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Copyright of Magazine General Union of Arab Archaeologists is the property of General Union of Arab Archaeologists and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Iraq's reproductive and developmental seasons for the frog vary depending on the region and ecological, geographical, and climatic factors, but they always take place from February to April. This study set out to observe the impact factor of water temperature on frog embryo development and tadpoles' development in the frog genus Bufotes variabilis. In central Iraq (semi-arid zones), temperatures are high, and precipitation is low; the temperature plays an important role in the timing of metamorphosis, especially in amphibian populations of Iraq. In the three months of February, March, and April, a hand net was used to gather a total of 100 eggs from the bank of the Babylon River and divided into three groups, tadpole's total snout to vent length (SVL) at stages 25, 35, and 46 were measured during this period. This group experiences varying stages when the water temperature varies from 10°C in February to 25°C in April. Histologically, frog skin is composed of an epidermal and dermal layer. The epidermal layer comprises a mucous-stratified squamous epithelium (keratinized or non-keratinized) with three strata of keratinocytes (basal, intermediate, and apical). The dermis is divided into two strata, a loose connective tissue stratum underneath the epidermis that contains melanin pigment cells, blood vessels, mucous and granular glands, and a dense irregular connective tissue stratum rich in crisscrossed collagen fibers. Histological specimens were taken to study the mucous and granular glands of the frog's skin during the same period using rotund methods; the skin showed changes in mucous and granular gland diameter in April is larger than that in February. We registered in dorsal pectoral skin the mucous gland I, spherical in shape and constituted by a single layer of relatively tall prismatic secretory cells with basal nuclei. While the Mucous gland II is constituted of low cuboidal secretory cells with middle or basal nuclei surrounding a somewhat demanding lumen. In conclusion, the temperature plays a big role in tadpole size and time of metamorphosis as well as skin changes.

Copyright of Revue Académique des Études Sociales et Humaines is the property of Hassif Benbouali University of Chlef and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The desert as a space is still fascinating people and stimulating the minds of those who nourish curiosity. Its landscape is the setting for cultural, religious, historical, artistic and phantasmagorical constructions and with its labyrinthine paths and surroundings, it offers an inexhaustible reservoir of perceptions for its inhabitants, researchers, visitors and admirers. Moreover, the image of the cultural other is stylized in this topographical environment. From a literary point of view, its location is a fertile ground for literary creativity and inspiration. This essay attempts to analyze the ambivalent side of the desert as a polyphonic and transcultural space for possible moments of enunciation, using the example of Karl May’s novel „Durch die Wüste“ (1892). The intention is also to examine the various facets of this space and its function as a plot and aesthetic-poetic topos of cultural Otherness in May’s poetry.

Copyright of Centre: Journal of Arabic Studies / Al-Markaz: Majallat al-Dirāsāt al-ʿArabiyya is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humanities Journal of University of Zakho (HJUOZ) is the property of Humanities Journal of University of Zakho and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Djoussour El-maarefa is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Iranian Journal of Range & Desert Research is the property of Research Institute of Forests & Rangelands and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bait-al-Sha’ar is the mobile home tent of the Bedouin tribes living in Kuwait’s arid desert land. This eco-friendly nomad structure has been in use for hundreds of years among the Bedouin tribes inhibiting the Arabian Pennoncelle. However, Bait-al-Sha’ar is in danger of extinction due to the massive and increasing migration of Bedouin populations form its desert land to the different Kuwaiti cities and suburbs. As a result, it became quite essential to study and document the original structure of Bait-al-Sha’ar, as well as, all its external and internal soft and hard parts, furniture, and decorations. This study aims to: 1) identify the different types and sources of raw materials, dyes, and fixatives used in Al-Sadu textiles to construct, furnish, and decorate Bait-al-Sha’ar, 2) explore the different weaving techniques used in in Al-Sadu weavings, 3) identify the major characteristics of Al-Sadu weavings, which make them suitable for constructing, furnishing, and decorating Bait-al-Sha’ar, 4) study the original design and structure of the Bait-al-Sha’ar, 5) name and explain the different parts and items used in constructing, furnishing, and decorating Bait-al-Sha’ar, and 6) explain the way Bait-al-Sha’ar is constructed and deconstructed. Thirty seven (37) interior design and art students studying “Kuwait Artistic Heritage” course at the College of Basic Education in Kuwait helped in collecting all the needed data for this study by interview their elderly, family members, relatives, friends, and others. Two A3 size internal and external images of Bait-al-Sha’ar were used identify the names of the different internal and external parts of Bait-al-Sha’ar. The collected data was cross analyzed with each other to determine similarities and differences in naming the studied parts. It is recommended that more research should be done to identify similarities and differences between the different Bedouin tribes in Kuwait in naming the different external and internal parts of Bait-al-Sha’ar, as well as, its furniture and decorations.

