السطح الكروي (Spherical Surface) السطح الكروي هو سطح منحني جزء من كرة . يسمى السطح الكروي محدب (convex surface) اذا كان مركز التكور له على اليمين ، ويسمى السطح الكروي مقعر(concave surface) اذا كان مركز التكور له على اليسار كما في الشكل (1) . السطح الكروي الذي يفصل وسطين شفافين له خاصية تجميع او تفريق الاشعة الضوئية المنكسره عليه نتيجة قوانين الانكسار ، وتطبيق قانون سنيل على السطح الكروي باستخدام العمود المقام على مماس النقطة التي يحدث

Islam had come to urge for justice, to call for the freedom of the human and to
assert his dignity. Islamic education focused on the perfect growth of the
individual, presence of the human and his future as well. The Islam also attended in
education of the child raising him with respect all aspects of life. All of these things
had made the Islamic education as an extensive and balanced. There is no wonder
to consider Islam as the main source of legislation to attain its definitive aim which
is to establish a rational sober human worships God and educates the earth where
he settle down and make use of all its blessings due to God's legislation. (Shari 'a)
If Islam takes care of raising upbringing a child since his

Experimentation Multi effective and fertile grew human desire to discover new ways to express beauty in artwork .And dabble term experimentation in the performing arts and arts architecture, cinema and television in the test forms and interest in the visual effects and movements seek to establish and beauty and schools of thought in literature and art. This study aims to identify

اشكالية المواطنة في الخطاب الاسلامي المعاصر

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 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

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.