Since start studying the subject of this research, I have been busy with several queries; most of them were trying to reach the relation of technical civilization development and its role in the appearance & transformation the modern painting schools. This had been enhanced by checking the artistic works for different times and trying to understand and study the subjects of these paintings and how those works had been done. Did we reach to the result that the great success of the modern techniques had caused intellectual and psychological change inside the artist himself, making him changing his subjects & turning over the roof of his portrait and minimizing the time needed to fulfill the portrait and its ingredients. This can be touchable in many affiants, First of all the disappearance of the functions and traditions of the church and Divinity from the artistic works, changing it over with the nature's elements, then reversion on the nature itself and misshaped it depending on scientific facts based on analyzing and cantoning. Then misshape every thing to reach the absolute abstract. The French revolution came in order to record great developing in ideology and freedom domain through bourgeois state, liberal and democratic values which were the first base of transferring process, then civilization's jump and the followings of the scientific inventions, the appearance of the mutual challenges among the fighting state on advantages and greediness. Above all the arising of fight represented by the First World War & the Second World War then the Cold War, to play basic role in enhancing the technical development - the one we are in now-.The (painters-artist) is result of this civilization, and his art summarizes those big changes, this what we call (modernity) which is an impression represents having the contemporaries to this civilization or getting through these big events and their feelings that they are witnessing an artistic revolution which is collimated to the scientific or political revolution. If we wanted to set a history, boiling eon of specialized in modernity (the eon of total abstract of shapes) which started in 1905 ( by thoughts and Persons like Abulineer, Soundars, Max Jacob, Brack, Picasso, analytic cubical etc...) so it is started before the war 1914 – 1918 and reaches its optimum over the end of this war; but the seeds of this boiling eon started a lot before this stage. So we have to study these seeds which overturn on what is found and bring on something not traditional in paintings which needs blasting off from pioneers who broke the traditional painting roles, which means that the modern painting schools with its revolution called (modernity) started from the portrait of Claude Monet (Impression, Sun Rising) in the second half of the seventeenth century; considering that the ideological and scientific developments had been started two centuries before with the invention of printing machine by the German black smith Gontberg in the middle of fifteenth century. The one who could change the memory of the humanity and was its way to built new memory depending on writing historical record of the nations depended on in its rebirth, and built its scientific & ideological progress. The continuous progress of the sciences and techniques in addition to the works division had been entered to the social life after the continuous changes and collapsing of traditional culture and criteria, then the social division to the work led to a wide political connection and made kind of social conflict that had been witnessed in nineteenth and twentieth centuries. After that the importance of the population growth, the cities centricities, the huge development for information and communication means, had appeared on followings. These factors forgathered had recorded its impression on the modernity concept and made it appeared as a social exercising, and a form of life based on changing and invention which led all the literary and cultural conversions based on wariness, disestablish, and the continuing movement. This was before the First and the Second World War; or it might be the reason for them. . So the researcher fact's become and as it is found in art’s history .the revolution of the shape's abstract reaching to the absolute abstract .(modernity) started from Claude Monet portrait (impression - sun rising), and the development of civilization and techniques allowed what was not accepted in arts in previous ages to become accepted and desired under the sign of trend and developing in two ways in shape and style or concept or modern painting or ((Modernity)).
Die vorliegende Forschung erklärt ein sprachliches Phänomen im Deutschen und Arabischen, dessen Aspekte die Grund-Folge-Relation (Kausalität) im Allgemeinen sowie den wirkungslosen Gegengrund (Konzessivität) im Besonderen behandeln.
In diesem Kontext wird der Unterschied der verschiedenartigen Gründe der Kausalität im Deutschen, wie wirklicher Grund (kausal), möglicher Grund (konditional) und wirkungsloser bzw. unzureichender Gegengrund (konzessiv) gezeigt.
Die theoretischen Darlegungen der konzessiven Ausdrucksmittel in dieser Forschungsarbeit werden durch diverse praktische Beispiele aus der deutschen und arabischen Literatur fundamentiert.
Das Hauptziel dieser For
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مشكلة دارفور من المشاكل الازلية التي تهدد كيان الوحدة السودانية
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