Displacement is a translation of the French word (Ecart), which signifies distance. The first conveys a stronger sense than the latter. Rashid Al-Dada stated 2009: Penetrating the idealism of language and abstracting from it in creative performance so that this difference violates the formulation on which the familiar and ideal system is based or deviates at the level of artistic language and meaning from what this system is based on [5]. Youssef and Ghalisi counted approximately sixty terms that correspond to the foreign concept (Ecart), including displacement, displacement, displacement Arabic: (transgression...) [6] And this difference in terminology among Westerners before Arabs was displacement and transgression according to Valery, deviation according to Lisbiter, disorder according to Wellek and Warren, overthrow according to Patière, disobedience according to (Harun, 1998) and the ancient grammarians interpreted it, and the modern ones, including Tamam Hassan, addressed it: (The grammarians formed an abstract mental structure that is different from usage, and they called it “the origins” so they made for each group of elements an origin to which their vocabulary is returned, so whatever of them agreed w Abdul Rajhi disagreed. Grammarians consider any rule breach a deviation or displacement [7]. Rhetoricians have always focused on the lexical origin of words, so anything that differs from it is also a displacement. The recipient must be familiar with the rules to understand displacements and their structural or semantic definitions.
Scientists have examined the displacement method at two levels: its ideal performance and its creative level, which depends on accessing and violating this ideal [8]. The creator uses his creative abilities to create an artistic text that arouses astonishment and motivates the recipient to consider linking the lexical meaning of the idea and the meaning he seeks. He shifts from direct expression to a style that makes you feel the sweetness of the text, the pleasure of the rhythm, and the achievement of pleasure. [9]. Thus, displacement is used in most artistic studies as a deviation from the norm. It has long taken creative texts from the tight circle of meanings into the wide circle of living human activity [3, p. 148]. The text's beauty comes from breaking the rule and moving the creative form or text. Sometimes it breaks the rules, sometimes it uses odd forms. Its first case falls within hyperbole, thus conventional judgments apply. The second version of the research meets linguistics and stylistics standards [10]. Artists and writers use it in poetry and prose. The creator must use it intentionally to draw attention. Despite the multiplicity of terms, the recipient interprets his psychological state for him so that he presents what needs delaying or presenting or according to the subject he presents and deals with, and the artist must be familiar with this method to create another world in the recipient's imagination.
Displacement is fundamental to current literary and aesthetic studies, both Western and Arab. Indeed, Hamadi Samoud He claimed that displacement/exit links Arab creative thinking to modern stylistics. Exploring literary language, especially artistic language, is what piques interest in transformation. Due of its many terms and circles, it has multiple names. Abdul Salam Al-Masdi said this concept's perspective is relative [11][12] . Thus, linguistic thought fluctuates in defining and creating its concepts, so each treats it as a "relative concept" from his perspective. Language "fluctuations" in definition and terminology. Since thought is defined, each person names it differently. Youssef and Al-Jalizy listed nearly sixty Arabic terms to counter these Western terms, including: (transformation, displacement, deviation, distortion, variation, contradiction, discrepancy, inconsistency, penetration, destruction, abnormality, scandal, departure, opposition, defect, evil, violation), disobedience, madness, dissonance, linguistic audacity, stupidity, contradiction, strangeness, strangeness, destruction, demolition, bending, slipping, linguistic A multitude of terms that sometimes communicate similar and occasionally overlapping notions [6]. This conceptual oversupply may be because "displacement" has not yet matured enough to warrant complete validity in Arabic critique. This premature transformation is consistent with the semantic field it encompasses since it opposes systematic meanings and deviates from typical, common, popular, or known usage. That displacement is “neither common nor ordinary, nor cast in a consumer mould. A deviation from normal.” A break from convention. “So it is a mistake, but... a deliberate mistake.” Al-Masdi (1993) Cohen believes we must distinguish between aesthetic and non-aesthetic transition because transformation is a floating idea. Poetry takes "a place in the basic and necessary condition for transformation to occur because the basic condition for poetry to occur is transformation." It breaks language and aesthetic norms. This metamorphosis is “the creative use of language, vocabulary, structures and images in a way that departs from the usual and familiar, and thus highlights its necessary characteristics, which are uniqueness, creativity and power.” [13 ,P:103] John DuBois's dictionary defines displacement as "a stylistic event of aesthetic value resulting from the speaker's decision to perform a speech act that appears to violate the norm of usage, which is determined by the general rules of language use that all recipients share." [13 ,P:100]
Despite the conceptual fluidity of transformation, there is almost a consensus that it deviates from what is apparently standard or required, or "deviates from the standard of the speaker's intended purpose"; it may be unintended on his part, but it serves the text in one way or another and to varying degrees. Thus, this change allows this creator to escape the language and stray from regular laws that limit linguistic variances.