A though water is certainly scarce on the surface of the desert it can be found at the subterranean level. Humans, thousands of years ago, came up with an ingenious system that ensured water for their settlements and for irrigation of their vegetated lands, the oases. The oases, these islands of vegetation in the middle of the desert are not natural, as thought by many, but entirely artificial systems of vegetation. They are the result of hard work and the practical application of techniques suited to the harsh environment; the product of knowledge and skill passed on from generation to generation and from culture to culture. Obviously, the survival of an oasis depends entirely on water. The foggara system for managing scarce underground water resources in the desert is examined in this case study as a characteristic example of traditional wisdom that has survived for millennia. This case study is of particular importance. Foggaras are threatened today on the one hand by the increasing demands of population growth, and on the other hand, by the popularity of new water extraction technologies, especially electric pumps that exhaust underground water resources and render the foggaras useless. Perhaps the challenge in this case is how to make best use of cotemporary science and technology in water management, while taking into account the traditional foggara.

Eco-feminist writers, in general, investigate the relationship between the oppression of women and the degradation of nature. Cultural ecofeminism, as a branch of ecofeminism, reclaims the twinning of nature with women in terms of productivity and bounty. Cultural eco-feminists emphasize a kind of affinity between elements of nature such as land, woods, desert….etc. and women, in an attempt to reach out to a better cultural community. They try to integrate their views of nature with culture. With such perspective, the current study approaches the poetry of the Mexican American poet, Pat Mora (1942-). Mora's attachment to the Mexican environment and culture greatly influences her literary output which is imbued with images of the desert stressing the cultural concept of the desert as a mother who is endowed with a healing power. She believes that one's culture and environment knit one's heritage and the process of recovering heritage conditions reviving cultural traditions, concepts, practices, values, beliefs and character of place. Thus, her writings focus on the cultural value of land, of communal identities and the Latino mythologies. She depicts Latino people who dwell in a harsh desert from which she unearths the stories of the past to heal the present with special emphasis on the role of land/ desert as a healer by exploiting the image of the curandera, the woman healer in the Mexican culture.

Copyright of Revue Universitaire des Sciences Humaines et Sociales is the property of University of Kasdi Merbah Ouargla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article se penche sur le désert, le nomadisme et la figure du nomade dans leur perception selon les cultures et leurs expressions dans la littérature, à l’exemple des œuvres de Malika Mokeddem et Isabelle Eberhardt, deux écrivains ayant vécu dans des contextes historiques différents et surtout appartenant à des cultures distinctes : la première arabe, née nomade, francophone d’expression et la seconde russe/française, nomade d’adoption, arabophone, musulmane, afin de voir la poétique de la langue face à ce milieu et ses paysages, à ce mode de vie, d’approcher l’imaginaire suscité par l’étendue des sables et mettre en évidende l’influence que le désert a exercé sur ces deux auteurs, leurs êtres et leurs écritures du désert et sur le désert.

Dans le roman Désert de Le Clézio, la « nature » de l’Homme Bleu s’oppose à la « culture » de l’Homme Blanc, mais l’enjeu est purement politique, économique, colonialiste. Car en réalité, cette opposition, ce contraste « nature/culture » est lui-même un objet culturel, et ce n’est pas une contradiction si nous affirmons avec Morin que « l’homme est par nature un être culturel » (Morin, 1973 : 101). Nous voudrions dans cet article démontrer comment le texte de Le Clézio illustre le désir de conquête des Français et leur projet « culturel », « civilisateur », qui répond au besoin de coloniser des territoires outre-mer et de s’accaparer de leurs richesses. Ce projet colonial sous couvert culturel s’oppose à la nature des Hommes Bleus qui est représentée par le désert, car « Le désert donne le silence, la liberté et l’indépendance », écrit Roland Ducrocq (2009 : 13). Et «Sans liberté, les Touaregs n’existent pas » dit un vieil adage qui traduit au plus près l’esprit des Hommes Bleus.

Copyright of Journal of Taibah University Arts & Humanities is the property of Association of Arab Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magazine General Union of Arab Archaeologists is the property of General Union of Arab Archaeologists and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jornal of Al-Muthanna for Agricultural Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is Imru Al Qais, and before his name Hanadj. And it was said: Uday, and it was said Malika. It has a nickname other than: Abu Wahb, Abu Zaid, Abu Al-Hareth .. And he was told: Dhu al-Qurh, and the misguided king. And his mother, Fatima bint Rabia bin bin al-Harth bin Zuhair, sister of Kalhab and Muhalhal Abi Rabia al-Taghlbiyen. And he said who claimed to be the emir of Al-Qais bin Al-Samt: his mother owns the daughter of Amr bin Zabid bin Madhahej Rahat Amr bin Ma’ad Yarb, and they quoted as saying the command of Al-Qais: The family came to it, and the accidents are so great that the woman of Al-Qais bin Malak Beqra and Ibn Al-Sakit said: Umm Hajar Abi, the person of Al-Qais or the weaning of the daughter of Salamah, a woman from Anza, and we see the first opinion of his relative from his mother, so it was repeated about the narrators and historians of literature. Whoever took the poetry from his uncle, Al-Muhallal bin Rabia. Ibn Al-Skeet said. If a Qais woman was born in the country of Asaad, he said: Ibn Habib: He used to encode the encoder from Al-Yamamah, and he said: It was the fortress of Bahrain.