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ABSTRACT
Digital Expressionism
Art-photography
Anwer Ghani
ABSTRACT
Digital Expressionism
Anwer Ghani
Arcs Publishing House
Second Edition
2019
1
Content
Content........................................................................... 1
Preface........................................................................... 4
Digital expressionistic works....................................... 5
DE1 ............................................................................. 6
DE2 ............................................................................. 7
DE3 ............................................................................. 8
DE4 ............................................................................. 9
DE5 ........................................................................... 10
DE6 ........................................................................... 11
DE7 ........................................................................... 12
DE8 ........................................................................... 13
DE9 ........................................................................... 14
DE10......................................................................... 15
DE11......................................................................... 16
DE12......................................................................... 17
DE13......................................................................... 18
DE14......................................................................... 19
DE15......................................................................... 20
DE16......................................................................... 22
DE17......................................................................... 23
DE18......................................................................... 23
DE19......................................................................... 24
DE20......................................................................... 26
DE21......................................................................... 27
DE22......................................................................... 28
2
DE23......................................................................... 29
DE24......................................................................... 30
DE25......................................................................... 31
DE26......................................................................... 32
DE27......................................................................... 32
DE28......................................................................... 34
DE29......................................................................... 34
DE30......................................................................... 35
DE31......................................................................... 37
DE32......................................................................... 38
DE33......................................................................... 39
DE34......................................................................... 40
DE35......................................................................... 41
DE36......................................................................... 42
DE37......................................................................... 43
DE38......................................................................... 44
DE39......................................................................... 45
DE40......................................................................... 46
DE41......................................................................... 47
DE42......................................................................... 48
DE43......................................................................... 49
DE44......................................................................... 50
DE45......................................................................... 51
DE46......................................................................... 52
DE47......................................................................... 53
DE48......................................................................... 54
DE49......................................................................... 55
DE50......................................................................... 56
DE51......................................................................... 57
DE52......................................................................... 58
3
DE53......................................................................... 59
DE54......................................................................... 60
DE55......................................................................... 61
DE56......................................................................... 62
DE57......................................................................... 63
DE58......................................................................... 64
DE59......................................................................... 65
DE60......................................................................... 66
DE61......................................................................... 67
DE62......................................................................... 67
DE63......................................................................... 69
DE64......................................................................... 70
DE65......................................................................... 71
DE66......................................................................... 72
DE67......................................................................... 73
DE68......................................................................... 74
DE69......................................................................... 75
DE70......................................................................... 76
DE71......................................................................... 77
DE72......................................................................... 78
DE73......................................................................... 79
DE74......................................................................... 80
DE75......................................................................... 81
The Law of Beauty...................................................... 82
Anwer Ghani; Sort CV................................................ 92
4
Preface
Digital expressionism is the other side of human
creativity where colors speak. We usually hear
that "words paint" in creative writing, here in the
digital expressionism, "colors speak". Therefore,
digital expressionism is not pure art; it is a middle
area between art and poetry; between talk and
drawing; between writing and art.
Anwer Ghani's digital expressionism is a digital
processing and modification of photos to add a
big expression and to make the image speaks
louder. It's a means of expression and
disclosure. Digital expressionism is a powerful
talk in color.
5
Digital expressionistic works
Here are seventy five photos of the digital
artographic works by Anwer Ghani between
2017-2018.
6
DE1
7
DE2
8
DE3
9
DE4
10
DE5
11
DE6
12
DE7
13
DE8
14
DE9
15
DE10
16
DE11
17
DE12
18
DE13
19
DE14
20
DE15
21
22
DE16
23
DE17
DE18
24
DE19
25
26
DE20
27
DE21
28
DE22
29
DE23
30
DE24
31
DE25
32
DE26
DE27
33
34
DE28
DE29
35
DE30
36
37
DE31
38
DE32
39
DE33
40
DE34
41
DE35
42
DE36
43
DE37
44
DE38
45
DE39
46
DE40
47
DE41
48
DE42
49
DE43
50
DE44
51
DE45
52
DE46
53
DE47
54
DE48
55
DE49
56
DE50
57
DE51
58
DE52
59
DE53
60
DE54
61
DE55
62
DE56
63
DE57
64
DE58
65
DE59
66
DE60
67
DE61
DE62
68
69
DE63
70
DE64
71
DE65
72
DE66
73
DE67
74
DE68
75
DE69
76
DE70
77
DE71
78
DE72
79
DE73
80
DE74
81
DE75
82
The Law of Beauty
The quantitative Stylistic and the Law of Beauty
We are now in front of many facts about the
beautiful artistic writing:
First: In the last twenty years, the writing
beautifulness and artistry in our awareness have
been transmitted from the aesthetic view into the
expressive view. Now the creative people
concern with feeling expression more than the
aesthetic applications.
