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سال:1394 | دوره:12 | شماره:33 |تعداد مقالات:14

The concepts of “Bala-Shahr” and “Paeen-Shahr” in Iranian cities (especially big cities) have been particularly important and are used in people's conversations and authorities' speeches. “Bala” means up and “Paeen” means down and “Shahr” means city. Downtown is a term primarily used in North America to refer to a city's core or Central Business District and uptown is the residential part of a city away from the commercial center. But for Persian speakers, There are different perceptions towards “Bala-Shahr” and “Paeen-Shahr”; For instance Bala-Shahr may mean as high culture and social status of its inhabitants, high and physical facilities and amenities of the area, high-income residents, where house prices are more expensive, higher rent costs, higher cost of living, and the higher alpine areas of the city, etc. However, these concepts have not been studied in urban studies literature of Iran. The purpose of this study is to introduce these specific concepts of Iranian cities. We needed to use the content analysis method, since the lack of resources that directly discusses the concepts. Hence, this method is used to describe the phenomena with limited research literature or existing theories. The main questions of this study are the “what is the concepts of Bala-Shahr and Paeen-Shahr in semantic fields of Persian language?” and “what shapess these notions in people's minds?” To meet the research aims, we tried to study the theme with a comprehensive view, from the surface to the deep layers. Relying on phenomenological theories of linguistics, two categories were considered for this research: “conceptual elements” that makes meanings and “criteria” from the perspective of the people. In “conceptual elements” study, the semantic field of Bala and Paeen were used to define that why whatever is good and desirable is up [Bala] and whatever is bad and undesirable is down [Paeen]. In this study, four aspects were considered: terminology, morphophonemic, metaphors and mythology. In order to find the factors that affect the formation of these concepts from the opinions of the people, the content analysis method was used. Information of this part gathered through interviews in the city of Isfahan and was analyzed with content analysis techniques. The results of this part showed that the inner core meaning of the Bala and Paeen in Persian language is expression of degree ratings. In fact, the Bala and Paeen in Persian language doesnt not merely indicate the direction or height and it seems Bala-Shahr and Paeen-Shahr definitions have meaning beyond the height or direction. Also, in “criteria” part, two general opinion approaches were partitioned; one distinguishes it from environmental factors considered and other seeks the difference in the criteria related to the people. The results showed that people who recognize Bala-Shahr and Paeen-Shahr refer to criteria that are less attributable to the environment. Drawing a conclusion, we can claim that Bala-Shahr and Paeen-Shahr are quite relative in correspondence with the values. So, a constant definition with variables and parameters, always has not inferred it. This research tries to express through the systematic view with the components of “conceptual elements” and “criteria”, which are in mutual relations, to explain the Bala-Shahr and Paeen-Shahr.

The ‘Transfer of Land Use Rights’ program also called ‘maskan-e-mehr’ with the aim of building one million residential units for low-income Iranian families has been initiated since 2007 by providing facilities such as interest free loans, land price elimination, land preparation and also discounted licensing costs. ‘Maskan-e-mehr’ program due to the involvement of various public and private sectors in many ways represents the situation of Iran's housing construction projects. Hence the review of projects in this program may recover many hidden aspects that influence the achievement of objectives and planning in the field of housing construction in Iran. Not only the state has not been successful in the establishment of social justice as the main objective of this program but today after four years of ‎execution of the project, yet the main challenge is managing how to complete unfinished buildings. The aim of this paper is to provide a systematic approach to identify the obstacles in achieving the objectives of ‘maskan-e-mehr’ program. In this regard Mahdasht Project, one of the major housing projects is selected as case study to explore the problems and their associated reasons. Mahdasht project with an area of 150 hectares and 10,476 residential units was commenced in early April 2010 with the cooperation of 25 contractors. According to the plan all units were due to be completed between late June and the end of 2011. But at the end of the due date, only 63% of the plan was delivered and less than 10% of the residential units were completed because of the lack of infrastructure from one side and the lack of ability to exploit the existing infrastructures from the other side. Due to the complexity of the research problem, its diversity, socioeconomic and executional issues as well as the need for in-depth information, the qualitative interview method is applied to this study. Focusing on the objectives and project plan, top level managers of all contractor companies‎, two of the state project managers and three of the senior state executives were interviewed. Ultimately, in order to extract and explore the fundamental social concepts underlying the data, the Grounded theory methodology developed by Glaser was used for the data analysis. To avoid the negative impacts of reviewing the literature by the researchers on the interview process, in the grounded theory method a theoretical sensitivity is developed which is in fact a preliminary study of the literature on cognition of ‘maskan-e-mehr’ program and its objectives. In the next step the methodology, findings, and theoretical framework are discussed. As the first step of the grounded theory in this paper the data from interview is conceptualized to form the appropriate categories. Therefore in the first stage of interviews, senior managers of contractors are involved. In each interview, 26 open questions are asked at the five general subjects. The outcome of this stage is 21 sub-categories in each of the various dimensions of the ‘maskam-e-mehr’ program. Reviewing memos and repeated visits to the scripted Interviews, attempt to create a more comprehensive categories. The three major categories of "climate of the public sector", "climate of the private sector" and "lack of infrastructure to provide ‘maskam-e-mehr’ objectives" were derived which include all the previous 21 sub-categories. In the next step in order to saturate the categories, other contractors were interviewed and theoretical samplings were conducted to explore the hidden aspects of the major categories. At the end of this stage new sub-categories related to each of the major categories were discovered. All the major categories produced from categorization referred to the central category of "the obstacles of achieving the objectives of ‘maskam-e-mehr’ program". Thus the second stage of the interview for data enrichment is planned and executed using selective coding techniques focused on the central category. In this regard, two of the middle managers and three senior government executives are interviewed. In each interview 13 questions on three subjects were proposed. This stage had a main finding that the Iranian public and private sectors’ climate suffers from a destructive interaction cycle. So this was added as a new major category to the central category. In the next step memos and diagrams were utilized together to show possible relationships and the outcome of this is the following four propositions:- The lack of infrastructure in ‘maskam-e-mehr’ program is the main cause of its failure- The climates of the public and private sectors mutually reinforce each other- The climates of the public and private sectors, made the climate of ‘maskam-e-mehr’ program.- The climate of the ‘maskam-e-mehr’ program has intensified the impact of the ‘lack of infrastructure’ in the failure of the program to achieve its objectives.As the last step of the research, an extensive literature review is conducted to complete the proposed theoretical framework. The outcome of this stage is a new major category of “failure to observe the necessary measures of the design-build project delivery system”. In conclusion, based on an analysis of data from the interviews and the literature study, it is implied that despite of the efforts was made in the development of objectives, laws, regulations and administrative sheets, the program has failed to achieve its objectives and plans. The main reason for this issue might be the lack of infrastructure of delivering such program in Iran and failure to observe the necessary measures of the design-build project delivery system. Factors such as the strengthening cycle of public and private sector climates amplified this condition. It seems that development of plans regardless of implementing needed infrastructures is not sufficient and the success of such programs in addition to providing the necessary infrastructure requires major reforms to the destructive interaction between the public and private sector climates.

