in months, the general average for the third intermediate grade, the degree of Islamic education in the third intermediate grade, the thinking quotient, the visual-spatial intelligence test, the academic achievement of the parents). The researcher prepared teaching plans for the subjects that were taught during the experiment period, distributed among the two research groups. The researcher also prepared the visual-spatial intelligence test, and presented it to a group of experts and specialists to see its validity and reliability. After analyzing the results statistically using the T-test for two independent samples, the researcher concluded that the students of the experimental group outperformed the students of the control (T-test) in the visual-spatial intelligence test. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Çalışmanın konusu, Araplarda şiir: Sözlü, görsel ve yazılı kültürde insandır. Problemi ise sözel bir kültüre ve ileri bir edebiyata sahip olan Araplara indirilen Kur’ân-ı Kerîm ve İslâm dininin evrenselliğidir. Günümüz kültür ve iletişim çalışmalarına bakıldığında sözlü kültür insanlarının yazılı ve görsel kültür insanlarına göre daha geri olduğu, soyut düşüncelerinin gelişmediği, iç dünyalarının derinleşmediği, bireyselliklerinin zayıf olduğu, eleştirel düşünceye sahip olmadığı, kapalı ve tutucu oldukları ifade edilmektedir. Oysa İslâm tarihine bakıldığında tam tersi bir durumla karşılaşılmaktadır. Zira Cahiliye Arapları sözlü bir kültüre sahip olmalarına rağmen diğer yazılı toplumlardan geri değildir; aksine edebiyatta dünyanın en ileri toplumlarıdır. Son dinin peygamberi Hz. Muhammed (s.a.s.) de ümmîdir. Ancak onun getirdiği din geçmişte pek çok insana rehberlik ettiği gibi günümüzde de yazılı, görsel ve dijital kültüre sahip insanlara yol göstermektedir. Kültür ve medeniyet sürekli değişmektedir. İletişim çalışmalarında iddia edildiği gibi görsel ve yazılı kültürün oluşturduğu devrim de yeni değildir. Tarihin bilinmeyen dönemlerinden beri yazı vardır; görsel kültür de vardır. İnsanlar ilk dönemlerden beri yazı yazmışlar, okumuşlar ve mağara resimleri, heykeller ve ikonlar gibi görseller yaratmışlar ve bunları da görsel olarak okumuşlardır. Çalışmanın amacı görsel bir kültüre sahip Araplara indirilen Kur’ân’ın evrenselliğinin açıklanması; önemi ise Arap şiirinin sadece sözlü kültüre değil, görsel, yazılı, dijital ve gelişecek olan yeni kültürlere de hitap ettiğinin açıklanmasıdır. Çalışmada nitel yöntem seçilmiş, doküman inceleme tekniği uygulanmıştır. Sözel, görsel ve yazılı kültürle ilgili çalışmalar değerlendirilmiş; dil ve beyânla ilgili İslâmî eserlere müracaat edilmiştir.

Copyright of Journal of Sport Sciences / Magallat ulum Al-Riyadat is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The evidence of the Quran has a significant role important to know the meaning of the word to be interpreted, this vision optic (The Real) don't understand the decision with vision and a heart for example; when you say (See Muhammad), and(I saw God bigger everything) find that coordinating semantic between the two are very different, the one but the teacher had changed because of the non logical and reasonable that God sees, so the issue here is the vision of heart for the council, has been speaking at other times to the installation of any overvalued (red), At the same time, man has a conscience through which he understands the rightness of the Bari, and this is what I meant by formats of the verb (saw) In the Qur'an, On the other hand, you find that the verb in its pure form is three-weight, it is one of the characters (the mirror, the land-based hum, and the cabin wrap), And it is constant and does not change, but the nature of the sentence in terms of its grammatical composition changes the meaning of the act, You can find synonyms of the verb "saw" in Arabic, which are many such as "look" and " He screamed. " and "Sight" and "conscious", "learned", " He's been in love.", "moment" and "glimpse", And many other acts of synonym, but they pour into the same connotation, one of which may indicate the meaning of the other from the face, On the other hand, Arabic is a beautiful language with meanings, synonyms and opposites, and its beauty often lies in eloquence, eloquence and semantics, That's why you find that the act (saw) and other actions have many implications that change according to the context, Or the reality of the situation that his friend is going through, or the time when people live, And that's what I stood for and made it look like a search with this name. إنَّ الدلالةَ القرآنية لها دورٌ كبير مهم في معرفة معنى الكلمة المراد تفسيرها ، فالرؤية البصرية (الحقيقية) لا تتَّفِقُ البتّة مع الرؤية القلبية على سبيل المثال ؛ فإنَّك عندما تقولُ (رأيْتُ محمدًا) و(رأيتُ اللهَ أكبرَ كلّ شيءٍ) تجدُ أن التنسيق الدلالي بين الفعلين مختلفٌ جدًا ، فالفعلُ واحد لكن المعنى قد تغيَّر؛ لأن من غير المنطقي والمعقول أنَّ اللهَ يُرَى ، إذن فالمسألة هنا هي رؤية قلبية على سبيل المجاز، وقد يتحوَّلُ تارةً أُخرى إلى تركيب صيغة المبالغة (رِئَاء) ، وفي الوقتِ نفسِه ينمِّي لدى الإنسان ضميرًا يعي من خلالِه أحقيَّةَ الباري عزَّ وجلَّ ، وهذا ما قصدْتُ به من أنساق الفعل (رأى) في القرآن الكريم ، أمَّا من جهةٍ أخرى تجد أنَّ الفعلَ في صيغتِه الصرفية ثلاثيُّ الوزنِ ، فهو من الأحرف (الراء والهمزة اليابسة والإلف المقصورة )، وهي ثابتةٌ لا تتغير لكن طبيعة الجملة من حيثُ تركيبُها النحويُّ هو من يغيِّرُ المعنى الذي يؤولُ إليه الفعلُ ، فلكَ أن تجدَ مرادفاتٍ من الفعل (رأى) في العربية وهي كثيرةٌ كـ (نظرَ) و(بَصَرَ _ بَصُرَ _ بَصِرَ) و(وعى) و(علِمَ) و(حسِب) و (لحظَ) و(لمحَ)، وغيرها الكثيرُ من الأفعال المرادفة ، لكنَّها تصبُّ في نفسِ الدلالة ؛ فقد تدلُّ أحداها على معنى غيرها هذا من وجه ، أمَّا من وجهٍ آخر فإنَّ اللغةَ العربية لغةٌ جميلةٌ غفيرةٌ بالمعاني والمرادفات والأضداد ، وغالبًا ما تكمنُ جماليتُها في البلاغة والفصاحة وعلم المعاني ، ولهذا تجدُ أن الفعلَ (رأى) وغيرَه من الأفعال لها معانٍ كثيرة تتغيَّرُ بحسبِ السياق ، أو واقع الحال الذي يمرُّ به صاحبُه ، أو الزمان الذي يعيشُ فيه الناسُ ، وهذا ما وقفتُ عنده وجعلتُه على شكلِ بحثٍ بهذا المسمَّى .

