The present paper aims at presenting a feminist reading of Shamela. It specifically seeks to show how the patriarchal mentality behind Shamela dismembers all aspects of the positive image of the woman in Pamela so that nothing remains in the public mind but the prevalent stereotypical image. The narrative in Pamela draws a positive picture of a truly pure, honest, moral woman; the narrative of Shamela redraws that picture by positing the stereotypical image of the woman as a lascivious temptress, false creature, immoral person, and shameless prostitute. This image is what patriarchy intends to endure as it has invented it long ago so that it continues to maintain its domination of society.

     It is doubtless that the sexual place has some common indicators due to the masculine and feminine bodies which may be natural or deviated (homosexual). The female has an act of voice in the imaginary masculine place whereas the male has an act of image recognized in the parental mind in both the secular and sacred place. Those places create different limits and perceptions according to the auditory and visual readings in search of identity, text and body in the feminine dramatic text.

    The research includes four chapters; the first, the methodological framework, involves the problem which is centralized in the following enquiry: What is the relationship between the place and the term of

 Most of the propositions, after the Arabic letter reached a position of integrity and proficiency, the calligrapher turned to the production of calligraphic formations in various aesthetic and expressive forms, investing the spiritual energies in what these calligraphic compositions show in artistic paintings. It carries a lot of meanings that are embodied in linear formations, and in order to reach these expressions and know the effective positions of space, this research is concerned with studying these technical treatments. The first chapter included the research problem, which included a question about the effectiveness of space in the linear painting, the importance of research and the temporal and spatial boundaries. As for the s

The tagged search (The aesthetic images in Mohammed Thanoun graphic) four chapters, Chapter I was concerned the statement of the research problem, the research importance and it’s needed, the goal of research in identifying the aesthetic images in the graphic of the artist's, the research limits, and identifying the most important terms, chapter II came with theoretical framework and included three chapters: chapter I was interested in the aesthetic concept. chapter II is the image aesthetic in the graphic, and chapter III is the artist experience, Chapter III specializes in research procedures: community, sample, curriculum, tool, and sample analysis. Chapter IV ended with results, including: dynamic research sample illustrated of the

 The current research (technical mediator in contemporary Iraqi painting) dealt with the concept of technical mediator in contemporary arts and its role in the qualitative transformation in art, the diversity of discoveries in technical media that artists use in their artistic achievement, and the extent of their impact on contemporary Iraqi painting, where the research problem was identified (what is The nature and role of technical media in showing works in contemporary Iraqi painting) and (What are the intellectual and aesthetic concepts of media and techniques as references for contemporary art in Iraq). The second topic dealt with technical media and their impact on the plastic arts, and the third topic focused on the technical med

The study of cultural identity and its data in the designer’s work is considered a cultural nature to highlight the cultural identity and link it to the national culture of their country and society. It provides a reflection and translation of the society’s culture, traditions, social and economic dimensions, the natural environment, and scientific phenomena. Within meanings translated into a variety of methods, including expressive and realistic, which defines the designer’s relationship with his society and the national culture of his country and his connection with the civilization of the country.
The research problem came with the following question: What are the data of cultural identity in the work of designer David Gent

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