Second: We can differentiate three eras of
stylistic approaches about the beautifulness and
artistry in the writing, the pre-modernism which
concerns with power of the meaning connection,
the modernism which concerns with aesthetic of
the writing and the post modernism, the present
era, which concerns with powerful feeling
expression.
Third: In our globalisation and post-globalisation
era, there is a powerful feeling and practice of
free writing which doesn’t or shouldn’t observe
the rules, the laws or the traditions in the
beautiful writing, the literature, even the genre.
Fourth: Now, we are in front of new literary
writing which doesn’t fit or doesn’t want to follow
any genre classification, it is a non-genric or
trans-generic writing.
Five: In this very free seeking era, why we need
to study the stylistic elements of the present
artistic writing and its law?
I will answer the last question first and the other
points I will deal with through the chapters of the
book. In fact the human is a very selective
83
creature and always seeking the better, and
appreciate the best and imitate it, this is a point.
In other aspect the deep humanistic instinctual
recognition or experience, despite its
truthfulness, it is vague and can’t exit from the
primary view for the world things while the soul
is a very complex and a highly knowing creature
and can’t satisfied by the primary instinctual
experience, so it needs the intellectual
experience and analysis to reach its goals in
everything, not just in aesthetic and beauty. In
the process of the analysis, the intellectual
recognition and the systematic differentiation of
our experiences about the beautiful writing, we
don’t add or invent something, not present in the
text or in the writing or we put some elements
which they are strange to the instinctual
experience, but in fact, the intellectual analysis
of the beautiful writing is a thorough analysis of
the instinctual experience. Yes, our intellectual
experience is always an analysis of our
instinctual experience. So this book is a
collection of intellectual analysis of the instinctual
experiences in different aspects of the beautiful
writing. So, I won’t find a new thing, but I will try
to show what is present. I believe absolutely that
the mind can’t find anything but just a tool to
explain what the instinct knows and experiences.
The mind knows nothing new but shows us what
we know.
I made the chapters short, clear and
concentrated on one idea to follow the souls of
the present reader who doesn’t like the long and
the complex writing. We are now in the era of the
“general reader", and we should leave the
remnant of modernism; I mean the era of the
“selected reader”. The seeking of the selected
reader is killing to the literature and its aesthetic
84
and social goals. Even the critic, the theoretic or
the analytic essays should be clear, beautiful
and widely interested.
I will follow these rules, and I will try to deals with
very clear and true instinctual elements in the
experience of the artistic, so this book is for all of
us, the reader, the writer, the non-reader and the
non-writer instinctual appreciators of the
beautiful writing . When we talk about our writing,
we talk about our speech, but the writing is the
formal and the external presence of the speaking
and it is widely used as a connective and a
literary tool.
The Profitability
One of the deep and constant instinctual living
factors is the profitability in human behavior.
Human in every action, they watch the cost and
benefit, and any decision is made depending on
the cost-benefit relation. Human in every action,
they watch the cost and benefit, and any
decision is made depending on the cost-benefit
relation. In the speaking, the people try to
produce a same idea with minimal words and in
the artistic writing, the people try to show and
conduct the same feelings, artistry and
meanings by minimal textual elements. The
reader will see by his deep instinct the volume of
artistry and feeling in the text in comparison to
the size of text.
The relation between the general profitability, the
cost and the benefit can be shown in the
following equation:
85
Profitability volume of Benefit/size of cost.
Note: I didn’t get this equation from any
reference.
