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Research Idea: The main idea lies in answering the questions: Is there a phonetic necessity in Arabic syntax? What are its forms? What is its effect on the system structures? Can the change of certain syntax structures be interpreted in view of phonetic necessity? What is the relation between phonetic necessity and syntax and phonetic reasons? What is the difference between phonetic necessity and poetic necessity? The research plan included an introduction tackling: First.: Concept of phonetic necessity. Second.: The difference between phonetic necessity and poetic necessity Third.: The relation between syntax reason and phonetic reason. And three chapters dealing with the idea of phonetic necessity impact in Arabic syntax: Chapter one: Impact of phonetic necessity in general syntax necessity. Chapter Two: Impact of phonetic necessity in establishing syntax phenomena different from the rule. Chapter Three: Impact of phonetic necessity in partial rules related to incident phenomena. The research reached a set of findings including: -The phonetic necessity is an original phenomenon in the syntax lesson. First grammarians considered phonetic necessity when putting the syntax rules according to what they induced of Arab speaking. This appeared in some forms such as: replacing the origin in some position, some structures tend to achieve easiness and far from what is difficult on the Arab tongue. -The research reached an accurate definition of phonetic necessity and characterizing it as: as phonetic mandatory reason, certain syntax structures tend - at the level of structure and style - or some morphological structures, to replace the origin to achieve the easiness in performance and pronunciation. -The phonetic necessity even if similar to phonetic reason in several matters, differs from it in many aspects. This means that using both of them as one meaning is prejudice to this idiom and its right to appear in the list of syntax idioms.
This essay tackles socialist realism in culture and art. It specially concentrates on the character of the socialist realism artist Mohamed Hamed Eweis, starting from his growing up and his career in art, and ending with his style, vision and artistic maturity. He has effectively participated in the Egyptian artistic school with his unique works and his monumental style. He concentrated in his subjects on human causes, especially in the 1950s after the time of the 1952 revolution, as creativity for him is an idea derived from life. His works were devoted to describing the working class and poor people. He stopped working for a while after the setback of 1967, and then he returned producing art revolving around resistance, and continued drawing until he died.
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