Provisions and controls on the disposal of public funds between Sharia and law
Research Summary
That money is the foundation of life and one of the most important reasons for the reconstruction of the land, and God is the owner
The real value of this money, God has borrowed some individuals on public money, and people
They are charged with preserving it, since it is beneficial to them all, without anyone taking it
To himself, and the guardian is charged by God to protect this money and aggression
Because of its power, authority, various organs and public servants of the province
Upon him; Because the assault on public money by employees and others in the organs of the state
And exploitation of their jobs and this threatens social security, economic and political.
The spread of assault on public money is due to several reasons, including:
Sane values, low level of loyalty to work, and lack of commitment to honesty
Honesty and integrity, mastery of work and love of self, lack of good example, and rampant
Favoritism, and personal pleadings, as well as the exclusion of Islamic law from the application,
And be satisfied with the laws that may not be appropriate for the Muslim community.
The images of the attack on public money by many people, including:
Theft, and embezzlement
For personal purposes, and the appointment of staff on the basis of nepotism, favoritism and partyism,
And profit from the job ... etc. On money
In all its forms, forms and causes, and established limits and controls to ensure protection
Effective for public money.
This research deals with one scene from the movie Romeo and Juliet, which is the balcony scene, due to the importance of this scene in the formation of the construction of the subsequent events of the movie.
The first chapter contained the methodological framework of the research, where the research problem was identified in how Zeffirelli dealt with the balcony scene in the play Romeo and Juliet and enriched it in the cinematic language with a comparison with the original text of the scene. In the balcony scene with comparative parts between the film and the text and the limits of the research that was limited to the film Zeffirelli and the translated text by Munis Taha Hussein.
The second chapter contained the theoretic
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