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 . |