{"id":40952,"date":"2025-06-02T07:50:30","date_gmt":"2025-06-02T07:50:30","guid":{"rendered":"https:\/\/uomosul.edu.iq\/en\/finearts\/?page_id=40952"},"modified":"2025-06-04T11:35:49","modified_gmt":"2025-06-04T11:35:49","slug":"electronic-library","status":"publish","type":"page","link":"https:\/\/uomosul.edu.iq\/en\/finearts\/electronic-library\/","title":{"rendered":"e-library"},"content":{"rendered":"<h3>Electronic Library \/ Published Research, Books and Resources:<\/h3>\n<h3 data-sourcepos=\"5:1-5:117\"><strong>&#8220;Proceedings of the Second National and First International Conference of Colleges of Fine Arts \/ September 2022&#8221;<\/strong><\/h3>\n<h3>\u00a0Click here<\/h3>\n<h4 class=\"fusion-responsive-typography-calculated\" data-fontsize=\"18\" data-lineheight=\"27px\"><a href=\"https:\/\/uomosul.edu.iq\/public\/files\/datafolder_3207\/_20230201_111604_500.pdf\">Attached file link<\/a><\/h4>\n<h3 data-sourcepos=\"5:1-5:39\"><strong>Theater and Performance Studies<\/strong><\/h3>\n<ul data-sourcepos=\"7:1-42:0\">\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\"><strong>Syriac Theater in Iraq (Displacement Theater as a Model)<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\">Nashat Mubarak Saliwa<\/p>\n<\/li>\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/303655\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/303655<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:88\"><strong>Improvisation: A Performance Technique in the Theater of the Oppressed<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:88\">Dr. Nashat Mubarak Saliwa, Munqith Mohammed Faisal<\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/156276\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/156276<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"15:1-18:0\">\n<p data-sourcepos=\"15:3-17:88\"><strong>Mechanisms of Body Employment in the Theater of Cruelty and Biomechanics Technique<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"15:1-18:0\">\n<p data-sourcepos=\"15:3-17:88\">Dr. Bashar Abdul Ghani Mohammed, Dr. Nashat Mubarak Saliwa<\/p>\n<\/li>\n<li data-sourcepos=\"15:1-18:0\">\n<p data-sourcepos=\"15:3-17:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/163492\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/163492<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\"><strong>Audience Categorization of Visual Art Exhibitions (Visual Art Galleries in Baghdad as a Model)<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\">Hamed Ibrahim Umaidi Al-Rashidi<\/p>\n<\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/119720\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/119720<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\"><strong>The Function of the Actor&#8217;s Vocal Performance in Educational Theater Shows<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\">Anwar Mohammed Zaki Younis, Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/303619\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/303619<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"27:1-30:0\">\n<p data-sourcepos=\"27:3-29:84\"><strong>Reception in Educational Theater<\/strong> Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"27:1-30:0\">\n<p