The language of theatre is made by a number of physical tools and moral elements. So as the actors, costumes, lightings and accessories represent the physical aspects of the show, they also represent its moral aspect too. When they transform from plastic words in the space of the visual show to become signs carrying its indications that give the meaning through the link, overlap and arrangement of its movements so as to finally look like as wording in a sentence carries the meaning and represent the language of theatre speech.
The show usually sends the recipient continuous signs that go beyond the limits of expressions that are conveyed by these tools, and that cover the largest part of the meaning. So what is kept hidden or unannounced, which is called the (Untold Story) in literature, is known as a constant image that reaches to the recipient and all of a sudden it goes away and proceeds. Every attempt that the recipient tries to take would add one segment to the whole meaning structure that the show is drawing. Therefore, what is the frames and limits of the untold story in the language of theatre..? and what is its aesthetic dimensions..?
The researcher chooses "Insu Herostrat" as a sample to apply what is given in the theoretical chapter of the study. The most important results that the researcher has come up with are that the untold story in the language of theatre draws the attention of the recipient to the meaning of the dramatic conflict and its stylistic forms and aesthetic aspects, and so achieving the most significant springs of the aesthetic structure that are made by the datum of the untold story in the language of theatre.
There is no doubt that teachers are the leaders of positive changing in community where they directed the students and build their brains. In our current generation that characterized by accelerated technological development that communication changes, economic and politics, needs from the teacher an active leadership skills that match with the soul of our generation and contribute in confrontation the current challenges and the future challenges in the form that lead to create a conscious generation where they will be a basic brick for the future community where the listeners looking forward the education where they support the continuity communication of develop process, economy, scientifically and in all life fields. In our study we take
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This paper aimed at specifying the leading obstacles which faced by Iraqi EFL secondary school teachers in teaching English language. According to studies and observations, lack of adequate materials, overcrowding classrooms, lack of infrastructures, and low job satisfaction are the main barriers to English language teaching in Iraq. Data were collected from 130 EFL teachers from Iraqi schools through a standard questionnaire. The data were analyzed using a descriptive statistic to summarize and present it in a meaningful way. The findings supported previous studies regarding the classroom overcrowding, lack of teaching aids and materials, and dilapidated facilities. Furthermore, regarding job dissatisfaction and salary, interesting and eye
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Although tattooed literary characters are not new in literature, they are still in children’s literature. Inked characters were nearly absent from children’s books and with the dawn of the twenty first century many of them portrayed tattooed characters. The problem of the study lies in the lack of studies concerning these types of characters in children’s books. The researchers aim to study inked characters in selected stories for children to show the different literary uses of tattoos in these stories, serving not only characterization but theme and symbolism as well. Two children's stories are selected for this study: Tell Me A Tattoo Story (2016) by Alison McGhee and My Teacher Has Tattoos (2023) by Darren Lopez. The researchers st
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