اختلفت نظرة المجتمعات للمعاق بصريًا منذ القدم؛ بين التوقير والتحقير، التبرک والنفور، الدمج والعزل، وأطلقت عليه العديد من المسميات التي تحمل دلالات مختلفة، بعضها يرادف المعنى الأصلي، والآخر يقابله، وقد تصدرت الأمثال الشعبية فنون الأدب الشعبي الأخرى، بما تحمله من رسائل بليغة موجزة، عکس نظرة تلک المجتمعات، وأوضحت کيف جنت هذه الأمثال على المعاق بصفة عامة، والمعاق بصريًا بصفة خاصة، وصاحبت الکفيف بعلاقة تلازمية مع العجز التام، وربطت الإعاقة البصرية بغيرها من الإعاقات؛ کالسمعية والذهنية، وأحيانًا الحرکية، کما حاولت الدراسة رصد أوجه التقارب والاختلاف بين الأمثال الشعبية الخاصة بالإعاقة البصرية، التي ذُکرت في معجم الأمثال الشعبية لأحمد تيمور، وتلک التي تتوارد في المجتمع الأسيوطي، کما حرصت الدراسة على جمع أکثر الطرق الشائعة في مجتمع أسيوط لعلاج العين وحمايتها، وهي علاجات بطرق ووسائل متوارثة منذ القدم، أسهمت فيها کل مکونات الطبيعة، من مياه ونباتات وحيوانات وجمادات، يؤمن المجتمع الأسيوطي بسرعة مفعولها وقوة أثرها. استخدمت الباحثة لوصف صور الإعاقة ودلالتها في الأمثال الشعبية؛ المنهج الوصفي التحليلي، کما استعانت أحيانًا، بالمنهج التاريخي، الذي وضَّح نظرة المجتمع، عبر العصور القديمة، وحتى العصر الحديث للمعاق بصريًا، وکيف اختلفت هذه النظرة مع توالي العصور. أوصت الدراسة برصد وتفسير نظرة المجتمعات المختلفة للمعاق بصريًا، ومکانته في تلک المجتمعات، وذلک في کافة فنون الأدب الشعبي؛ من حکايات، وأغنيات، و مواويل، وسير شعبية، و.....غيرها. Throughout history, societies have always had various visions towards the visually impaired. These attitudes range from reverence to contempt, seeking blessedness to aversion, and incorporation to isolation. A variety of labels with different connotations, either synonymous or antonymous with the original meaning, have been given to the visually impaired. Given this, the study in hand emphasizes the superiority of proverbs, with their eloquent concise messages, over other types of folklore, reflecting the views of those societies. Additionally, it elaborates how these proverbs stigmatize the special needs in general, and the visually impaired in particular as concomitantly likely vulnerable to undergo total disability and other deficiencies: auditory, mental, and sometimes motor. More, it tries to monitor similarities and distinctions between common sayings relevant to visual impairment, mentioned in the dictionary of folk proverbs by Ahmed Taymour, and those frequently said by the folk in the Assiut society. The study is also closely interested in surveying and pursuing the commonest protective measures and conventional treatments, mostly derived from ancient times, for the eyes. Noticeably, those therapies, comprising fully natural elements; e.g., water, plants, animals and inanimate objects, have earned the confidence of the Assiut society for their powerful and pacey effectiveness. Concerning methodology, the researcher used the descriptive analytical approach to describe forms of the targeted disability and their implications in proverbs; further, she occasionally engaged the historical approach to track social views towards the visually impaired through ancient times till now, and how they vary from age to another. Eventually, the study recommends and highlights the significance of monitoring and interpreting distinct social views towards the visually impaired and their status in societies as depicted in all folk arts: tales, songs, mawal, folktale biographies... etc.