data-sourcepos=\"27:3-29:84\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/4737\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/4737<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\"><strong>Employing Mythology in Iraqi Dramatic Texts<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\">Ibrahim Salem Mohammed, Anwar Mohammed Zaki Younis<\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/303652\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/303652<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\"><strong>Utilizing Puppets in Educational Theater Performances<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\">M. Anwar Mohammed Zaki Younis, A.D. Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/234012\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/234012<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\"><strong>Characteristics of the Hero&#8217;s Character in Educational Theater Performances<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\">Anwar Mohammed Zaki Younis<\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/264954\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/264954<\/a><\/p>\n<\/li>\n<\/ul>\n<hr data-sourcepos=\"43:1-43:3\" \/>\n<h3 data-sourcepos=\"45:1-45:45\"><strong>Environmental and Geochemical Studies<\/strong><\/h3>\n<ul data-sourcepos=\"47:1-58:0\">\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:168\"><strong>Geochemical Assessment of Heavy Elements in Sediments of Main Wadis of Western Part of Mosul City, Iraq<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:168\">Ali Hashim Al-Dabbagh, Qutaiba Tawfiq Al-Youzbaki<\/p>\n<\/li>\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:168\"><a class=\"ng-star-inserted\" href=\"https:\/\/rosa.uniroma1.it\/rosa02\/engineering_geology_environment\/article\/view\/811\" target=\"_blank\" rel=\"noopener\">https:\/\/rosa.uniroma1.it\/rosa02\/engineering_geology_environment\/article\/view\/811<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"51:1-54:0\">\n<p data-sourcepos=\"51:3-53:128\"><strong>The Environmental Impact of Heavy Metals in Sediments of Main Valleys in the Eastern Side of Mosul City, Iraq<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"51:1-54:0\">\n<p data-sourcepos=\"51:3-53:128\">Ali Hashim Al-Dabbagh, Qutaiba Al-Youzbaki<\/p>\n<\/li>\n<li data-sourcepos=\"51:1-54:0\">\n<p data-sourcepos=\"51:3-53:128\"><a class=\"ng-star-inserted\" href=\"https:\/\/link.springer.com\/article\/10.1007\/s10661-024-12348-0\" target=\"_blank\" rel=\"noopener\">https:\/\/link.springer.com\/article\/10.1007\/s10661-024-12348-0<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"55:1-58:0\">\n<p data-sourcepos=\"55:3-57:112\"><strong>Geochemical Study of the Sediments in Main Valleys East of Mosul City, Iraq<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"55:1-58:0\">\n<p data-sourcepos=\"55:3-57:112\">Ali Hashim Al-Dabbagh, Qutaiba Tawfiq Al-Youzbaki <a class=\"ng-star-inserted\" href=\"https:\/\/www.researchsquare.com\/article\/rs-3249707\/v1\" target=\"_blank\" rel=\"noopener\">https:\/\/www.researchsquare.com\/article\/rs-3249707\/v1<\/a><\/p>\n<\/li>\n<\/ul>\n<hr data-sourcepos=\"3:1-3:3\" \/>\n<h3 data-sourcepos=\"5:1-5:26\"><strong>Published Articles<\/strong><\/h3>\n<ul data-sourcepos=\"7:1-54:0\">\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\"><strong>The Function of the