مشاهد الحرب في الرسم الاوربي الحديث

الموضوعات

فن

روابط وملفات

التعريف والنوع

رقم الوثيقة

09e30824-7afd-4ec2-b600-2dff099940dc

رقم العقد

0

نوع الوسائط

Crawler

نوع المحتوى

الرسائل العلمية

صيغة المصدر

رسائل دكتوراة

نوع الملف

pdf text

أسماء الملفات

1000415_1.pdf

بيانات النشر

ترجمة العنوان

The war scenes in the Modern European Painting

ألقاب المؤلفين

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اللغة

English

المصدر والدورية

اسم المصدر

مشاهد الحرب في الرسم الاوربي الحديث

المحتوى والصفحات

عدد الصفحات

0

ترجمة الملخص

This research interests in study (scenes of the war in drawing modern European), which is located in the four seasons, has devoted the first chapter to a statement of the research problem and its importance and the need for it, and its purpose and its limits, and to identify the most important terms contained therein, where dealing with the problem of current research examine the subject of scenes of the war in drawing modern European , and what was the world watched of vagaries of political and instinct hungry for war latest as a result to bloody conflicts were offset, it was necessary for the art of going into the heart of the problems facing the human and of its most grave, which represented by (the war) and re-submitted through contact with the visual text to it.For modern art was spotted for each violent crises and transitions that afflicted society. Hence, modern art has become a field to represent the scenes of war and embodied what currency modernism (newness novelty modernity modernness up-to-dateness ) currents in the formulation of a scene of war and relative view varies from stream to another . The way to deal Surrealism with the idea different from the handling of Cubism, and so on for the rest of the currents. Hence arose the idea of current research to answer the question in the following: -What are the privacy of the aesthetic and structural mechanisms to reflect the scenes of the war in modern European painting. The researcher found that there is an urgent need for this study is the fact that the subject has not been studied previously in this manner and this detail, which will form a vacuum cognitive, the researcher will treat it and extract the desired results of this study in the name of God . B Also the first chapter included the goal of research is (known scenes of the war at the level of content in drawing modern European). Also , the limits of the research contained in Chapter I, it was determined Find studying the paintings that deal with scenes of war in the currents of drawing European talk of (romantic , typographical , Expressionism , Cubism , futural , Dadaism , surrealism and socialism realism), and for the period (1814-1942) in Europe. The second chapter included the theoretical framework, which contained four sections. The first take the concept of war through several axes represent classifications of War (fair and unfair) , (sciences and arts war) , (belief in the war) , (war and politics) , (psychological warfare) , (the literature of military) , (effects of war on society) , (philosophical concept of war) (psychological motives of the war and its impacts on the individuals) , (the concept of peace) , (the concept of violence) , (the concept of the hero) , (Art and the war.) While ensuring the second section (a visual representation of the war through the ages) and included (antiquity and the old Iraq, Egypt, ancient and civilizations Greeks and Romans) The third section dealt with the axes (Renaissance and photographing scenes of war) and (neo-classical and the implications of the French Revolution it) and have included the fourth section (scenes of war in the currents of modern art) and eating scenes of the war in schools (Romantic and Impressionism and Expressionism and Cubism and future Alradaúah and Surrealism) and also included scenes of the war in Eastern Europe and socialist realism) The third chapter singled out for action research, which included identifying the research community and choose the eye Find the (19) for the oil painting, and then search tool built by the researcher to analyze the sample search over analysis form, and then Browse the researcher and the research sample, which tried to cover aspects of the phenomenon and its dimensions and to achieve the objective of the study. C The fourth chapter, it contains the findings, conclusions and recommendations and proposals have come to the results of basic research and, inter alia. 1.disclosed (scenes of war) in the models the research sample for motivation Alastncara to do the war through simulation of the facts of the events of war product works on obtaining the passion of the receiver by the dramatical reveal of the event. As in the models (1.2, 3, 5, 6, 8.9 , 10, 13, 14, 15.16, 17. 19). 2.reinforcement of the dominance of a personal hero in the scene as a central element attracts about forms of secondary complementary integrative subject, and ship cards substantive high, and diversity apparently it may be the realistic, as in models (1, 2.4, 5, 10.12, 18) or be symbolic, as in the two models (7.14). 3.The notification of the desire for creativity graphic ideological liberal, by invoking the facts of revolutionary propensity, feedstock sham reflect on the events of political structure of the hot scenic art, and the achievement of formal approaches to conjure up the event as in the models (1, 2, 4.7, 18). 4.Find the scene kind of war tragedy emotionally charged romantic image, contributed to the development of humanism of the modern scene, as in the models (1.2, 3, 4.5, 10, 14, 19). 5.cross-fertilization of dimensions of the virtual and internal to the scene of war and establish a correlation sham between form and realistic mental picture of the imagined, the events of shock optical suggest majestically performed technical and create approach to mock the philosophy of war, irrationality, as in models (8, 10, 14 , 16.17 .19). 6.damper and condensation symbolic color contrasting scene in war, referred the receiver through the physical text into a kind of sensory Dawareness founder of the dialectical relationship between (the struggle and tyranny), as in models (2 . 5, 10, 14, 18. 19 ). - As the researcher to a number of conclusions, including: 1.the scene was dominated by war (critic) on his (glorious) performed in the European modern art discourse on the compressor currents of fascism-producing wars, and to take into account the shift in the culture of violence that norm on European society in times of two world wars. 2.Adoption of the Semantic referential form as dominant element on the scenes of war in modern art, and stay away from the relatively detailed accounts of the real meaning of ethics in the wider spaces achieves multiple readings of the event. 3.Nearby diversity in the structural constriction of the content of spectra of multiple war scene harmony in which the method is consistent and substantive nature of the subtraction of the event.

كلمات الباحثين

مشاهد الحرب، الرسم الأوروبي الحديث، الرومانسية، التعبيرية، التكعيبية، الدادائية، السريالية، الواقعية الاشتراكية، تاريخ الفن، التمثيل البصري، التحليل الفني

إشراف وإعداد

الإشراف

صفاء حاتم السعدون

الإعداد

وميض سمير هادي

الاقتباسات الببليوغرافية