If we condense with lenience all the goals
(benefits) of writing in the system of meanings
and all the textual artistic in( text size), we can
explain the profitability law in writing as in the
following equation:
Profitability = meaning/text
P= M / T.
Where the profitability is the profitability in writing
or speech.
The term “meaning” in the equation basically
involves the feelings, ideas and other writer’
related factors while the term “text” involves the
number of words, the rhetoric elements (artistic
elements) and the deviation from the ordinary
expression.
The more artistic writing the more benefit in
relation to cost and a wider gab between the
writer profitability and ordinary profitability.
The following chapters will be applications of the
concepts of this law. That is to say they will be a
details explanation of this law.
The Individuality
Everything has two aspects of existence; first:
the generalized global existence as a thing
between the things while the second is the
special individual existence in regard to each
86
thing separately, so the global existenece is one
and limited while the individual one is infinite and
its number is the number of all things. The same
thing is present in the knowledge of the realizers
about the thing where there is a global meaning
and individual meaning; the first is one and
limited while the other is infinite.
Everything has two aspects in its presence as an
existing thing (existence) and as a concept
(meaning). The factors of existence are
represented by the effect and the factors of
meaning represented by features. So the degree
of effect is the degree of existence and the
degree of features is the degree of meaning and
we can draw this in the following equations:
Existence = effectiveness The same thing is
present in the knowledge of the realizers about
the thing where there is a global meaning and
individual meaning;.
Meaning = featuring ( the number of features and
their degrees, either negative or positive).
In the artistic writing the important aspect is the
meaning aspect and its transfiguration
represented by the artistic stylistic deviation. So
expressionism in writing depends totally on the
aesthetic individuality in the style.So:
The stylistic individuality proportionates with
stylistic features in the text that are differ and
deviated from the general style with beauty
production and there are two degrees of artistic
stylistic individuality, the creative stylistic
individuality and the writer stylistic individuality.
87
So the expressionism is the result of summation
of creativity in comparison to the general people
and the individual writer style. So, the law of
expressionism in writing can be represented by
the following:
The degree of individuality in a text
proportionates with the deviation from what is
usual with artistic effect. Everything has a
function as image, and to be usual or normal it
should occur in the usual cooperative and
normal clear image with limited symbolism. Any
decrease in the cooperativity will result in
deviation and individuity
The Expressionism
The measure effect of the expressionism is the
increment of meanings volume in a given text.
So in every size of speech or text, the volume of
meaning is proportionatin' with degree of
expressionism. Every text has a power of
conduction of meaning, and there are general
power which is shared by general people in their
speech but the expressionism increase this
power. In the ordinary speech, the meanings of
the text equal the number of complete smallest
sentences, but the expressionism can increase
the number of meaning in given text.
Overriding in witing is the imaginary.
88
In the writing, the function of words is
transmission of meaning and formation of their
symbolism. The function is the effectiveness in
transmission of the ordinary meaning, and the
symbolism is the number of circles of
interpretations.
The Primary and Secondary Concepts
First There are two types of comprehensive thing
which can be realized and recognised by the
mind first the primary thing or processes which
they are perceptive and the second are the
secondary which they are analytic . The
primary concepts or activities may occur as
secondary process but with time and
establishment become primary. The difference
between two that the primary activity is a direct
activity of the brain and no need to gain it from
other things while the secondary things are the
result of analysis. We should define the primary
factors by clear and known definitions while the
secondaries can be defined by the primary
things.
The important primary subjects include the
following: Thing, Language, Existence, Intellect,
Meaning, Writing.
It is so clear that these things are primary and no
need for explanation by other concept.
The Essential, The Analytic and the Linguistic
existence.
89
Second there are aspect of existence on a thing,
the essential existence, the analytic (minded)
and the linguistic existence. The base that all
refer to the same facts but we need tools to talk
about that fact in each existence, these tools we
call them “the equivalents” when we need to talk
linquesticly about a fact in a thing we need the
linguestic equevalent of that fact.
