Abstract The relative pronoun in Hebrew language is an important pronoun use anciently and recently, it developed and it's usage and meanings differed so, it was not confined to the particle "אֲשֶׁר" as a relative pronoun, but beside it appeared other pronouns giving the relative meaning. Hence, the topic of this research was on this basis through studying the relative pronouns in old and modern Hebrew, the way of using them and their connection with preposition particles, as well as studying the relative clause.

The modern dramatic forms used technical works represented by going back to the primitive origins of drama which participated in establishing it. Those employments were results of philosophical thoughts through which many scholars stimulated philosophical tendencies call for miss for the past and going back to the social life through which intimate relations are interacting. The most important thing that the scholars relied on was ceremony as a social phenomenon which people gather around it through sentimental communication relate their concerns in addition to considering it as an expressive style carries artistic characteristics can be benefitted of in the dramatic show.
These thoughts were represented in the performing activity of

Old New York was Wharton's term to describe this wealthy and elite class at the top of
the developing city's social hierarchy, a society which was utterly intent on maintaining its
own rigid stability. Even though, the roles of women in American society changed drastically
from 1820’s to 1860’s due to the civil war and such a progression was due in part to the
revolutionary thoughts. Women started taking their right to speak up openly and frankly and
become more like men. The role of many women had changed from being homemaker to
being able to provide for the family by either getting a job or start to be allowed to have a
voice. They had important roles not only in helping the family, but in sharing to rebuild th

The identity of the cultural identity of the party (the ego and the other) during a series of questions subject to the transformations of history and the process of culture, the search of identity and its characteristics within the novel discourse calls to address the cultural impact communication discourse aims to reveal the functional and intellectual benefits that contributed to the formation of cultural identity, and stand at the most important manifestations And the secretions that mimic a world remains part of it present in the imagination of the producer of the text is moving in accordance with the holistic perception of the world embedded between the lines of the trial.The question of identity as an intellectual dimension in orde

Gender and culture are among the factors that influence the process of understanding and interpreting different types of communication, especially images. The current study, which is a part of a master’s thesis, aims at investigating the role of gender and culture in interpreting and understanding the caricatures that deal with women’s issues in Arab societies. To this end, the researchers adopted Barthes’ (1957) concepts of denotation and connotation in his theory of mythologies in addition to Langacker’s (1987) theory of (Domains). The research concludes that the female subjects have better cognitive abilities in investing the signs within the selected caricatures. The other factor the study reached to is that the respondents

Between the duality of sound and image, the completeness of the actor’s personality at the director comes to announce the birth of the appropriate theatrical role for that character as the basic and inherent element of the artwork, within his working system in the pattern of vocal behavior as well as motor/signal behavior as he searches for aesthetic and skill proficiency at the same time.
This is done through the viewer’s relationship with the theatrical event, which the director considers as an area of active creative activity in relation to (the work of the actor) through vocal recitation and the signs it broadcasts in order to fulfill the requirements of the dramatic situation and what it requires of a visual vision drawn in t

התמצית השניות היא התורה שנזכרת כי המוצאים בלשון הערבית וכך בלשונות השמיות אינם הבטויים בעלי האותיות השלושיות , אלא בעלי שתי אותיות . לפי כך אפשר להשיב השורשים השלושיים לשורשים השניים . וכל אות שנאספה בשורש שׁניוני, יהיה לפי חוק ההתפתחות הלשונית , הוספות תחילית , תוכית , סופית , עם השארת החיבור המשמעתית בין השׁניוני והשׁלשׁי כמו היא ממושכת בין השׁלשׁי והרביעי ומה שרבה ההוספות . השרשים השניים מוצאים הם: אות וה

המחקר מתייחס לתופעת ההקטנה משני ענפים את הסימנטיקה והמורפופונולוגיה בשפה העברית, ומנסה ליגלוי את המשמעות בתוך ההקשר של צורות ההקטנה לדוגמאות מן התורה טקסטים מחדשות, שירה וסיפורים, הרי שחלק מהמשמעויות של מבנה הפלט עומדות בניגוד למשמעויות הבסיס או הדרגה במשמעות, כך מביעות על (הקטנה, חיבה, או זלזול) שרובן לא התקיימו בעברית הקלאסית, מצד אחר המחקר בדק במבנים המורפולוגיים במייוחד (המשקלים של צורת ההקטנה) ומבחין את

اهمية البحث والحاجة اليه :

            في بداية ظهور التلفزيون كانت البرامج المقدمة تعتمد على المنوعات والمسرحيات المنقولة من المسرح . وقد استفاد التلفزيون من الفنون التي سبقته مثل المسرح فنرى ان :

" محطات التلفزيون بادرت بتسجيل المسرحيات المتعددة لتملأ بها ساعات الارسال " [1]

            وكذلك

Desde la Salamanca de doradas piedras que tantas veces cantara, don Miguel de Unamuno dio a la literatura y al pensamiento españoles unas obras que, a pesar de muchos pesares, perdura viva, como viva fue su agónica existencia.  

   El bilbaíno Miguel de Unamuno (1864-1936) es autor de al menos, doce obras teatrales. Su costumbre de mezclar géneros literarios, sin distinguir claramente el drama de la novela dialogada, le llevó a preferir el teatro leído. De ahí que sus estrenos fuesen, frecuentemente, muy posteriores a las ediciones impresas.

Abstract:

   The Bilbao Miguel de Unamuno (1864-1936) is the author of at least twelve plays. His habit of mixing genres,