Actor&#8217;s Vocal Performance in Educational Theater Shows<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\">Anwar Mohammed Zaki Younis, Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"7:1-10:0\">\n<p data-sourcepos=\"7:3-9:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/303619\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/303619<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:84\"><strong>Reception in Educational Theater<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:84\">Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"11:1-14:0\">\n<p data-sourcepos=\"11:3-13:84\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/4737\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/4737<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"15:1-18:0\">\n<p data-sourcepos=\"15:3-17:88\"><strong>Employing Mythology in Iraqi Dramatic Texts<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"15:1-18:0\">Ibrahim Salem Mohammed, Anwar Mohammed Zaki Younis<\/li>\n<li data-sourcepos=\"15:1-18:0\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/303652\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/303652<\/a><\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\"><strong>Utilizing Puppets in Educational Theater Performances<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\">M. Anwar Mohammed Zaki Younis, A.D. Mohammed Ismail Al-Tai<\/p>\n<\/li>\n<li data-sourcepos=\"19:1-22:0\">\n<p data-sourcepos=\"19:3-21:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/234012\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/234012<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\"><strong>Characteristics of the Hero&#8217;s Character in Educational Theater Performances<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\">Anwar Mohammed Zaki Younis<\/p>\n<\/li>\n<li data-sourcepos=\"23:1-26:0\">\n<p data-sourcepos=\"23:3-25:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/264954\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/264954<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"27:1-30:0\">\n<p data-sourcepos=\"27:3-29:88\"><strong>Depictions of Prophets in Islamic Manuscript Art<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"27:1-30:0\">\n<p data-sourcepos=\"27:3-29:88\">Lecturer: Maidah Tariq Mohammed Ahmeed<\/p>\n<\/li>\n<li data-sourcepos=\"27:1-30:0\">\n<p data-sourcepos=\"27:3-29:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/307719\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/307719<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\"><strong>Islamic Carpets in Persian Manuscript Illustrations (Khamseh of Nezami as a Model)<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\">Maidah Tariq Mohammed<\/p>\n<\/li>\n<li data-sourcepos=\"31:1-34:0\">\n<p data-sourcepos=\"31:3-33:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/264961\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/264961<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\"><strong>Aspects of Beauty in Timurid and Safavid Era Paintings &#8211; A Comparative Study &#8211;<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\">M. Maidah Tariq Mohammed<\/p>\n<\/li>\n<li data-sourcepos=\"35:1-38:0\">\n<p