Thus, "displacement (écart, division)" is stylistically sound. Stylists like Leo Spitzer called style "personal deviations from the rules" and it underpins much of his work. The meaning is a divergence from conventional speech until a text modifies it or a standard invalidates it. Youssef Abu Al-Adous also called the style a metamorphosis in language use rules, making it a phenomenon that no longer goes beyond transformation. Munther Ayyash talks on metamorphosis in terms of standard language and transcendent styles: "Either a departure from normal usage, or a departure from the system itself." Breaking aesthetic standards. Displacement fulfills Michel Foucault's definition of art [3,P:217]: "Art is independent of authority and influence. It clearly shows absolute happenings of normal experience." Avoiding knowledge claims is the last resort. [14]
Mohammed El Hadi Boutern says "transformation" in linguistics has two meanings [15]:
The first meaning: "indicates the difference between ancient and modern languages, or colloquial and classical. For example, "re" means "he" in old French, but "Le roi" signifies "the king" in modern French.
The second meaning: The second meaning is stylistics and means, straying from linguistic roots and giving words unexpected semantics.
Art, especially pictorial art, has changed so much, especially following the two world wars, that it has become a multifaceted phenomena that manifests for varied reasons in ways that defy classification. The junction of styles, changes in concepts, and new styles seem to be separating painting from history today. Its title: "The best of what represents this is the coming twentieth century" . The resistance to traditional concepts and forms has grown over time as new endeavors, dramatic modifications of existing ideals, and revolutionary artistic innovation have increased. A risky move. Since art has a history, experience, and reputation, it is necessary to redefine artistic methods, especially by adding huge technical variables that give it a new life and blood. Traditional artistic research tools seem to be limited to decoding the aesthetic code of art or unable to capture the reality of art's continuous transformation movement and its characteristics, which places it geographically. The undiscovered area. (Rabaa, 2003 ) Given the momentum of language transformation, it has spread to the visual arts and other artistic fields, becoming a common phenomenon in contemporary art research and attracting artists and researchers in recent years. Contemporary art, especially visual art, can only be understood through the lens of displacement, which has led to dramatic style upheavals [16]. The artistic style will wither if stereotypes or "conformity that refuses all penetration" influence it. Breaking habits, undermining normal assumptions, giving them freshness, rebelling against known standards, and violating ideal control are all part of this transition. Artists use displacement as a basis for their work since it has the potential to invest in other areas and explore new frontiers. [13 ,P:101].
And transforming it through the artist's deconstruction into purely solid geological rock surfaces, with multi-shaped centres as dimensional surfaces, as a means of penetration and escape from the limits of dimensions. In this way, the recipient can awaken his mind. The usual pragmatism is when the viewer moves through space. The paintings are characterized by multiple perspectives, wandering points of view, and shapes that change according to a dialectical structural relationship with the recipient, through which he relies on other dualities (analytical and synthetic) to reconsider the scene (static and moving) and (closer) and far (far). In addition to deletion and addition, as well as displaying parts of the shape. Or delaying them over each other or against the background of compositional changes. Thus, texts can be found whose poetics reveal the layers and points of view that govern the production of meaning through the representation of metaphorical forms. Picasso adopted the principle of continuous reduction and deletion, with the aim of removing similarities and embodying the factors that distort and distort the problem in order to achieve the purpose of solving the problem. Picasso adopted the form of metaphor, moving away from the emotional fascination with cruelty that is evident in the cruelty of Van Gogh, Kokamp, and Matisse and deliberately breaking the context. Previous methods attempted to abstract from formal meaning and exclude the individual integration of simultaneously growing forms in order to work according to the rules of possibility and probability.
