التشكيــــل المرئـــي فـــي ديـــوان كاليغــــولا يرســــم غرينكـــــا الرايـــــس لعز الدين ميهوبي

بوخناقة ، فقراوي, ريمة ، مريم

Please use this identifier to cite or link to this item: http://dspace.centre-univ-mila.dz/jspui/handle/123456789/756

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DC Field	Value	Language
dc.contributor.author	بوخناقة ، فقراوي, ريمة ، مريم	-
dc.date.accessioned	2021-01-10T09:11:26Z	-
dc.date.available	2021-01-10T09:11:26Z	-
dc.date.issued	2020-06	-
dc.identifier.citation	تخصص: أدب حديث معاصر	en_US
dc.identifier.other	800-2808	-
dc.identifier.uri	http://dspace.centre-univ-mila.dz/jspui/handle/123456789/756	-
dc.description	Visual formation Is one of the Most important topics addressed by semiotic though study and analysis, and it is all the visual signs that can be interpreted, whether directed to the eyes, such as drawing, punctuation marks ... or directed to the imagination, such as the captured image and the scene image whith are received by the reader to be part the creative process and the production of significance through his interpretation of texts and reproduction, them, therefore we decided to choose Caligula’s poet drawing Guernica al-Rais by the poet zzedine Mihoubi to be an applied model for this studyWhereas into introduction two chapter , and finally a onclusion, we devoted the forst chapter of the theoretical side to the mostimportant concets and terms which are related to the visual formation, and also we talked apout the image and its types. While in the second chapter the poems were studied visually withing giving their semantic and aesthetic dimension of them finally we put an and to our research by a conclusien which a result that proves the visual formation is a mean for constructing text and producing discourse	en_US
dc.language.iso	ar	en_US
dc.publisher	Abdelhafid boussouf university Centre mila	en_US
dc.title	التشكيــــل المرئـــي فـــي ديـــوان كاليغــــولا يرســــم غرينكـــــا الرايـــــس لعز الدين ميهوبي	en_US
dc.type	Thesis	en_US
Appears in Collections:	Arabic language and literature

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