Could art Budaiya to find a prominent place in the media rhetoric belonging to the
artistic statement and meanings, This art was soon later to become an art in itself exists
independently, However, the difficulty of the configuration process and th
e evolution of
the hand, Great development of the long-arts Budaiya after entering the field of rhetoric on
the other hand, This led to the rhetorical differences on the labels of many of these arts, As
well as on the enrollment of some magnificent arts and other arts, as annexation
Epanalepsis to Echoing. Or make the opposite switch kind of the Epanalepsis. And other
confusion in terminology and the complexity of the labels. The Epanalepsis and one of
those arts that revolved around the views rhetorical. It is the art of repetition texture Bdiei,
However, this repetition does not stop at the level of vocabulary words, Nor the characters
and movements, But beyond that to form the most present in the line of poetry rhythmic
and semantic side, This research will talk about those semantic and rhythmic aspects of
this art, And through the application addressed to the poems Andalusian(Ahmad ibn Abd
Rabbo,246-328), That was the rhythms and tonalities export Remember well attended by
it.
This research is only a modern study reading the old with a new
mind ,and looks for creativity in Aloqaisher's poetry ,and re formulate
it in a new language moving from surface to depth.
The research includes: an Introduction which gave the definition of the movement (ancient and modern)
and shows the movement in the artwork and its divisions: virtual and physical external and internal
movement.
1 – The external virtual and physic
al movement that can be extrapolated through the creation of the
artwork and the relationship of elements to each other. The researcher provides the metal works that are
related to parts of the joints moving and refers to Calder as a leader of this method in sculpture.
2 - The internal Movement in the work of art: starting from movement of the point to form a line, then
the surface, down to the size of three-dimensional work, and the movement of diodes within the artwork.
Stages of the vision of the artwork it is: split into three phases a - from the standpoint of sensory, that is,
through sight movement, and the transition between the elements of the artwork, b - the analytical and
cognitive process of the similar or contrasting binaries of art work trends of elements in it, and its
interlocutor, c - the process of mind which includes The story behind the artwork.
The researcher finally deals the rhythm of the movement in the work of art, the futurism, and structural
sculpture through "Tatlin" and "Boccioni" and others. The research ends with analyzing two artworks
for the artists: Picasso and Maillol.
The rnodern poem is characterized by breaking away from the old molds.
It also attempts to sreate models that seek to generate new poetic
sentiments. In order to reach that goal the poern follows several
techniques and rnechanisms" These technique
s attempt to establish a
rhythmical structure that rebels against the conventional musical
standards and their rigor of meter and rhyme. Moreover, they do not yield
to the power of the popular modetrs, and they move to a space where the
poet can make use of minute details so as to plan for an interior design
that is strongly associated with psychological motives and semantic
figures. Both of which will define the focal point of the rhyhmical tension
which is compatible with the development of the self and the textual
semantic. Therefore, they move towards the interior which develops due
to the interaction between the components of the text and its
interrelationships. Thus, this paper shall seek to trace the factors and
constituents that take part in the formation of the rhythmical structure
away from the external component represented by the meter and rhyme
scheme. The paper adopts literal repetition as a means to find out about
the aspects of the internal rhyhm and its contribution to the construction
of the general rhythmical structure of the text as well as its relation with
the semantic dimension in
order to focus on the relation between rhyhmic semantic and linguistic
semantic.
The efficiency of anti-arrhythmic drugs could be weak if they were administrated in insufficient
therapeutic concentrations in target tissues of the cardiac muscle. Anti-arrhythmic drugs concentrations
should be high enough to reach the steady- sta
te for the chronic arrhythmia patients, this could be fatal
due to drug accumulation in the cardiac and body tissues. The most important side effect of all kind of
anti-arrhythmic drugs is the capability to initiate different types of cardiac arrhythmia formations in the
treated individuals. The aim of this study is to prove the effectiveness of delivering an anti-arrhythmic
drug, directly to target tissues of the cardiac muscle by using the Iontophoresis concept, in order to
minimize the side effects in cardiac and body tissues and optimize the benefits of anti-arrhythmic drugs
in target tissues. The results from series of experimental procedures proved that very-low iontophoretic
current's values ranges allow feasible and effective passage of anti-arrhythmic drug's ionized particles
into cardiac tissues, and in the same time they were safe on the innervation of autonomic nervous system
fibers in the cardiac muscle. This study focused on relationships among the different parameters which
control the Iontophoresis procedures.