The Law of Beauty
Beauty is a complex analytic phenomenon result
from the interaction between many secondary
elements. The aesthetic elements are two types;
the first is qualitative type pointing the aesthetic
in a point in a given time or place, the second the
quantitative which represent the quantitive and
the presence in regard the size and time. the first
is qualitative type pointing the aesthetic in a point
in a given time or place, the second the
quantitative which represent the quantitive and
the presence in regard the size and time.
First: The Qualitative type can be creative in the
work, or responsive in the viewer mind or
universal composed of both.
what the author wants to say. what the author
wants to say.
Proffesionality: the fitness of the work to the rules
Symbolism: the circle of interpretations.
Emotion: the bulk of feelings in the work.
Art = proffesionality + message
Style ( authorial ) = symboli + emotion
90
creativity = artistry × authorial 2
Responsivity (appreciation) system
Enjoyment
Passivity
attraction
Astonishment = passivity + enjoyment
Appreciation = attraction + enjoyment
Love = appreciation astonishment
Appreciation = attraction + enjoyment
Beauty (aesthetic) = love × creativity 2
Responsivity (appreciation) system
satisfaction = love 2× creativity
So
((Beauty = love × creativity 2
love = appreciation × astonish
creativity = artistry × style 2
Beauty = appreciation × astonish) × (artistry ×
authorial2)2
Ae= Ap × As × At2 × Au4
91
Ae= Aesthetic (beauty).
Ap= Appreciation.
As = Astonishment.
At = artistry.
Au = Authorial style (the style).
The quantitative approach to beauty
Quantitive Stylistic (period)
All the above deal the aesthetic value in a point,
in the quantitive stylistic we study the aesthetic
concept in the time, space and size of the text.
In fact the qualitative concepts are subject to the
qualitative subject.
Presence = number × degree
Transfiguration = presence/size
Reality = transfiguration/time.
The more number of appearance and higher
degree of a thing, the more potent presence. And
the more potent presence over the size the more
transfiguration. The more constant and higher
transfiguration over time, the more reality of that
thing.
92
Anwer Ghani; Sort CV
ANWER GHANI
1973, Babylon.
Poet, physician and Religious scholar from Iraq
Addrees: Iraq , Babylon 51001 , Babylon post
office , postal box 396.
Passport name: Anwar Gheni Jaber
Pen name: Anwer Ghani
Married and has two daughters and son.
Consultant nephrologist in Dialysis unite in
Alsadiq Hospital.
1973: Born in Hilla – Iraq.
1991: Kufa University of medicine.
1995: publishing of 1st prose poem in Arabic
journal.
93
1997 : MBChB.
1999: Marriage
2004: complete the 1st edition of his long prose
poem ( Death and Life), 44 pages.
2005 : Specialty in medicine (Internist).
2005: Anajaf School of Fiqh science ( Religious
sciences).
2007: Training on Kidney Transplantation in
India.
2007: 1st digital publication of an Arabic book
on Amazon.
2014: 1st poetry collection in Arabic on
Amazon.
2015: publishing of eight researches in
nephrology. ( from 2005-2015).
2015: Consultant physician degree.
2015:
-Founding of Tajeed group of prose poetry in
Arabic and Tajeed magazine o prose poetry in
Arabic.
- Founding Tajdeed prize for prose poetry in
Arabic.
2016: 1st publishing of a book of literary essays
on Amazon.
2017:
-Publishing poetry in more than 30 magazine.
- Publishing of Antipoetic poems on Amazon.
94
- Founding of Arcs prose poetry group and Arcs
magazine of prose poetry.
-Publishing of 70 book in Arabic and English on
Amazon.
-WNWU Prize of best poet.
2018:
publishing 11 book in English ( poetry and
literary theory) on Amazon.
-Inner child press award.
- Nomanee for the best poet on net by Spirite
Fire.
2018:
-Founding of Arcs prize for prose poetry.
-Adelaide prize nomanee of best poetry
- publishing of Mosaicked poems book on
Amazon.
-Erbacce prise nomanee.
2019:
- Founding of International Prose Poetry
Society.
- Rock Pebbles ward for literature.
- United Spirit of World Writers Award.
- Coming soon “ A Farmer’s Chants” by inner
child press.