data-sourcepos=\"35:3-37:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/234036\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/234036<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\"><strong>The Sorcerer&#8217;s Character in the Arabic Dramatic Text: &#8220;The Black Lily&#8221; Play as a Model<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\">Prof. Dr. Ali Mohammed Hadi Al-Rubaie, Asst. Lecturer. Zaid Tariq Fadhel Al-Sinjari<\/p>\n<\/li>\n<li data-sourcepos=\"39:1-42:0\">\n<p data-sourcepos=\"39:3-41:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/227893\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/227893<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"43:1-46:0\">\n<p data-sourcepos=\"43:3-45:88\"><strong>The Rhythm of Character in Poetic Dramatic Texts: &#8220;Ibn Al-Ali&#8221; Play as a Choice<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"43:1-46:0\">\n<p data-sourcepos=\"43:3-45:88\">Zaid Tariq Fadhel Al-Sinjari, Israa Abdul Munim Fadhel Al-Rashidi<\/p>\n<\/li>\n<li data-sourcepos=\"43:1-46:0\">\n<p data-sourcepos=\"43:3-45:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/264953\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/264953<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:88\"><strong>The Spatial Formation of the Sculptural Body in the Theatrical Performance Space<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:88\">Aqeel Majid Hamid Mohammed Al-Mallahsan<\/p>\n<\/li>\n<li data-sourcepos=\"47:1-50:0\">\n<p data-sourcepos=\"47:3-49:88\"><a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/194601\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/194601<\/a><\/p>\n<\/li>\n<li data-sourcepos=\"51:1-54:0\">\n<p data-sourcepos=\"51:3-53:86\"><strong>The Body and the Constructive Image in Dramatic Dance Performances<\/strong><\/p>\n<\/li>\n<li data-sourcepos=\"51:1-54:0\">\n<p data-sourcepos=\"51:3-53:86\">Aqeel Majid Hamid Mohammed <a class=\"ng-star-inserted\" href=\"https:\/\/www.iasj.net\/iasj\/article\/71343\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iasj.net\/iasj\/article\/71343<\/a><\/p>\n<\/li>\n<\/ul>\n<hr data-sourcepos=\"55:1-55:3\" \/>\n<h3 data-sourcepos=\"57:1-57:38\"><strong>Books and Electronic Resources<\/strong><\/h3>\n<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\">\n<div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\">\n<div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-6 fusion_builder_column_1_1 1_1 fusion-flex-column\" data-scroll-devices=\"small-visibility,medium-visibility,large-visibility\">\n<div class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column\">\n<div class=\"fusion-content-tb fusion-content-tb-1\">\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/2%D8%A7%D9%84%D8%A7%D8%B3%D9%84%D9%88%D8%A8%D9%8A%D8%A9-%D9%88%D8%A7%D9%84%D8%A7%D8%B3%D9%84%D9%88%D8%A8.pdf\">Stylistics and Style<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/2%D8%A7%D9%84%D9%83%D9%84%D8%A7%D9%85-%D9%88%D8%A7%D9%84%D8%AE%D8%A8%D8%B1.pdf\">Speech and News\u0627<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D8%A8%D8%AC%D8%AF%D9%8A%D8%A7%D8%AA-%D9%81%D9%8A-%D9%81%D9%87%D9%85-%D8%A7%D9%84%D9%86%D9%82%D8%AF-%D8%A7%D9%84%D8%B3%D9%8A%D9%85%D9%8A%D8%A7%D8%A6%D9%8A.pdf\">Alphabets in Understanding Semiotic