الأبعاد الفكرية للإرهاب و تداعياته في الرسم العراقي المعاصر

Abstract EN

This study entitled “The intellectual dimensions of terrorism and their implications on the contemporary Iraqi painting” consist of four chapters.

The first chapter consists of the methodological framework which includes the problem of the study which ends with the question: what are the intellectual dimensions of terrorism and what are its negative implications on the artist and his vision to his works within these dimensions.

This study explores the negative implications of terrorism and their role on the intellectual stand of the artist as a control reference which he adopts to represent the aggressions against victims and society and to cast this in a plastic discourse which is unique in its topic and style to invigorate its aesthetic stance to confront terrorism.

The objective of the study is to explore the intellectual dimensions of terrorism and its implications on the contemporary Iraqi painting.

The second chapter deals with the theoretical framework and consists of three topics: the first topic deals with the intellectual dimensions of terrorism and its implications on the three divine religions- Judaism, Christianity and Islam.

The second topic discusses the problems about the concept of terrorism; and the third topics involves with the approaches to terrorism images and its implications on art.

The chapter ends with the theoretical frame indicators.

The third chapter tackles with study procedures, and it consists of study sample and study population.

The study has five samples and the study approach which is based on the descriptive analysis and study tool which is the form of content analysis.

Chapter four deals with the results, conclusions, recommendations and suggestions.

Among the most important results are: The aesthetic and artistic dimensions are shown as intellectual dimensions of terrorism through the resort of the artist to diverse methods that depends on realism and abstract, and the use of expressionism, symbolism as values for the plastic elements and to give a dense meaning for the phenomenon of terrorism.

The symbol use of terrorism is shown through the color in all samples which sometime becomes pale as in sample 4 and 5, and sometimes becomes enriched and in sample 1, 2, and 3.

It is sometimes coupled with contemporary and traditional symbols as in sample 1, 2, and 5, or through combining more than one method in paint as in sample 5, or invigorating the expressionist curve on lines and colors as in sample 3.

The psychological dimension is invested as an intellectual dimension for terrorism through the selection of the subject of terrorism which causes negative psychological implications in the artist himself through the feeling of fear from death, and his concern about future and the feeling of alienation and threat, as in samples 1, 2, 3, 4, and 5, and the reflection of this on the figures and shapes of the paint.

Chapter conclusions also included, such as: Any artist can not enjoy and feel morally innate humanity that ignores a private terrorist practices after a global phenomenon that has become possible affect any individual in any time and place.

The fourth quarter also included on the recommendations and suggestions and proposals as follows:Study representations terrorism in contemporary Iraqi drawing.

The study ends with, a list of references, figures, annexes .