جدلية المسمى الحيواني في عنونة النصوص المسرحية

Abstract EN

Everything in the universe has a symbol or a sign or a sign or icon denoted by a label or title to reflect its shape or content.

In order not to lose the content and characteristics of the content and thus all of this has become a cognitive name verbal and verbal.

The titles differed by form and content, including overlapping between humanities and nonhumanities and sensory material, ideal and spirituality, as well as existentials, including partially or completely overlapping, and the animal share in the title and verbal or textual overlap of similarity and spacing and approach sometimes expressive or non-expressive, so the title was associated with the theater text like Other literary, since the entry of the animal to the literature of the old years because it is an extension of mythology has been the animal nomenclature of the interface of many texts that can only be understood by going into the depths of the souls because of their thoughts, attitudes and feelings Thier to Mahalha assets of known and familiar and strange and mysterious, which required to study to find out the implications of these names and the necessity that made them the basis of many texts such as the play (frogs) of Aristotle Vannes or psychological or political indications such as (monkey hair) by O'Neil Eugene or (The fate of a cockroach) to Tawfiq al - Hakim as well (bird of happiness) to Qasim Mohammed.