Criticism<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D8%A8%D8%B3%D8%AA%D9%88%D9%85%D9%88%D9%84%D9%88%D8%AC%D9%8A%D8%A7-%D8%A7%D9%84%D9%85%D8%B9%D8%B1%D9%81%D8%A9-%D8%B9%D9%86%D8%AF-%D8%A8%D8%A7%D8%B4%D9%84%D8%A7%D8%B1.pdf\">Epistemology of Knowledge According to Bachelard<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D8%AF%D9%88%D8%A7%D8%AA-%D8%A7%D9%84%D9%86%D8%B5.pdf\">Text Tools<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D8%B5%D9%8A%D9%84-%D9%88%D8%A7%D9%84%D9%86%D8%B5.pdf\">Authenticity and TextIntroducing \u2013 Semiotics<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A3%D9%82%D8%AF%D9%85-%D9%84%D9%83-%D8%B9%D9%84%D9%85-%D8%A7%D9%84%D8%B9%D9%84%D8%A7%D9%85%D8%A7%D8%AA.pdf\">\u0623\u0642\u062f\u0645 \u0644\u0643 \u2013 \u0639\u0644\u0645 \u0627\u0644\u0639\u0644\u0627\u0645\u0627\u062a<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%A7%D8%AA%D8%AC%D8%A7%D9%87%D8%A7%D8%AA-%D8%A7%D9%84%D8%A7%D8%B3%D8%A7%D8%B3%D9%8A%D8%A9-%D9%81%D9%8A-%D8%B9%D9%84%D9%85-%D8%A7%D9%84%D9%84%D8%BA%D8%A9-%D8%B1%D9%88%D9%85%D8%A7%D9%86-%D8%AC%D8%A7%D9%83%D8%A8%D8%B3%D9%88%D9%86.pdf\">Basic Trends in Linguistics &#8211; Roman Jakobson<\/a><\/p>\n<p><a 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href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%A3%D8%B3%D9%84%D9%88%D8%A8%D9%8A%D8%A9-%D9%88%D8%A7%D9%84%D8%A3%D8%B3%D9%84%D9%88%D8%A8.pdf\">Stylistics and Style<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%A7%D8%B3%D9%84%D9%88%D8%A8%D9%8A%D8%A9-%D9%88%D8%A7%D9%84%D8%A8%D9%8A%D8%A7%D9%86.pdf\">Stylistics and Elocution<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%A7%D8%B3%D9%84%D9%88%D8%A8%D9%8A%D8%A9.pdf\">\u0627Stylistics<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%A8%D9%84%D8%A7%D8%BA%D8%A9-%D9%88%D8%A7%D9%84%D8%A5%D8%B3%D9%84%D9%88%D8%A8%D9%8A%D8%A9.pdf\">Rhetoric and Stylistics\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/a><\/p>\n<p><a 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href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%AA%D9%81%D9%83%D9%8A%D9%83%D9%8A%D8%A9-%D8%A7%D8%B1%D8%A7%D8%AF%D8%A9.pdf\">\u0627\u0644\u062a\u0641\u0643\u064a\u0643\u064a\u0629 \u0627\u0631\u0627\u062f\u0629<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%AA%D9%81%D9%83%D9%8A%D9%83%D9%8A%D8%A9-%D8%A7%D9%84%D9%86%D8%B8%D8%B1%D9%8A%D8%A9-%D9%88%D8%A7%D9%84%D9%85%D9%85%D8%A7%D8%B1%D8%B3%D8%A9.pdf\">\u0627\u0644\u062a\u0641\u0643\u064a\u0643\u064a\u0629 \u0627\u0644\u0646\u0638\u0631\u064a\u0629 \u0648\u0627\u0644\u0645\u0645\u0627\u0631\u0633\u0629<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%AA%D9%81%D9%83%D9%8A%D9%83%D9%8A%D8%A9.pdf\">\u0627\u0644\u062a\u0641\u0643\u064a\u0643\u064a\u0629<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%AA%D9%81%D9%83%D9%8A%D9%83%D9%8A%D8%A9111111.pdf\">\u0627\u0644\u062a\u0641\u0643\u064a\u0643\u064a\u0629111111<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%B3%D9%8A%D9%85%D9%8A%D8%A7%D8%A1-%D9%88%D8%A7%D9%84%D8%AA%D8%A3%D9%88%D9%8A%D9%84-%D8%B1%D9%88%D8%A8%D8%B1%D8%AA-%D8%B4%D9%88%D9%84%D8%B2.pdf\">\u0627\u0644\u0633\u064a\u0645\u064a\u0627\u0621 \u0648\u0627\u0644\u062a\u0623\u0648\u064a\u0644 \u2013 \u0631\u0648\u0628\u0631\u062a \u0634\u0648\u0644\u0632<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%B5%D9%88%D8%B1%D8%A9-%D9%81%D9%8A-%D8%B3%D9%8A%D9%85%D9%88%D9%84%D9%88%D8%AC%D9%8A%D8%A7-%D8%A7%D9%84%D8%AA%D9%88%D8%A7%D8%B5%D9%84.pdf\">\u0627\u0644\u0635\u0648\u0631\u0629 \u0641\u064a \u0633\u064a\u0645\u0648\u0644\u0648\u062c\u064a\u0627 \u0627\u0644\u062a\u0648\u0627\u0635\u0644<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%B7%D8%A7%D9%87%D8%B1-%D8%A8%D9%88-%D9%85%D8%B2%D8%A8%D8%B1-%D8%A7%D9%84%D8%AA%D9%88%D8%A7%D8%B5%D9%84-%D8%A7%D9%84%D9%84%D8%B3%D8%A7%D9%86%D9%8A-%D9%88%D8%A7%D9%84%D8%B4%D8%B9%D8%B1%D9%8A%D8%A9-%D9%85%D9%82%D8%A7%D8%B1%D8%A8%D8%A9-%D8%AA%D8%AD%D9%84%D9%8A%D9%84%D9%8A%D8%A9-%D9%84%D9%86%D8%B8%D8%B1%D9%8A%D8%A9-%D8%B1%D9%88%D9%85%D8%A7%D9%86-%D8%AC%D8%A7%D9%83%D8%A8%D8%B3%D9%88%D9%86.pdf\">\u0627\u0644\u0637\u0627\u0647\u0631 \u0628\u0648 \u0645\u0632\u0628\u0631 \u0627\u0644\u062a\u0648\u0627\u0635\u0644 \u0627\u0644\u0644\u0633\u0627\u0646\u064a \u0648\u0627\u0644\u0634\u0639\u0631\u064a\u0629 \u0645\u0642\u0627\u0631\u0628\u0629 \u062a\u062d\u0644\u064a\u0644\u064a\u0629 \u0644\u0646\u0638\u0631\u064a\u0629 \u0631\u0648\u0645\u0627\u0646 \u062c\u0627\u0643\u0628\u0633\u0648\u0646<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D8%B9%D9%84%D8%A7%D9%85%D8%A7%D8%AA%D9%8A%D8%A9-%D9%88%D8%B9%D9%84%D9%85-%D8%A7%D9%84%D9%86%D8%B5-2.pdf\">\u0627\u0644\u0639\u0644\u0627\u0645\u0627\u062a\u064a\u0629 \u0648\u0639\u0644\u0645 \u0627\u0644\u0646\u0635 (2)<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D9%82%D8%B1%D8%A7%D8%A1%D8%A9-%D9%88%D8%A7%D9%84%D8%AA%D9%84%D9%82%D9%8A.pdf\">\u0627\u0644\u0642\u0631\u0627\u0621\u0629 \u0648\u0627\u0644\u062a\u0644\u0642\u064a<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D8%A7%D9%84%D9%84%D8%B3%D8%A7%D9%86%D9%8A%D8%A7%D8%AA-%D9%88%D8%A3%D8%B3%D8%B3%D9%87%D8%A7-%D8%A7%D9%84%D9%85%D8%B9%D8%B1%D9%81%D9%8A%D8%A9-%D8%B9%D8%A8%D8%AF-%D8%A7%D9%84%D8%B3%D9%84%D8%A7%D9%85-%D8%A7%D9%84%D9%85%D8%B3%D8%AF%D9%8A.pdf\">\u0627\u0644\u0644\u0633\u0627\u0646\u064a\u0627\u062a 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href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D9%85%D8%B9%D8%A7%D9%84%D9%85-%D8%A7%D9%84%D8%AF%D9%84%D8%A7%D9%84%D8%A9-%D8%A7%D9%84%D9%84%D8%BA%D9%88%D9%8A%D8%A9.pdf\">\u0645\u0639\u0627\u0644\u0645 \u0627\u0644\u062f\u0644\u0627\u0644\u0629 \u0627\u0644\u0644\u063a\u0648\u064a\u0629<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D9%85%D8%B9%D8%A7%D9%84%D9%85-%D8%A7%D9%84%D8%B3%D9%8A%D9%85%D9%8A%D8%A7%D8%A1-%D8%A7%D9%84%D8%B9%D8%A7%D9%85%D8%A9-%D8%A7%D8%B3%D8%B3%D9%87%D8%A7-%D9%88%D9%85%D9%81%D8%A7%D9%87%D9%8A%D9%85%D9%87%D8%A7.pdf\">\u0645\u0639\u0627\u0644\u0645 \u0627\u0644\u0633\u064a\u0645\u064a\u0627\u0621 \u0627\u0644\u0639\u0627\u0645\u0629 -\u0627\u0633\u0633\u0647\u0627 \u0648\u0645\u0641\u0627\u0647\u064a\u0645\u0647\u0627<\/a><\/p>\n<p><a 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href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D9%86%D8%B8%D8%B1%D9%8A%D8%A9-%D8%A7%D9%84%D8%AA%D9%88%D8%B5%D9%8A%D9%84.pdf\">\u0646\u0638\u0631\u064a\u0629 \u0627\u0644\u062a\u0648\u0635\u064a\u0644<\/a><\/p>\n<p><a href=\"https:\/\/uomosul.edu.iq\/finearts\/wp-content\/uploads\/sites\/26\/2024\/06\/%D9%86%D8%B8%D8%B1%D9%8A%D8%A9-%D8%A7%D9%84%D8%AB%D9%82%D8%A7%D9%81%D8%A9.pdf\">\u0646\u0638\u0631\u064a\u0629 \u0627\u0644\u062b\u0642\u0627\u0641\u0629<\/a><\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\">\n<div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\">\n<div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-7 