الخلاصة لقد شكل المحافظون الجدد وهم بالأساس نخبة من المثقفين ومن السياسيين الأمريكيين كتلة ضغط كبيرة التأثير على الإدارة في عهد الجمهوريين. حمل هؤلاء المحافظون مشروعاً إيديولوجياً البسوه لسلطة الجمهوريين وهو يهدف إلى جعل أمريكا سيدة العالم من دون منازع خاصة بعد انهيار الاتحاد السوفييتي ونهاية الحرب الباردة. واكب هذا الحدث التاريخي الكثير من الأفكار ومنها (نهاية التاريخ)، وصراع الحضارات، وكذ

Arabic calligraphy is one of the ancient arts rooted in history, And that he grew up conflicting views and writings addressed as a, communication tool for the linguistic The teaching calligraphy note an art and science because it depends on the fixed assets and precise rules in his art because centered Beauty It targets teach Arabic calligraphy speed as the education and recitation helps to write fast Which have great interest in the field of education and in life both Also accompanied Arabic calligraphy and scientific renaissance significant knowledge in the Ara

This study try to discovering continuity in heritage, from its engaged with emotional side, the core of study is Islamic architectural, these architectural result still estate with time, due to role of it with Islam law, importance of continuity from finding real things of essential architects result The research reaching to concept of thoughtstaying, for Islamic heritage, as basic factor in continuity process by it is architecture. The mostly searches seeing imitation of figures as recently events, or as final result to stage conditions state, but we must remember the Islamic thinking as base stone to architecture results

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Our critical history is marked by the presence of eminent poets who have tried to read, as for their texts, such as Al-Mutanabbi, Ibn Abd Rabu and Ibn Arabi. As for the texts of others, such as Al-Farazdaq, Jarir, and Omar bin Abi Rabi'a, and what is distinctive in their readings was that they were texts corresponding to the reading text, then the reading of Jarir Naqdah and Omar bin Abi Rabi`a was an opposition and Ibn Abd Rabu was scrutinized and Ibn Arabi was an interpretation and al-Mutanabi an explanation, and I found that these in their readings constitute a specificity that must be revealed The way of this research (constructive critical reading by the Arab poet - a critical study -) their poor are critical because criticism is pr

الكوارث الطبيعية واضرارها على حياة الانسان قديمة لاتحددها فترة زمنية بعينها دون الاخرى ،  انها موجودة مند الازل قدم لنا القران الكريم ، والحديث النبوي الشريف ، وكتب التاريخ والجغرافية والبلدان ، وكتب الثقافة العامة وكتب الانواء ، وبعض الكتب المستقلة في الموضوع ومنها كتاب كشف الصلصة في وصف الزلزلة للسيوطي ( ت 911هـ) نمادج لا تحصى من انواع الكوارث الطبيعية ، والتبدلات الجذرية التي حلت بالمجتمعات نتيجة لوقوع

The research aims to monitor and analyze the visual and symbolic features, derived from the Omani heritage, and inspired by the concept of local identity, for a selection of contemporary Omani graphic art works, which represent a mixed, multi-category of research sample, comprising three levels: the works of professional Omani artists, and the works of young artists and specialized students, as well as the work of a number of active academics in the field of graphic theorizing and teaching. The sample is also divided - in terms of technical classification - into a category of works executed using traditional engraving and printing media, and a category of works executed using modern and digital graphic printing media.
Through the da

تناول البحث اثر النساء في البيت العباسي وتأثيرهن الثقافي والعلمي في التراث البغدادي ، وانعكاسه على الواقع الاجتماعي الذي يعد بحد ذاته مظهر من مظاهر الانسجام والتلاحم بين الماضي والحاضر إذ تركن أثرا بارزا في الحضارة والعلم وأسهمن بصورة مباشره او غير مباشره في دعم وتطور الحضارة  العربية الإسلامية .

ٕ ضٞظ٤ق جالْطٌٞز ك٢ جالوخ هى ظٍٜ ً٘ٓ ظٌٜٞ جالوخ جٗٞ٤ُح٢ٗ جُوىْ٣ ، جي ضؼى ٌجكىج ٜٔٓح ُالوخ ذحؾحٚٓٗ جُٔهطِلس ؛ قط٠ أٚركص جُ٘ٞٛ٘ جٍُٓو٣س جُكى٣ػس ٝ جُٔؼحٍٚز ، ال ٌٜ٘ٔ٣ح ضكو٤ن ٖؼ٣ٍطٜح ٝ ٓطؼطٜح وٕٝ جالْطِٜحّ ٖٓ جألْطٌٞز ذ٘حت٤ح أٝ ك٣ٌٍح ، ًُج كوى ض٘حٍٝ جُركع ذىٌٙٝ ضٞظ٤ق جْطٌٞز ٕٖٞٗٔ جُطٌٞجض٤س ، ٢ٛٝ ٖٓ جالْحٍ٤٠ جُط٢ ٝؾىش قٌٟٞج ك٢ جالوخ جُؼح٢ُٔ ٝجُؼر١ٍ .جي ئٕ ضٞظ٤لٜح ك٢ جالوخ ٣ؼطٜ٤ح ذؼىج ٤ٓطحك٣ُ٤وح ٝجنٍ جٓٗح٢ٗ ٣ؿٔغ ك٢