The research dealt with (narrative functions in Renaissance paintings) and it contained four chapters. The first chapter included the methodological framework for the research, which was represented by the research problem and its goal (revealing the functions and techniques of narration in Renaissance Paintings). The limits of the research were limited to studying the functions of narration in paintings. The Renaissance period (1425-1563), which the researcher chose from books and the Internet and was analyzed according to the descriptive method. As for the second chapter, the theoretical framework and previous studies, which included two topics, the first topic: Narrative styles, techniques and functions. As for the second topic, it dealt with: visual narration, applications in Renaissance paintings. The third chapter included the research procedures that included the research community, its sample, its methodology, and the analysis of the sample of (5) works of art. While the fourth chapter includes the results of the research and conclusions, among the findings of the researcher the following: ▪ The functions of narration depend on the interrelationships towards the current context between the diagnostic forms that serve to convey the meaning and idea of the narration, which depends on the grouping and the linking relationships between the formal visual units and the organizations taking place and not on the structure of the narration. ▪ There are main functions of narration that work to build a visual narration mechanism, which are : - The communicative function, the communicative function, the ideological function, the expressive function, and the reference function, and there are techniques affiliated with these functions can establish and build visual narratives in drawing, which are the retrieval technique and the time and space technique .

Copyright of Al-Majma: Studies in Arabic Language, Literature & Thought is the property of Al-Qasemi Academy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The course of the research and its narrative approach is determined in light of the social phenomenon, which preoccupied the novel "My Wish Is to Kill a Man" by the Emirati novelist Suad Sultan Al Shamsi. The novel took "the symbolism of violence" as a semiotic operator to enrich the novelist discourse and symbolic spaces of significance have been opened up. It also revealed a succession of questions of reality and its circumstances. Moreover, it authorized the embodied characters to express all about their worlds and their probable Semantic. The novel has carried through its narrative activity the technique of symbolism, which is compounded in its conception of the phenomenon of social violence at the present moment in which the Arab man (woman / man) lives in a great strife; where rights are wasted, oppression, exclusion and seduction are increased. This brings us closer to the creative energy achieved by the novelist, and her remarkable ability to portray reality and address its issues. Then, the novel moved, in the light of the sacred and the cursed, from its direct horizon, in which values and human relations revolve into a more comprehensive and profound horizon. This is the horizon of the contemporary Arab narrative and its relation to reality; the discussion of the real living issues and the answers to its various questions. All of that reflects the level of experimentation the novel has developed in its tracks and narratives about the novelist world. It succeeded to a great extent in dealing with an integrated system of religious, human, social and cultural values. The novel mastered its symbolic game in an amazing and imaginary way, in the three levels of: thresholds, conflict, narrative language. [ABSTRACT FROM AUTHOR]

The current research deals with the visual openness in the sculptural formation of the artist Muhammad Al-Ani, and the first chapter contains the introduction to the research that dealt with the cognitive concept of openness through the ages and how it reflects on contemporary sculptural formation. The introduction ended with the following question: - How did Muhammad Al-Ani achieve visual openness with his creative achievements? It may have been from two topics. The first deals with self-openness, how it is, and what are the influences that contributed to it according to the opinions of specialists in that. As for the second topic, it dealt with visual openness in the global formation, as it explained how the beginnings of openness to modern formation were and what were the first actions that were the beginning of the launch towards visual openness and the most important pioneers In this and then the research procedures in which he dealt with five examples of the works of the artist Muhammad Al-Ani critically and analyzed, and then it follows The most prominent search results: - 1- The works of the artist Muhammad Al-Ani were distinguished by simplicity. 2- Muhammad Al-Ani uses all the raw materials and materials available to him to produce artworks. 3- The works of Muhammad al-Ani express the problems and concerns of contemporary man. 4- The works of Muhammad Al-Ani were mostly made of non-durable and perishable materials and materials. 5- Muhammad Al-Ani does not change the nature of the materials that he uses, but rather presents them as they are. 6- Muhammad Al-Ani adopts the technique of arrangement and organization as a structural method for work without the use of binders or bonding materials. Then the conclusions were 1- The works of Muhammad Al-Ani are distinguished by the ease of formation and the use of various materials in one artwork. 2- Muhammad Al-Ani did not use traditional materials such as stone and bronze or sophisticated techniques. Then the conclusions and the sources come. [ABSTRACT FROM AUTHOR]

Copyright of Journal of College of Education / Wasit is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)