fusion_builder_column_1_1 1_1 fusion-flex-column\"><\/div>\n<\/div>\n<\/div>\n<p>Stylistics and Style<\/p>\n<p>Speech and News<\/p>\n<p>Alphabets in Understanding Semiotic Criticism<\/p>\n<p>Epistemology of Knowledge According to Bachelard<\/p>\n<p>Text Tools<\/p>\n<p>Authenticity and TextIntroducing \u2013 Semiotics<\/p>\n<p>Basic Trends in Linguistics &#8211; Roman Jakobson<\/p>\n<p>Modern Trends in Stylistics and Discourse<\/p>\n<p>Literature and Semantics<\/p>\n<p>Stylistics and Style<\/p>\n<p>Stylistics and Style<\/p>\n<p>Stylistics and Elocution<\/p>\n<p>Stylistics<\/p>\n<p>Rhetoric and Stylistics<\/p>\n<p>Structuralism, Anthropology, and Sartre&#8217;s Stance on It<\/p>\n<p>Structuralism and Globalization<\/p>\n<p>Structuralism and Beyond from Strauss to Derrida<\/p>\n<p>Structuralism and Beyond<\/p>\n<p>Structuralism and Beyond<\/p>\n<p>Structuralism<\/p>\n<p>Hermeneutics<\/p>\n<ul data-sourcepos=\"59:1-139:16\">\n<li data-sourcepos=\"81:1-81:22\">Deconstruction: Will<\/li>\n<li data-sourcepos=\"82:1-82:37\">Deconstruction: Theory and Practice<\/li>\n<li data-sourcepos=\"83:1-83:16\">Deconstruction<\/li>\n<li data-sourcepos=\"84:1-84:22\">Deconstruction111111<\/li>\n<li data-sourcepos=\"85:1-85:47\">Semiotics and Interpretation \u2013 Robert Scholes<\/li>\n<li data-sourcepos=\"86:1-86:45\">The Image in the Semiology of Communication<\/li>\n<li data-sourcepos=\"87:1-87:109\">Tahhar Bou Mezber: Linguistic Communication and Poetics \u2013 An Analytical Approach to Roman Jakobson&#8217;s Theory<\/li>\n<li data-sourcepos=\"88:1-88:32\">Semiotics and Text Science (2)<\/li>\n<li data-sourcepos=\"89:1-89:23\">Reading and Reception<\/li>\n<li data-sourcepos=\"90:1-90:71\">Linguistics and its Epistemological Foundations \u2013 Abdelsalam Al-Msadi<\/li>\n<li data-sourcepos=\"91:1-91:32\">The Zahiri School of Goldziher<\/li>\n<li data-sourcepos=\"92:1-92:16\">Convex Mirrors<\/li>\n<li data-sourcepos=\"93:1-93:40\">Narrative Terminology \u2013 G\u00e9rard Genette<\/li>\n<li data-sourcepos=\"94:1-94:26\">Key Terms in Linguistics<\/li>\n<li data-sourcepos=\"95:1-95:21\">Semiotic Components<\/li>\n<li data-sourcepos=\"96:1-96:92\">The Third International Forum on Narratology: Narrative Discourse and Reading Efficiencies<\/li>\n<li data-sourcepos=\"97:1-97:23\">The Semiotic Approach<\/li>\n<li data-sourcepos=\"98:1-98:44\">The Literary Text: Its Signs and Semiotics<\/li>\n<li data-sourcepos=\"99:1-99:49\">Text and Stylistics Between Theory and Practice<\/li>\n<li data-sourcepos=\"100:1-100:27\">Affects \u2013 Jacques Derrida<\/li>\n<li data-sourcepos=\"101:1-101:11\">Barthes 1<\/li>\n<li data-sourcepos=\"102:1-102:34\">Studies in Reading and Reception<\/li>\n<li data-sourcepos=\"103:1-103:40\">Rhetoric of Discourse and Text Science<\/li>\n<li data-sourcepos=\"104:1-104:50\">Rhetoric of Image and Effectiveness of Influence<\/li>\n<li data-sourcepos=\"105:1-105:25\">Authenticating the Text<\/li>\n<li data-sourcepos=\"106:1-106:25\">Definition of Semiotics<\/li>\n<li data-sourcepos=\"107:1-107:46\">Contemplating Image and Style in Social Life<\/li>\n<li data-sourcepos=\"108:1-108:91\">Aesthetics of Reception and the Re-production of Meaning \u2013 Mohamed Elsayed Ahmed Dessouki<\/li>\n<li data-sourcepos=\"109:1-109:39\">Sociology Discourses in Social