الخطاب البصري و تجسيداته في النحت المعاصر : (الفن الشعبي انموذجا)‎

Abstract EN

The current research included exposure to the theme of discourse as a cognitive concept and its role in postmodern arts in general and the art of popular sculpture in particular and its accompanying development of the conditions of consumer society and the sculptor's feeling in creating his aesthetic discourse.

The research came in four chapters: the first of which is the general framework of the research and includes the research problem, its importance and the need for it, then the goal and limits of the research, and identification and definition of the most important terms contained in it.

As a concept of expression in the visual field and how the sculptor transmits his speech in his works through the formal and content structure of the accomplished, as for the second study, it dealt with representations of discourse in folk art and the method of the sculptor's presentation of his speech.

To the relationship of the current study with previous studies.

As for the third chapter, it included the research procedures based on the method of research in which the researcher adopted the analytical descriptive approach to analyze the sample content drawn from the research community, which included a group of works that the researcher reviewed from the global information network (the Internet).

Which amounted to (5 models) for sculptural work as a sample for research, and the researcher relied on the indicators of the theoretical framework and the observation tool as a tool to analyze the content of the research sample.

As for the fourth chapter, it included the most important findings and conclusions reached by the researcher, and among the most important results she reached are 1_ The speech was embodied as a performative act through the spaces of time and space as a technical method, as in Model (1), through the interaction between the sculptor and the audience that was achieved through the presentation of the work in the city space (the place), as well as the moments of the recipient's interaction with the work (time).

2_ The discourse was embodied through a retrieval mechanism represented in the memory of the audience to achieve the aesthetic act, as in Model (1), especially in the postmodern period in which the life of society became based on numbers, wars and consumption.

3- Through the sculptor's communication and the audience, the aesthetic discourse of the sculptural work is embodied as a popular art through the recipient's taste excitement, as in Model (1), by using the sculptor for contemporary technical outputs, employing colors and their overlaps with lines, and using it for everything that is circulating in the realities of lived life.