- Coming soon “Colored Whispers” by AABS
publishing house.
95
Quotes:
Poetry is love and love always wins
Personality:
In life: A lover husband and farther.
In external: A simple farmers’ son.
In internal: A son of light.
In work: A Dialysis provider.
In writing: a Prose poetry writer and lover.
In Religious science: A Moheddith, (A Narrator
of holly sayings).
In Believe: An Allah lover and paradise seeker.
Sites:
anwerghani1.blogspot. com
anwerghaniwriting.blogspot.com
prosepoetrysociety.blogspot.com
arcsmagazine.blogspot.com
amazon.com/author/anwerghani
facebook.com/anwerghani73
twitter.com/anwerghani1
contact:
anweralmosewi1@gmail.com
mobile: 0096432437397
96
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abstract.pdf

  • 1.
  • 2.
  • 4. ABSTRACT Digital Expressionism Anwer Ghani Arcs Publishing House Second Edition 2019
  • 5. 1 Content Content........................................................................... 1 Preface........................................................................... 4 Digital expressionistic works....................................... 5 DE1 ............................................................................. 6 DE2 ............................................................................. 7 DE3 ............................................................................. 8 DE4 ............................................................................. 9 DE5 ........................................................................... 10 DE6 ........................................................................... 11 DE7 ........................................................................... 12 DE8 ........................................................................... 13 DE9 ........................................................................... 14 DE10......................................................................... 15 DE11......................................................................... 16 DE12......................................................................... 17 DE13......................................................................... 18 DE14......................................................................... 19 DE15......................................................................... 20 DE16......................................................................... 22 DE17......................................................................... 23 DE18......................................................................... 23 DE19......................................................................... 24 DE20......................................................................... 26 DE21......................................................................... 27 DE22......................................................................... 28
  • 6. 2 DE23......................................................................... 29 DE24......................................................................... 30 DE25......................................................................... 31 DE26......................................................................... 32 DE27......................................................................... 32 DE28......................................................................... 34 DE29......................................................................... 34 DE30......................................................................... 35 DE31......................................................................... 37 DE32......................................................................... 38 DE33......................................................................... 39 DE34......................................................................... 40 DE35......................................................................... 41 DE36......................................................................... 42 DE37......................................................................... 43 DE38......................................................................... 44 DE39......................................................................... 45 DE40......................................................................... 46 DE41......................................................................... 47 DE42......................................................................... 48 DE43......................................................................... 49 DE44......................................................................... 50 DE45......................................................................... 51 DE46......................................................................... 52 DE47......................................................................... 53 DE48......................................................................... 54 DE49......................................................................... 55 DE50......................................................................... 56 DE51......................................................................... 57 DE52......................................................................... 58
  • 7. 3 DE53......................................................................... 59 DE54......................................................................... 60 DE55......................................................................... 61 DE56......................................................................... 62 DE57......................................................................... 63 DE58......................................................................... 64 DE59......................................................................... 65 DE60......................................................................... 66 DE61......................................................................... 67 DE62......................................................................... 67 DE63......................................................................... 69 DE64......................................................................... 70 DE65......................................................................... 71 DE66......................................................................... 72 DE67......................................................................... 73 DE68......................................................................... 74 DE69......................................................................... 75 DE70......................................................................... 76 DE71......................................................................... 77 DE72......................................................................... 78 DE73......................................................................... 79 DE74......................................................................... 80 DE75......................................................................... 81 The Law of Beauty...................................................... 82 Anwer Ghani; Sort CV................................................ 92
  • 8. 4 Preface Digital expressionism is the other side of human creativity where colors speak. We usually hear that "words paint" in creative writing, here in the digital expressionism, "colors speak". Therefore, digital expressionism is not pure art; it is a middle area between art and poetry; between talk and drawing; between writing and art. Anwer Ghani's digital expressionism is a digital processing and modification of photos to add a big expression and to make the image speaks louder. It's a means of expression and disclosure. Digital expressionism is a powerful talk in color.
  • 9. 5 Digital expressionistic works Here are seventy five photos of the digital artographic works by Anwer Ghani between 2017-2018.