Theory<\/li>\n<li data-sourcepos=\"110:1-110:35\">Studies in Text Transgression (2)<\/li>\n<li data-sourcepos=\"111:1-111:45\">Roman Jakobson: Basic Trends in Linguistics<\/li>\n<li data-sourcepos=\"112:1-112:60\">Strauss: A Reading in Contemporary Anthropological Thought<\/li>\n<li data-sourcepos=\"113:1-113:19\">Semiotics of Eros<\/li>\n<li data-sourcepos=\"114:1-114:55\">Semiotics of Light Movement in Theatrical Performance<\/li>\n<li data-sourcepos=\"115:1-115:24\">Semiotics of Reception<\/li>\n<li data-sourcepos=\"116:1-116:33\">Semantics by Ahmed Mukhtar Omar<\/li>\n<li data-sourcepos=\"117:1-117:40\">Text Linguistics: Towards New Horizons<\/li>\n<li data-sourcepos=\"118:1-118:49\">Philosophy of Hermeneutics \u2013 Hans-Georg Gadamer<\/li>\n<li data-sourcepos=\"119:1-119:27\">Dictionary of Narratology<\/li>\n<li data-sourcepos=\"120:1-120:43\">The Pleasure of the Text \u2013 Roland Barthes<\/li>\n<li data-sourcepos=\"121:1-121:42\">Principles of Semiotics \u2013 Roland Barthes<\/li>\n<li data-sourcepos=\"122:1-122:32\">Alam Al-Fikr Journal, Issue 35<\/li>\n<li data-sourcepos=\"123:1-123:45\">Lectures in Contemporary Linguistic Schools<\/li>\n<li data-sourcepos=\"124:1-124:37\">Introduction to Pragmatic Semiotics<\/li>\n<li data-sourcepos=\"125:1-125:81\">Introduction to Textology: Problems of Text Construction \u2013 Ztsislav and Orzenia<\/li>\n<li data-sourcepos=\"126:1-126:44\">Introduction to Literary Criticism Methods<\/li>\n<li data-sourcepos=\"127:1-127:34\">Paths of Knowledge and Semantics<\/li>\n<li data-sourcepos=\"128:1-128:54\">Shawky Abdel Hakim&#8217;s Theater \u2013 A Study in Techniques<\/li>\n<li data-sourcepos=\"129:1-129:35\">Landmarks of Linguistic Se<\/li>\n<\/ul>\n<h3 data-sourcepos=\"61:1-61:19\"><\/h3>\n","protected":false},"excerpt":{"rendered":"<p>Electronic Library \/ Published Research, Books and Resources: &#8220;Proceedings of the Second National and First International Conference of Colleges of Fine Arts \/ September 2022&#8221; \u00a0Click here Attached file link Theater and Performance Studies Syriac Theater in Iraq (Displacement Theater as a Model) Nashat Mubarak Saliwa https:\/\/www.iasj.net\/iasj\/article\/303655 Improvisation: A Performance Technique in the Theater of the Oppressed Dr. Nashat Mubarak Saliwa, Munqith Mohammed Faisal https:\/\/www.iasj.net\/iasj\/article\/156276 Mechanisms of Body Employment in the Theater of Cruelty and Biomechanics Technique Dr. Bashar Abdul Ghani Mohammed, Dr. Nashat Mubarak Saliwa https:\/\/www.iasj.net\/iasj\/article\/163492 Audience Categorization of Visual Art Exhibitions (Visual Art Galleries in Baghdad as a Model) <a href=\"https:\/\/uomosul.edu.iq\/en\/finearts\/electronic-library\/\"> [Read More]<\/a><\/p>\n","protected":false},"author":20,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-40952","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/40952","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/comments?post=40952"}],"version-history":[{"count":28,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/40952\/revisions"}],"predecessor-version":[{"id":40980,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/40952\/revisions\/40980"}],"wp:attachment":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/media?parent=40952"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}