Progress and delay can be applied to the Cubist genre because Cubism did not arise from anything but emerged, according to most critics, as a reflection of a reality that was changing at an alarming speed and in inconsistent ways. The image of the world that the artist accepts has become complex, and this complexity is transferred to the canvas to display multiple phenomena of adjacent objects. So, if we put them side by side on the same level, the eye can't see things at once, but the mind can bring them together and reassemble them in advance and slowly. As Maurice Serola said: “The senses absorb the ephemeral, the mind absorbs the eternal.” The goal of Cubism was to depict what is happening in life and nature, not what the eye sees. What you see, because what you see is what you see. It is digested and reflected by the heart, and vision does not begin with insight. A single centre of vision rather than multiple centres of vision requires that the recipient be aware and prepared. Understand this change and transformation spiritually, whether it is a sensory transformation like the Impressionists or a primal, instinctive transformation like the painters [19] . Cubist artwork became disturbing. That is, it forces the viewer to think and contemplate new centres and edges through the tensions between the direct and the real. Cubism was based on the fluctuations of the senses, detaching mental models from surface-level facts, refraining from passing judgment, and allowing one's mind to be inspired by specific shapes. Pretty much the same as Plato's ideal vision. The original aesthetic and compositional value of the result in Cubist shape is evident. Without sensory perception, Barak explains: "When a thought arises, the senses are distorted," meaning that the mind is always working to dismantle preexisting structures and replace them with recipes that are grammatically translated into letters. As expected. In the same way that the Surrealists employed their own photographic techniques to produce unexpected works of art, another feature is the abrupt shift from one style to another. The merging of space and time, the actual elements' metamorphosis and movement. The realm of compositional transformation encompasses all of the above and much besides. This occurs inside a single text, which itself can be perceived as both a static and dynamic structure that undergoes changes in its ability to convey various meanings, causing the process of meaning oscillation. Transition. Art strives to be modern and catch up, yet loss happens, meaning shifts, and interpretations become correct and incorrect simultaneously: what is right from a material perspective is a discussion. They both find and lose meaning when they introduce form. [20] . As a result, Cubism avoided discussing reality in terms of its material structure. Still, as a transformable and movable structure, and through the manipulation of form, they created a world different from the previous modern world, and this is the sexual revolution of modernity. The desire to rebuild the pictorial space on a new basis made it possible to see the image as it was created. It gave the artistic image a very precise definition so that it is a composite image. As a result of combining the deformable elements of the form in the absorbed image with the deformable elements of the form in the preserved image. In order to give the surface of the painting a coherent and solid feeling, they deliberately designed images of nature based on the principle that Cubism was based on the idea of seeing things and existence from multiple points of view, in contrast to the traditional approach of taking a single point of view. Based on this diversity of material points of view, the Cubists decomposed the form into its partially constituent parts.
Lecourage said that Cubism came to its climax after the following events: illustrated letters, printed letters (including printing paper), stickers (which gave painting a new character and linked it to reality), and finally, Cubism. The paradox of the sticker technique is that it can be used to create abstract environments, which proves that reality can be turned into art. Contemporary literature is no longer untainted. Rather, they are a framework of citations, echoes, and "complete penetration" of both modern and classical language, according to Barthes. [21,P:175], Ismail references There is no abstract art, says Picasso. The only way to erase the trace of reality is to begin with anything. Regardless of the consequences, the concept of the item has left an indelible mark. This is where Bartonski thinks we can reach our zenith, or where the reader and text meet; it's somewhere between the real (what we experience in the physical world) and the fantastic (how these things transform into reality). Picasso redefined "relation" as "an effect between" while he was describing the function of paper pulp in Cubist art, highlighting the interdependence and disjuncture of the two concepts. Never use a newspaper to manufacture another newspaper. They are transformed into works of art. In art, they are never employed literarily but rather as a component, taken from their original context and inserted into another to deliver a literal or figurative shock. On page 29, Loucif states [14]:
The masses and forms in Picasso's paintings lose their substance and weight as the artist breaks them down into solid geological rocky surfaces. At the heart of the multiple shapes is the surface of the penetrated dimensions and the way out of its grasp. It transcends the boundaries of space and time. In doing so, he reawakens the receiver. In general, he thinks pragmatically. The observer navigates the painting's space by means of a roving viewpoint and various dynamics, shifting the shapes' perspectives in accordance with a constructive dialectical interaction with the receiver, who in turn depends on other components. The scenario is being observed once again by the duality of composition and movement, as well as by analysis and synthesis. Compositional transitions, which delay or mix elements of the figure with the background, are another option (both close and far), along with deletion and addition. In this way, the text's poetics may be understood, which in turn reveals the many levels and perspectives that control the meaning-making process. To depict the problem in a metaphorical form free of emotional fascination (admiration), Picasso used the concepts of reduction and deletion, which include continuously removing similarities and embodying deformed and distorted parts of the issue. This is why artists like Van Gogh, Cao Jin, and Matisse were so committed to their harshness; they were breaking with tradition on purpose, attempting to deconstruct the figure while also stunting its development. The principles of probability and possibility govern the process of individual integration. By reducing human anatomy to a series of geometric shapes and eliminating facial features, this art form seeks to break free of the literary connotations associated with European painting and instead rely on the symbolic language of the elements, muted color palettes (often limited to two or three hues), and multi-directional lines. By deconstructing, analyzing, and purposefully destroying the form, it breaks free of its context and presents the system in a new light. Rather, by bringing things into an atypical expression and isolating them from reality, it tries to reject the increasing displacement of their universe. Dubois (1973) argues that characters can be created by taking the ordinary and fusing it with their outside environment [23].