  • 10. 6 DE1
  • 11. 7 DE2
  • 12. 8 DE3
  • 13. 9 DE4
  • 25. 21
  • 29. 25
  • 37. 33
  • 40. 36
  • 72. 68
  • 86. 82 The Law of Beauty The quantitative Stylistic and the Law of Beauty We are now in front of many facts about the beautiful artistic writing: First: In the last twenty years, the writing beautifulness and artistry in our awareness have been transmitted from the aesthetic view into the expressive view. Now the creative people concern with feeling expression more than the aesthetic applications. Second: We can differentiate three eras of stylistic approaches about the beautifulness and artistry in the writing, the pre-modernism which concerns with power of the meaning connection, the modernism which concerns with aesthetic of the writing and the post modernism, the present era, which concerns with powerful feeling expression. Third: In our globalisation and post-globalisation era, there is a powerful feeling and practice of free writing which doesn’t or shouldn’t observe the rules, the laws or the traditions in the beautiful writing, the literature, even the genre. Fourth: Now, we are in front of new literary writing which doesn’t fit or doesn’t want to follow any genre classification, it is a non-genric or trans-generic writing. Five: In this very free seeking era, why we need to study the stylistic elements of the present artistic writing and its law? I will answer the last question first and the other points I will deal with through the chapters of the book. In fact the human is a very selective
  • 87. 83 creature and always seeking the better, and appreciate the best and imitate it, this is a point. In other aspect the deep humanistic instinctual recognition or experience, despite its truthfulness, it is vague and can’t exit from the primary view for the world things while the soul is a very complex and a highly knowing creature and can’t satisfied by the primary instinctual experience, so it needs the intellectual experience and analysis to reach its goals in everything, not just in aesthetic and beauty. In the process of the analysis, the intellectual recognition and the systematic differentiation of our experiences about the beautiful writing, we don’t add or invent something, not present in the text or in the writing or we put some elements which they are strange to the instinctual experience, but in fact, the intellectual analysis of the beautiful writing is a thorough analysis of the instinctual experience. Yes, our intellectual experience is always an analysis of our instinctual experience. So this book is a collection of intellectual analysis of the instinctual experiences in different aspects of the beautiful writing. So, I won’t find a new thing, but I will try to show what is present. I believe absolutely that the mind can’t find anything but just a tool to explain what the instinct knows and experiences. The mind knows nothing new but shows us what we know. I made the chapters short, clear and concentrated on one idea to follow the souls of the present reader who doesn’t like the long and the complex writing. We are now in the era of the “general reader", and we should leave the remnant of modernism; I mean the era of the “selected reader”. The seeking of the selected reader is killing to the literature and its aesthetic
  • 88. 84 and social goals. Even the critic, the theoretic or the analytic essays should be clear, beautiful and widely interested. I will follow these rules, and I will try to deals with very clear and true instinctual elements in the experience of the artistic, so this book is for all of us, the reader, the writer, the non-reader and the non-writer instinctual appreciators of the beautiful writing . When we talk about our writing, we talk about our speech, but the writing is the formal and the external presence of the speaking and it is widely used as a connective and a literary tool. The Profitability One of the deep and constant instinctual living factors is the profitability in human behavior. Human in every action, they watch the cost and benefit, and any decision is made depending on the cost-benefit relation. Human in every action, they watch the cost and benefit, and any decision is made depending on the cost-benefit relation. In the speaking, the people try to produce a same idea with minimal words and in the artistic writing, the people try to show and conduct the same feelings, artistry and meanings by minimal textual elements. The reader will see by his deep instinct the volume of artistry and feeling in the text in comparison to the size of text. The relation between the general profitability, the cost and the benefit can be shown in the following equation:
