ملامح الارهاب في رسوم صفاء السعدون

Abstract

The current research season (against terrorism in Safa al-Sadoun fees) of four chapters singled out the first chapter the methodological framework of the research has summarized the problem of induction following wonder how the artist's body manifestations of terrorism of the victims and the perpetrators cross represents the human dimension in the face of terrorism and reflection to build intellectual position as a reference stressful adopted to represent attacks against the victims and molded in the formative speech privacy in a unique theme and style and presentation to activate the aesthetic attitude in addressing terrorism. The aim of the research revealed the face of terrorism in the purity of fees Sadon.fa while cared Chapter II framework theoretical research and be one of the three first Investigation of terrorism in the monotheistic religions (Jewish, Christian and Muslim) The second problematic about the concept of terrorism, and the third a brief history of terrorism and Mqhrbh in art, your search is over the most important framework indicators theoretical. The third chapter has been concerned with the rules and regulations Find six samples from the research community analysis, while the fourth quarter was interested in the results, conclusions, recommendations, proposals and was the most important results:Terrorism as the result of the loss of life and damage to the bodies and the imposition of thought and certain behaviors inhumane is an attack on the human right to life and the right to think and freedom of expression and therefore a violation of the rights of heading Baksidih towards vulnerable groups, as exemplified in the sample (1.2, 3, 4.5, 6) is terrorism in Safa al-Sadoun fees formats diverse sectarian and religious, political and economic, psychological, internal and external, and international and Sri openly and as exemplified in the sample (1.2, 3, 4.5, 6)The most important conclusions: any artist can not enjoy the innate morality and humanity feels that ignores the terrorist private practice after becoming a global phenomenon possible to affect any individual in any time and place. The art in front of terrorism represents Ochhara and ad kuna component captures random terrorist act, speed and inattention to realize its details and escape from it and re-raised slowly and steadily private language of fine art and allows the recipient to understand its dimensions and meanings that had been forgotten by the pain and sadness and horror and see what can not be seen by only tracers violent and disruptive.