Artists like Habib Beida (Figure 5), Samir Triki (Figure 6), Khalil Qawi'a (a Tunisian aesthetic researcher), Fatima Damq (among others), and others have been trailblazers in the visual arts by investigating what makes something beautiful in The experiences depicted in the drawings are similar to those they cover in their written blogs. They have authored numerous books and articles on artistic theory and excavation readings in rough areas, which they have dug into for years despite the region's worst conditions. Their body of work includes dozens of books and studies, as well as numerous exhibitions and participations showcasing their artistic works. From the mid-last century until now, they have been actively involved in monitoring the aesthetics of geography and human nature through the eyes of an artist who is well-versed in the intersections of modern and ancient art. They employ a wide range of materials, often utilizing colored inks and drawing on various surfaces. In the second, the identical sketched visual phrases are whispered in a more subtle manner. According to Maiteeq (2022,) [24]
Artistically, their experiences resemble a process of removing layers of paint from ancient paintings that represent the depths of the human soul. These layers are the product of fragmentation, sedimentation, and mixing of elements gathered from people's lives and scientific, artistic, and academic achievements. Through their works, they observe the locations of beauty within the human mind, where there is extreme privacy, while also being cognizant of the immense cultural, economic, and historical changes that Arab societies have endured and are still enduring. According to Maiteeq (2022) [24], Figure No. (7) (8) depicts the artist Khalil Qawi'a's process, which resembles a quest for tranquility, in which he preserves the most exquisite dreams and memories through cognitive excavations in his paintings. These paintings are influenced by the artist's turbulent life experiences, which have shaped and preserved the artist's ideas, which are accessible to anyone who loves art and visual knowledge, both near and far, according to their own taste and culture.
Digging deep and studying the archaeological aesthetics of the northern Mediterranean regions and the successive civilizations that passed through them, that aesthetic researcher wandering in the halls of history, his visual texts are a translation of the breaths of those peoples and their aspirations and what was marked in their popular memory, which the artist researcher monitors through heritage blogs and stories of spoken and photographed memory in publications that had spread in our Arab societies in general and Tunisian societies in particular, and his great knowledge of what was produced in the West from avant-garde movements and schools and the studies and theories that followed them by artists and critics, so all this knowledge turned into a formative understanding and a perceptive taste reflected in these artistic works with contemporary features, authentic in their local vocabulary and modern in their artistic discourse and treatment and the method of performance with him that adds another beauty to these works, in the artist focuses on the aesthetics agreed upon in an undeclared manner between all abstractionists and other forms approaching the narration of other stories from the depths of human memory in a personal style of the artist. [25].
A single phrase, structure, or paragraph can undergo this metamorphosis via connecting functions. This form, which can be either lengthy or brief, is associated with the structure of the language material and the language material immediately surrounding it in the given context. The structure of literary phrases and poems is typically different from that of everyday talks or academic prose because of the way they are composed. Artistic transcendence of language's conventional framework is a hallmark of great creativity; it keeps the reader of a poem waiting for a new shape that is valuable in all its relationships. "The modern poet relies on words and not on ideas and feelings. He is the creator of words and not the creator of ideas. This does not mean that poetry lacks ideas, but on the contrary, the poet's thought enables the poet to use linguistic structures different from those we mentioned previously. This is the aesthetics of continuous emergence," Jean Cohen said of contemporary poetry [4].