  • 89. 85 Profitability volume of Benefit/size of cost. Note: I didn’t get this equation from any reference. If we condense with lenience all the goals (benefits) of writing in the system of meanings and all the textual artistic in( text size), we can explain the profitability law in writing as in the following equation: Profitability = meaning/text P= M / T. Where the profitability is the profitability in writing or speech. The term “meaning” in the equation basically involves the feelings, ideas and other writer’ related factors while the term “text” involves the number of words, the rhetoric elements (artistic elements) and the deviation from the ordinary expression. The more artistic writing the more benefit in relation to cost and a wider gab between the writer profitability and ordinary profitability. The following chapters will be applications of the concepts of this law. That is to say they will be a details explanation of this law. The Individuality Everything has two aspects of existence; first: the generalized global existence as a thing between the things while the second is the special individual existence in regard to each
  • 90. 86 thing separately, so the global existenece is one and limited while the individual one is infinite and its number is the number of all things. The same thing is present in the knowledge of the realizers about the thing where there is a global meaning and individual meaning; the first is one and limited while the other is infinite. Everything has two aspects in its presence as an existing thing (existence) and as a concept (meaning). The factors of existence are represented by the effect and the factors of meaning represented by features. So the degree of effect is the degree of existence and the degree of features is the degree of meaning and we can draw this in the following equations: Existence = effectiveness The same thing is present in the knowledge of the realizers about the thing where there is a global meaning and individual meaning;. Meaning = featuring ( the number of features and their degrees, either negative or positive). In the artistic writing the important aspect is the meaning aspect and its transfiguration represented by the artistic stylistic deviation. So expressionism in writing depends totally on the aesthetic individuality in the style.So: The stylistic individuality proportionates with stylistic features in the text that are differ and deviated from the general style with beauty production and there are two degrees of artistic stylistic individuality, the creative stylistic individuality and the writer stylistic individuality.
  • 91. 87 So the expressionism is the result of summation of creativity in comparison to the general people and the individual writer style. So, the law of expressionism in writing can be represented by the following: The degree of individuality in a text proportionates with the deviation from what is usual with artistic effect. Everything has a function as image, and to be usual or normal it should occur in the usual cooperative and normal clear image with limited symbolism. Any decrease in the cooperativity will result in deviation and individuity The Expressionism The measure effect of the expressionism is the increment of meanings volume in a given text. So in every size of speech or text, the volume of meaning is proportionatin' with degree of expressionism. Every text has a power of conduction of meaning, and there are general power which is shared by general people in their speech but the expressionism increase this power. In the ordinary speech, the meanings of the text equal the number of complete smallest sentences, but the expressionism can increase the number of meaning in given text. Overriding in witing is the imaginary.
  • 92. 88 In the writing, the function of words is transmission of meaning and formation of their symbolism. The function is the effectiveness in transmission of the ordinary meaning, and the symbolism is the number of circles of interpretations. The Primary and Secondary Concepts First There are two types of comprehensive thing which can be realized and recognised by the mind first the primary thing or processes which they are perceptive and the second are the secondary which they are analytic . The primary concepts or activities may occur as secondary process but with time and establishment become primary. The difference between two that the primary activity is a direct activity of the brain and no need to gain it from other things while the secondary things are the result of analysis. We should define the primary factors by clear and known definitions while the secondaries can be defined by the primary things. The important primary subjects include the following: Thing, Language, Existence, Intellect, Meaning, Writing. It is so clear that these things are primary and no need for explanation by other concept. The Essential, The Analytic and the Linguistic existence.
