There is a fact we have to admit here, first, that is art innovation, since
its early beginnings, is mostly a male product, and causing to stir interest and
attention, if it was a female one. Psychiatrist and sociologists could give us a
convincing answer or a logical explanation for that. What is really important
here is how the male artist could review his vision to woman, what was the
impact of all these ideas and desires towards each other in their artistic
products? Did he reflect the real role played by the woman in pushing the
artist towards specific ways? Did it related to the struggle for immortality? In
searching for motherhood and life eternity and the partner to find the way to
life. We, often, find artworks showing great interest in woman to the extent
that she became a case or may be an aim that most of his works consist
whether the artwork discuss a humane issue or reviewing the beauty of
humane figure.
Jawad Salim's works were the fertile soil to study that if we simply
reviewed some of them. Picasso, as well, was not far from that if we
acknowledged that only few of his works lacked the presence of woman. For
all of the above mentioned, lie the true objectives of this research to unveil
the nature of the humane and intellectual contents related to woman in Jawad and Picasso's paintings, their importance and role, their similarity and
differences throughout their art career.
The main results the researcher reached is that:
1- During his blue and pink period, Picasso took the woman as a humane
symbol reflecting the Spanish reality; he shouldered the responsibility
of representing the sad nation (Pain-isolation-poverty- subjugation).
2- Jawad Salim attacked in his works the oriental social traditions that
dealt with woman during the 40s, which was a reflection of his
personal sufferings in his early life and the contradictory he lived
between Paris and Baghdad.
3- Follwing the inspiring Lorna (Jawad's wife), he switched to defend
the human woman (mother-sister-friend-wife) in her tragedy and
political and social struggle side by side with the man, that was
clearly shown in what we so-called (freedom period) at the end of 50s
which preceded his early death.
4- During his Cubism and after that, Picasso resorted to oddity –the
primitive arts- in achieving innovative amazement. The lot of
familiarity and satisfaction exist inside him, prompted him to look for
the new, as if it is a reflection to his relation with woman.
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.
احتل موضوع التنمية البشرية منذ مطلع عقد التسعينات من القرن الماضي مكانة مهمة في تقييم تجربة التنمية في دول العالم الثالث بشكل عام، نظراً لتأكيده على عنصر رأس المال البشري ومدى استفادة الانسان من عملية التنمية الاقتصادية.
ونظراً لما تتركه عملية التطورات الديمغرافية من آثار على عملية التنمية الاقتصادية، لذا جاء البحث ليحاول ان يربط بين مفهوم التنمية البشرية واهم المتغيرات المؤثرة فيها الا
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scholars, about the legality of medication organs and human parts, comes this
study, in order to reveal the controls of Islamic in that issue above, and to show the
effectiveness of Islam and its role, and the extent needed in the treatment of
problems intractable, and the resolution of the controversy in the case above, in
order to preserve the human dignity and the right integration of physical, and
prevents from Aptmalh, and included in the financial contracts, and to achieve that
goal, presented the study to the issue of the rule of medication and look to Islam to
him, and the rule of therapeutics in human organs, and the views of Almj
ف هذه الدراسة إلى حثىظ هىةهالا ارابىاا وىي ر"ادىة ا فدىء اللاىدا ا رر،ىي ىة ا لأن هىىذه الهىىةهالا تأىىد" ضوحىىا "هىى اة وىىي هىىذه الا"ادىىة "ت حىى تیىىةرا طىىی الا ،ىى ي یةتهىىة "اتجةهةتهىىىىة اللا ااىىىىة "اللاةیىىىىة تة ىىىىة ضن ال ةتىىىى اسىىىىب ةم ضن دجطىىىىد هىىىىذه الهىىىىةهالا ال ث راىىىىة تجط دا وةیة ب زا "كشف ن طأیية اليلاقة ب ن ةلم ال اقع " ةلم الث،م لدى الشخصیةت " ىىىة تبطىىىم حىىىض ىىىن تةى
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تضمن هذا البحث علاقة التفسير الفقهي بالتفسير بالمأثور، وتبين أنها علاقة تلازم وترابط؛ لأنَّ الفقه هو استنباط الأحكام من أدلة الكتاب والسُّنة، وقد اعتنى بذلك المفسرون وشُرّاح الحديث، وكل واحدة منهما لا تتميز عن غيرها في الحاجة، ولا تستغني عنها في درك ما تنحوه من البغية والإرادة؛ ذاك لأنَّ الحديث بمنزلة الأساس الذي يعد الأصل، والفقه بمنزلة البناء الذي هو له كالفرع، وكل بناء لم يوضع على قاعدة وأساس فهو منهار،
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