Basrah Arts Journal

Semiotic Discourse in Contemporary Iraqi plastic Art

Sirwan Rafat Ahmed — 2024-11-28

The current research entitled (Semiotic Discourse in Contemporary Iraqi plastic Art) deals with this study, which is based on the semiotic discourse directed by the contemporary Iraqi artist and what is the intended discourse that broadcasts a message that contains social, artistic, religious and other aspects to the recipient through a set of coded symbols and signs that are like codes that need to be decoded by identifying these signs rooted in ancient and contemporary Iraqi culture as well.

This study consists of four chapters, the first of which is the methodological framework of the research and includes the research problem, which was summarized by the following question: What is the semiotic discourse in contemporary Iraqi plastic art? As for the importance, it monitored the semiotic discourse and its importance in supporting libraries, then the research objective and its objective, temporal and spatial limits, then defining the terms, and with regard to the second chapter, the theoretical framework that included three topics and indicators, the first is semiotics: its dimensions and concepts, the second is the conceptual discourse, and the third is the semiotic discourse in contemporary plastic art, while the third chapter included society, the sample, the tool, the method, and the method of analyzing sample models, while the fourth chapter included the results, conclusions, recommendations and proposals, and the most prominent results and conclusions are the following:

1- The symbols and signs found in the Iraqi models have their own specificity in the artist's self-expression in terms of their features that indicate what the artist intends in his declared discourse.

2- The Iraqi plastic artist relied on the composition of formal images, organization and contexts that indicate meaning.

3- Iraqi artists share a semiological discourse other than expressing meaning between (technological discourse, the end of the world, the destruction of the earth, religious discourse) in expressing their objective contents.

4- The Iraqi artist was able, through his paintings, to adhere to the rules that determine the relationship between the message and the subject, relying on authentic references that are characterized by objectivity and through which he highlights a semiotic discourse.

5- The Iraqi artistic productions were dominated by the semiological character that provided the opportunity to study them and know their motives and meanings that indicate the discourse directed to the recipient.

Mythological influence on ancient pottery formations of models (the mother goddess producing offspring)

Alia Mohsen Abboud — 2024-11-28

The study of mythological influences in ancient pottery formation, corresponding to the models of what is known as (the mother who produces offspring), is of clear importance, in terms of investigating the sufficient mythological ideas in the pottery formation models, as it occupied an important place in the course of ancient global ceramic formation, given that it has a strong relationship with social thought, with all its historical, environmental, mythological, and ideological specificities, taking into consideration the nature of the pottery formations, representing the model of (the mother who produces offspring), and what it carries of expressive and suggestive connotations related to mythology, which gave it a special character, as it enjoyed the specificity of the formal composition, in addition to the techniques of display in the ancient process of pride and coloring.

Pottery formations have relied on mythological frameworks with a socially dimensional goal, and in this research we stand on their formative and structural features, inherited from them, or those that relied on mythological characteristics that aim to show their contents and contribute to clarifying them, as the importance of the research comes in providing another reading of those models in the field of ancient pottery formation.

Self-isolation is depicted in the works of artist Latif Al-Samhan

Raafat Riyad AbdulWahed — 2024-11-28

The researcher dealt with the study, (Manifestations of self-isolation in the works of the artist Latif Al-Samhan). The researcher studied the topic of self-isolation psychologically and philosophically, and revealed the sources of this duality throughout the history of fine art, specifically drawing, as it contained four chapters. The first chapter dealt with (the methodological framework of the research) if it included the research problem. Which the researcher summarized by asking what were the (manifestations of self-isolation), as the problem included research into the artistic style followed by the artist, painter Latif Al-Samhan, and the extent of its influence, and then the importance of the research and the need for a research goal, the limits of the research, and the definition of terms, as well as the procedural definitions that agreed with the researcher’s point of view. The second chapter: which represents the theoretical framework, as it contains two sections, the first section Which represents the theoretical framework, he had discussed, firstly: the concept of self-isolation, secondly: Socrates’ theory, and thirdly: isolation according to (Feuerbach). Fourth: The ego, isolation, and the social spirit. Fifth: (Freud’s theory). The second section: Isolation and its impact on plastic art. First: Isolation in European art. The second chapter concluded by reviewing the indicators of the theoretical framework to benefit from here in terms of building the research tool, analyzing its sample, and presenting and discussing previous studies. In the third chapter, it is devoted to research procedures, in which it reviews the definition of the “research community,” selecting samples from the community as a sample, and determining the methodology used in the research. The fourth chapter: research results, conclusions, recommendations and proposals.

Focusing techniques and their role in the kinetic formation of the performance of the Iraqi theatrical actor

Waad Abdul Amir Khalaf — 2024-11-28

The actor's focus takes a large part of the kinetic performance and scenic formation after it is a performance technique capable of organizing the space of the theatrical performance, as the focus of the actor takes a means that supports the performance and appears in an acceptable way from the recipient's point of view. In light of the above, the researcher divided his research topic into four chapters. The first chapter (the methodological framework) included the research problem represented by the following question: What is the role of focus techniques in the kinetic formation of the actor's performance in the Iraqi theatrical performance? Then access to the importance of the research and the need for it and the research objective which was determined as follows: Identifying the role of concentration techniques in the movement formation of the actor's performance in the Iraqi theatrical show, in addition to determining the time and place of the research sample and mentioning the terms mentioned in the title text, and the second chapter included two topics, the first: Concentration, its concept, types and tasks, and the second topic was determined under the title: Concentration in the movement actor. Then addressing the paragraph of what the theoretical framework resulted in. The third chapter included the research community and its sample, then determining the methodology that the researcher will follow, represented by the descriptive analytical method, then the research tool that will enable him to analyze the sample, as for the fourth chapter, it was determined by the most important results that the researcher reached through the analysis of the sample, then the conclusions related to the axis of the study, in addition to addressing some recommendations and suggestions to conclude his study with the most important references that he relied on in the facts of the research entitled Concentration techniques in the movement formation of the actor's performance.

The Aesthetic Employment of Cinematographic Techniques in Television Series

Mohammed Sameer Mohammed — 2024-11-28

This academic study examines the use of cinematographic techniques in the production of television series and the evolution of these techniques over time. The research aims to explore these employed techniques and their impact on the artistic and narrative quality of the series, through the analysis of contemporary examples. Additionally, the study demonstrates how cinematographic techniques such as camera movements, compositions, lighting, and colors are utilized to add new dimensions to television works, enhancing their appeal and increasing audience engagement.