The news of some of the Arab palaces that built in the Islamic cities were scattered in historical sources and references and was talking about the engineering and technical wonders that characterized these palaces, and Perhaps the purpose of mentioning its (often) was to show the extravagance and luxury that reached the palaces as a kind of condemnation of this act or to make visitors admire its masterpieces

Transportation network could be considered as a function of the developmental level of the Iraq, that it is representing the sensitive nerve of the economic activity and the corner stone for the implementation of development plans and developing the spatial structure.
The main theme of this search is to show the characteristics of the regional transportation network in Iraq and to determine the most important effective spatial characteristics and the dimension of that effect negatively or positively. Further this search tries to draw an imagination for the connection between network as a spatial phenomenon and the surrounded natural and human variables within the spatial structure. This search aiming also to determine the nat

The power of advertising is immense. Producers of commercial goods and services routinely pour vast sums into promoting their wares through the advertising media, knowing  that a successful campaign can win them vital market share , and that failure to advertise effectively can have devastating results . The function of advertising is promotional ; to draw our  attention. In order  to achieve this function it must reach its target  audience , then capture that audience with a message that is both attractive and memorable.

         From a linguistic point of view, the language of advertising must be informative, instructive , distinctive and persuasive . It must employ&nb

This research aims to highlight the prophetic approach in civilized coexistence, and to show what society was like in the time of the Prophet, and specifically after the sakha and the writing of the newspaper (prophetic document) which established the rules of civilized coexistence, and there is no doubt that God almighty created all nations and different peoples according to Human nature, this difference has been recognized by the duty of coexistence and acquaintance without abolishing each other, coexistence and recognition of the other and respect for its particularities result in a state of dialogue between cultures and civilizations and paves the way for their meeting instead of clashing, as well as contributing coexistence to make

Censure in poetry is a pattern of poetic construction, in which the poet evokes a voice other than his own voice or creates out of his own self another self and engages with him in dialogue in the traditional artistic style whose origin remains unknown. Example of the same may be found in the classical Arabic poets’ stopping over the ruins, crying over separation and departure and speaking with stones and andirons; all in the traditional technical mould. Censure confronting the poet usually emanates from the women as blaming, censure and cursing is closer to woman’s hearts than to the man’ hearts. Censure revolves around some social issues, such as the habit of over drinking wine and extravagant generosity taking risks, traveling,

The training of great importance in the play, in building optic and intellectual broadcast codes tags, and then comes after the recipient at the reception of such codes and decoded tags, and is the rhythm, the color of the most important elements of configuration, consistent with other elements, Kaltmathl, and focus, and harmony, and dissonance

(لا مجتمــــع الا وبـــــه قـــــانو ن ) مقولـــــه اطلقهـــــا فقیـــــه رومـــــا القدیمـــــة ( شیشـرون ) فالقـانون لـیس ولیـد الیـوم وانمـا منـذ بـدء الخلیقـة بـدأت حاجـة الانسـان الـى قواعـد سـلوكیه یـنظم بهـا حیاتـه ویـرى بهـا حـدود حریتـه بحیـث لاتتجـاوز هـذه الحریة الى حدود حریة الاخرین٠واذا كانـــت المؤسســـیة ودولـــة القـــانون مـــن اهـــم معـــاییر الانتمـــاء الـــى العصر الحـدیث یـأت الخ

That water is the lifeblood and without it no life on our planet, he says in the Holy Koran: In the Name of God {{And We made from water every living thing}} truth of God Almighty (the prophets verse 30) The basis of the existence of settlements served human and a source of fresh water close to it easy access to it is used for domestic, agricultural, on a daily basis, even closer look at the map of Iraq to human settlement to find it is a signatory to both sides of the river are thick and less as we moved away from the source of water until they make up a scene like a necklace the river and the stones of cities and settlements served, was the ancient civilizations, countries and capitals Throughout history, choose sites near sour

Research summary

The first step towards the goal of coexistence with diversity, we must all recognize each one of us the rights of others regardless of his religion, color, gender, and point of view, and that each one agrees with his partnership with others, and a person’s belonging to a religion or doctrine must be based on conviction and self-motivation, and that the true Sharia prohibits a Muslim To impose on others what they do not believe and believe in, for God Almighty did not give His Prophet this right, so how about others, and it is not surprising for everyone that disharmony and rivalry impede the attempt to advance in society, and it is natural that our enemies take advantage of our division among us,

Der ägyptische christliche Schriftsteller und Dramaturg Alfred
Faradj wurde 1929 in El-Zaqazek/ Alexandria geboren. An der
philosophischen Fakultät der Universität Alexandria erhielt er 1949 den
B.A. Grad. Von 1949 bis 1950 arbeitete er als Lehrer und als
Theaterkritiker bei verschiedenen Zeitungen wie Akhir Sa’a, Ros El-
Yousef, El- Ghad und El-Djiel. 1952 erhielt er den Sultan-ElAwies-Preis
für Literatur. Die goldene Medaille für Künste und Literaturschaffen
bekam Faradj 1956 für seinen ersten Einakter Saut Missr’/ Die Stimme
Ägyptens. Dieses Stück wurde im Dezember 1956 am Nationaltheater in
Kairo aufgeführt und von Hamdy Ghaith inszeniert.