Poetry often makes use of deletion to convey grammatical changes, although not all deletions are poetic; deletion is also present in everyday speech. Since erasure is a time-honored rhetorical device, the poet takes advantage of it unless it becomes shocking or unusual. Thoughtful proposal. Proposals are more compelling than assertions. There are moments when remaining silent speaks volumes. As a result, this is the viewpoint that the majority of contemporary poets have taken. Modernist painters have done more than only remove artwork from their works; they have also simplified and eliminated several form elements while adding others in a way that is at odds with reality. [14,P:29].
The modernists' guiding philosophy for symbolism is suggestion rather than assertion; they think assertions ruin literature. Also, this principle is used by creative people because there are many ways a sentence can be understood. Everything in contemporary art and poetry must be clear and unambiguous so that the viewer can still raise questions. Being present or not, speaking or remaining silent. By comparing and contrasting two works, one might bring in outside perspectives that help one see things in a different light. The culturally specific creativity of the receiver is amplified by the text's potential for different interpretations. [17, p. 135). The effect is to make the observer reconsider art from different perspectives, come up with novel ideas in paintings, stray from the conventional definition of art, and even go to extremes in terms of deconstruction and distortion of color to produce the idea of color metamorphosis. A great change has occurred in painting with regard to color. In 1980, the Tunisian Republic welcomed artist Fatima Damq into the world. She has been active in the art world for many years and is a talented Tunisian artist. Whether she's working with paint or colors, her style is forceful and daring. She uses color and light to investigate the environment. In addition to her master's degree, which she earned in 2009, she has held a professorship in artistic engraving since 2006. Since 2009, she has been an instructor at Sfax's Higher Institute of Arts and Crafts. In 2012, Damq was assigned to the position of assistant for higher education. Later on, in 2016, she earned a Ph.D. in art sciences and techniques, and in 2017, she was brought on as an assistant professor. Her area of expertise was overseeing master's theses in the arts. In November 2019, she had a solo exhibition in engraving art titled "Fantasia" at the Arts Hall at the Higher Institute of Arts and Crafts in Sfax. The show, in which she was included with six articles by other artists, was one of many group shows and festivals in Tunisia and beyond. Satire from inside and outside of Tunisia. February 2023, the Arts Hall at Sfax's Higher Institute of Arts and Crafts hosted a solo exhibition by the artist named "Metaphantasia" showcasing engraving as an art form. Taken part in numerous international scientific seminars both within and outside of Tunisia (Sfax, Tunis, Siliana, Kassrine, Algeria, Egypt, and Qatar), and published extensively in a number of peer-reviewed journals and books. "Semiotics Magazine" is a refereed academic periodical journal published by the Laboratory of Semiotics and Discourse Analysis, University of Oran 1, Algeria. She has been a member of the Reading and Judging Committee for texts published in it since 2021 and has served as Secretary-General of the "Bridge of Arts" Association at the Higher Institute of Arts and Crafts in Sfax since 2020. Damq has been the head of the gallery at Sfax's Higher Institute of Arts and Crafts since 2020, and he has been a member of the "Interpretive Methods" lab at the arts faculty there since 2019. He is also in charge of an international scientific symposium called "Creativity in the Orbits of Pleasure" that will take place at Sfax's HIAS on March 8–10, 2022, in collaboration with the Laboratory of Semiotics and Discourse Analysis at Algeria's University of Oran 1. "This is Life" event, which will take place in October 2022 and is co-sponsored by the University Center for Cultural and Sports Activities and the Office of University Services for the South, will feature three artworks chosen by a committee. The lucky recipient of the first prize (Sfax by Wilaya) This piece, "Flowers of Goodness" (110 cm × 85 cm), was awarded first place in the Lino engraving method at the 27th Sfax Annual Arts Salon in 2022. At the Monastir International Festival of Fine Arts, which took place on September 18, 2022, a 108 cm x 80 cm lino engraving named "Continuous Journey" was awarded first prize.(*).