  • 93. 89 Second there are aspect of existence on a thing, the essential existence, the analytic (minded) and the linguistic existence. The base that all refer to the same facts but we need tools to talk about that fact in each existence, these tools we call them “the equivalents” when we need to talk linquesticly about a fact in a thing we need the linguestic equevalent of that fact. The Law of Beauty Beauty is a complex analytic phenomenon result from the interaction between many secondary elements. The aesthetic elements are two types; the first is qualitative type pointing the aesthetic in a point in a given time or place, the second the quantitative which represent the quantitive and the presence in regard the size and time. the first is qualitative type pointing the aesthetic in a point in a given time or place, the second the quantitative which represent the quantitive and the presence in regard the size and time. First: The Qualitative type can be creative in the work, or responsive in the viewer mind or universal composed of both. what the author wants to say. what the author wants to say. Proffesionality: the fitness of the work to the rules Symbolism: the circle of interpretations. Emotion: the bulk of feelings in the work. Art = proffesionality + message Style ( authorial ) = symboli + emotion
  • 94. 90 creativity = artistry × authorial 2 Responsivity (appreciation) system Enjoyment Passivity attraction Astonishment = passivity + enjoyment Appreciation = attraction + enjoyment Love = appreciation astonishment Appreciation = attraction + enjoyment Beauty (aesthetic) = love × creativity 2 Responsivity (appreciation) system satisfaction = love 2× creativity So ((Beauty = love × creativity 2 love = appreciation × astonish creativity = artistry × style 2 Beauty = appreciation × astonish) × (artistry × authorial2)2 Ae= Ap × As × At2 × Au4
  • 95. 91 Ae= Aesthetic (beauty). Ap= Appreciation. As = Astonishment. At = artistry. Au = Authorial style (the style). The quantitative approach to beauty Quantitive Stylistic (period) All the above deal the aesthetic value in a point, in the quantitive stylistic we study the aesthetic concept in the time, space and size of the text. In fact the qualitative concepts are subject to the qualitative subject. Presence = number × degree Transfiguration = presence/size Reality = transfiguration/time. The more number of appearance and higher degree of a thing, the more potent presence. And the more potent presence over the size the more transfiguration. The more constant and higher transfiguration over time, the more reality of that thing.
  • 96. 92 Anwer Ghani; Sort CV ANWER GHANI 1973, Babylon. Poet, physician and Religious scholar from Iraq Addrees: Iraq , Babylon 51001 , Babylon post office , postal box 396. Passport name: Anwar Gheni Jaber Pen name: Anwer Ghani Married and has two daughters and son. Consultant nephrologist in Dialysis unite in Alsadiq Hospital. 1973: Born in Hilla – Iraq. 1991: Kufa University of medicine. 1995: publishing of 1st prose poem in Arabic journal.
  • 97. 93 1997 : MBChB. 1999: Marriage 2004: complete the 1st edition of his long prose poem ( Death and Life), 44 pages. 2005 : Specialty in medicine (Internist). 2005: Anajaf School of Fiqh science ( Religious sciences). 2007: Training on Kidney Transplantation in India. 2007: 1st digital publication of an Arabic book on Amazon. 2014: 1st poetry collection in Arabic on Amazon. 2015: publishing of eight researches in nephrology. ( from 2005-2015). 2015: Consultant physician degree. 2015: -Founding of Tajeed group of prose poetry in Arabic and Tajeed magazine o prose poetry in Arabic. - Founding Tajdeed prize for prose poetry in Arabic. 2016: 1st publishing of a book of literary essays on Amazon. 2017: -Publishing poetry in more than 30 magazine. - Publishing of Antipoetic poems on Amazon.
  • 98. 94 - Founding of Arcs prose poetry group and Arcs magazine of prose poetry. -Publishing of 70 book in Arabic and English on Amazon. -WNWU Prize of best poet. 2018: publishing 11 book in English ( poetry and literary theory) on Amazon. -Inner child press award. - Nomanee for the best poet on net by Spirite Fire. 2018: -Founding of Arcs prize for prose poetry. -Adelaide prize nomanee of best poetry - publishing of Mosaicked poems book on Amazon. -Erbacce prise nomanee. 2019: - Founding of International Prose Poetry Society. - Rock Pebbles ward for literature. - United Spirit of World Writers Award. - Coming soon “ A Farmer’s Chants” by inner child press. - Coming soon “Colored Whispers” by AABS publishing house.
  • 99. 95 Quotes: Poetry is love and love always wins Personality: In life: A lover husband and farther. In external: A simple farmers’ son. In internal: A son of light. In work: A Dialysis provider. In writing: a Prose poetry writer and lover. In Religious science: A Moheddith, (A Narrator of holly sayings). In Believe: An Allah lover and paradise seeker. Sites: anwerghani1.blogspot. com anwerghaniwriting.blogspot.com prosepoetrysociety.blogspot.com arcsmagazine.blogspot.com amazon.com/author/anwerghani facebook.com/anwerghani73 twitter.com/anwerghani1 contact: anweralmosewi1@gmail.com mobile: 0096432437397
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