Staff Portal
Majeed Mohammed Midhin (Assistant Professor)
PhD in English Literature/Contemporary British Theatre
English -
Education for Humanities
majeed.mohammed@uoanbar.edu.iq
Biography
<p style="text-align:left"> </p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> My name is Majeed Mohammed Midhin. I am from Iraq. I have MA in English literature from the University of Baghdad- College of Languages in 2002. In 2017, I got a PhD in Literature from the University of Essex. It is under the supervisions of Dr. Clare Finburgh and Dr. Elizabeth J. Kuti. My field of interest is contemporary and modern British drama which touches the immediate needs of people in society. I have participated in many colloquiums, conferences and seminars inside and outside UK. Now I am a teacher at the University of Anbar, Iraq.</span></span></p>
Publication
<p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> 1-Love and Justice: Face to face in Shakespeare's <em>King Lear's</em> Family Relationship, Diala University-Al-Fatih Journal, No. 17, 2004.Iraq.</span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> 2-Innuendo as a Rhetorical Strategy in Shakespeare's <em>Othello</em>, University of Anbar, The Humanity & Economic Journal, No. 4, 2004.Iraq.</span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> 3-The Significance of Stage Directions and Linguistic Raparture in Arthur Miller's <em>Death of a Salesman</em>, University of Anbar, The Humanity & Economic Journal, Vol.3, No. 10, 2007. Iraq. </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> 4-<em>Desire under the Elms</em>: Drama of the Absent Hero, University of Baghdad- Alustath Journal, No. 72, 2008.Iraq.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">5- Towards a Rhetoric of Fictionality to non-fiction Novel: A Study of Truman Capote's <em>In Cold Blood</em>, Diala University-Al-Fatih Journal, No. 36, 2008.Iraq.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">6- Majeed Mohammed Midhin, “Arab Spring and Tawfiq AL-Hakim’s Idea of the Social Responsibility of the Artist: Arabic Theatre Working Group,” in <em>Book of Abstracts: Theatre and Stratification</em> (University of Warwick: Cambridge University Press: 2014), p. 320.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">7- Tawfik al-Hakim and the Social Responsibility of the Artist, <em>Arab Stages</em>, Volume 1, Number 2 (Spring 2015) by Martin E. Segal Theatre Centre Publications. USA.</span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"> </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">8-The Dilemma of the Artist in Contemporary British Theatre: A Theoretical Background, <em>Athens Journal of Humanities & Arts</em>, Volume 2, Issue 4, October 2015. Athens. </span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif"><strong> </strong></span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">9- Techniques used by University Instructors in Teaching Short Story, <em>International Journal of Language and Linguistics</em>, Vol. 2, No. 3. September 2015. USA.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">10- Tom Stoppard: The Amorality of the Artist, World Academy of Science, Engineering and Technology<em>, International Journal of Social, Behavioral, Educational, Economic, Business and Industrial Engineering</em>, Vol: 9, No: 7, 2015, France.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">11<em>- Timberlake Wertenbaker: The Representation of Women Artists</em>, <em>A Thematic Study in Contemporary British Theatre</em>. A book by Majeed Mohammed Midhin (LAMBERT Academic Publishing, 2016). </span></span></p> <p style="text-align:left"> </p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">12-Majeed Mohammed Midhin, “The Representation of History: A Crisis of Censorship and the</span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">Role of the Artist in Howard Barker’s No End of Blame and</span></span></p> <p style="text-align:left"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">Scenes from an Execution: Political Performances Working Group “in Book of Abstracts: Presenting The Theatrical Past (Stockholm: Cambridge University Press, 2016), p. 500.</span></span></p> <p style="text-align:left"> </p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">13-The Healing Power of Theatre in Timberlake Wertenbaker’s Our Country’s Good</span></span></p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">MAJEED MOHAMMED MIDHIN , ArtsPraxis, Volume 6 Number 2, 2019<strong> </strong></span></span></p> <p style="text-align:justify"> </p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">14-Sadomasochism in Sarah Kane’s Blasted, Journal of University of Shanghai for Science and Technology, Volume 22, Issue 11, November – 2020</span></span></p> <p style="text-align:justify"> </p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">15-Majeed Mohammed Midhin and David Clare, Memory, National Identity Formation, and (Neo)Colonialism in Hannah Khalil’s A Museum in Baghdad (2019), JCDE (Journal of Contemporary Drama in English), Vol. 9, Issue 2, 2021.</span></span></p> <p style="text-align:justify"> </p> <p style="text-align:justify"><span style="font-size:12pt"><span style="font-family:"Times New Roman",serif">16-Majeed Mohammed Midhin and David Clare, National Cultural History and Transnational Political Concerns in Rasha Fadhil's Ishtar in Baghdad (2003), Studies in Theatre and Performance, Vol. 41, Issue 3 (2021)</span></span></p>
Lectures
| # | المادة | اسم المحاضرة | المرحلة | التحميل | مشاهدة |
|---|