اشكالية المواطنة في الخطاب الاسلامي المعاصر

تعد الاسرة إحدى الوحدات الاجتماعية التي تهيئ الجيل المتطلع للحياة وهم الاطفال، وهي المهد الطبيعي للطبقة البشرية التي تباشر وتواجه اثراً هاماً تكوين الشخصية والسلوك الاجتماعي والخلقي ، وهي نقطة الوصول والتفاعل بين البيولوجي والاجتماعي وعنها ينشأ التفاعل النفساني ، وشبكة العلاقات الاسرية والعلاقات الخارجية المجتمعة . ومن خلال معاييرها وقيمها ينشأ السلوك سوياً كان ام مرضياً ( جانحاً ) ، ومشكلة جنوح الا

This study deals with the thems of "in-betweeness" in the modern Afro-American Drama, drawing upon the accumulated literature of the colonial and postcolonial studies. In-betweeness appears in these studies under the canopy of the terms mimicry, hybridity and liminality which refer to a transformative, in-between state of being. It also refers to themutual relations holdingbetween man and his cultural space.

This concept is fitting the Afro-American playwright Amiri Baraka's plays and his violent, revolutionary theatre. In his play Dutchman (1964), Clay, the protagonist, is a good example of the two-ness or in-betweeness. He finds difficulty choosing between the ethnocentric white culture and the black culture.He allows

This research is concerned with the study of (the dialectic of the familiar and the unfamiliar in Islamic photography), and it consists of four chapters.
If you dealt with the problem of the research subject (the dialectic of the familiar and the unfamiliar in Islamic photography, as it appeared realistic, familiar forms and strange and strange unfamiliar forms represented in many of the main schools of Islamic photography that emerged in Iraq and Persia and then the Ottomans and the However, Islamic painting still retains those previously witnessed and unseen images, which pose themselves forcibly in the form of many questions that must be faced and studied by investigation, observation, extrapolation and conclusion through scientifi

لاحظ صناع القرار السياسي عدم مشاركتهم لمجموعة من الطوائف الاجتماعية في صنع القرار السياسي للدولة، مما دفعهم لتقوية هذه الطوائف، وتمت التدقيق في الجانب النسوي وعدم مشاركتهم في اتخاذ القرارات رغم الفئة الكبير منهم في المجتمع، مما أدى لاتخاذ أنظمة تساعد على تمثيل هذه الفئة في الحكم النيابي من خلال نظام الكوتا.

This tagged research deals with the manifestations of femininity in Mahmoud Fahmy's drawings by studying and monitoring the presence and how women were represented in the drawings of the artist Mahmoud Fahmy. Through the drawings of the expatriate Iraqi artist, Mahmoud Fahmy, in highlighting the manifestations of beauty for women, which constitute a formal characteristic that appears through the body, and Fahmy depicts it in an atmosphere of realism at times and magical realism at other times, as the research consists of four chapters. Through the following question: Did femininity appear in the drawings of the artist Mahmoud Fahmy? The importance of the research is that it sheds light on the manifestations of femininity in the drawings

At the beginning of the twentieth century distorting handling totalitarian phenomena of art, which can be called the stage of the test, transition from the theory of ideal theory and other realistic is not cushy, since it requires vision and reading and other concepts, and in light of this dialectic manifested research problem by asking the following Is affected by the design idealism and realism. Through the above mentioned questions, the researcher found rationale for addressing this problem, the study through his research, which is marked (idealism and realism in a comparative study design). And demonstrated the importance of research in the identification of the concept and the effectiveness of the two theories idealism and realism a

الادراك السياسي للاصلاح الاداري في العراق

Wer es heute beabsichtige, eine detaillierte Arbeit über die Rezeption des Nibelungenliedes zu schreiben, könnte damit einfach mehrere Bände wahrnehmen. Deswegen wird es sinnvoller sein, den Forschungsprozess auf bestimmten, aber wichtigen Aspekten zu skizzieren. Darum kann nur unter strikter Beschränkung auf die Hauptrichtungen, Hauptprobleme und Hauptfiguren des Liedes gewagt werden.

Der irakische Kritiker Moḥammed Šawqi Moḥammed Ḫalifa bedankt sich bei den „Dichtern des 12.Jahrhunderts, weil sie uns die deutschen Epen übertragen haben.“[1] Diese Epen kann man auch als Mythen betrachten, in denen sich Sagen und Märchen vermischen.