For the first time in the modern cultural bio-world, the British political-cultural elites formed a multidimensional phenomenon of international exhibitions called The Crystal Palac Exhibition which led to new national-international readings. One of these readings was the opportunity for linking arts and politics – between the ability of reproduction of art work and the array and design of political forces. Considering this linkage, the present descriptive-explanatory research which is depending on reliable library, visual, and digital resources attempts to show how the arts were utilized in favor of the political goals of Britain. In order to answer this question appropriately, this research is undoubtedly trying to study the experience of the Crystal Palace Expo and provide an image by defining its general view in its content as the independent variable and its form as the dependent variable; in such a way that it will be able to infer the political procedures-artistic approaches of the exhibition and then define the method of using the arts as a powerful tool for affecting national-international British politics. According to the results, the British political-cultural elite have befitted from arts in three ways. Naturally, such befitting indicates the realization of certain achievements as the profile of the present study which has led to the political goals of Britain in the exhibition 1851In the first step, by being aware of the components of the dominant intellectual movements in the nineteenth century, they arranged the effecting factors which led to the mentioned exhibition in Britain in a proceeding linear timeline. They reproduced the arts in a modern scene of architectural expressions based on an innovative idea from the values of technology; thus, they reached a feeling of satisfaction from technological developments along with raising awareness and spreading it among the people. So, (through lawful public agreement), they could attract the support and involvement of people in major national capitalistic industries and technologies; expand the economy development plans of their country and penetrate among the intellectual class of the nation by stating that Britain is progressing towards distinct paths and this progress can be a tangible reality indicating that the situation will improve. In such a way that nationalistic policies led Britain to expand and maintain its power both among the public and intellectual class. As the second step, they started to categorize the works of art according to their location into three groups titled as “industrial arts”, “fine arts”, and “handcrafts and tribal arts” and exhibited them. In the category of industrial arts, they separated industrial works of art from others, especially fine arts, by putting utmost emphasis on the visual characteristics of these industrial items along with defining an artistic-industrial object for them. They aimed at creating a modern participation for elevating the key affecting factors of the British industry, which had developed during a long period of time to a highly progressed level of quality and quantity, to a competitive international level. They pushed forward the assimilation and mass production procedures of the produced commodities in the realm of arts; created a positive understanding from the capacity of mass production and production cost saving by benefitting from machine-based industries for improving their commodity-based capitalism; created the foundation of a kind of investment and invited people to support and participate in such remarkable forms of capitalism. Based on the policy of capitalism in dynamic capitalistic economy, these achievements enabled them to accomplish the other goal of Britain which was further economic development and commodity-based profit making. For the third step, by having a kind of understanding from the situation of the colonized countries, they exhibited these nations in the symbolic form of artistic works and customs, as well as allocating special places for marching, choir singing with native costumes, and performing plays related to their traditional and native issues; in such a way that in an ethnical categorization of the productions of the countries of the empire, they have created an opportunity for the British industry to improve their situation with allocating funds, skills, and their own specific knowledge to show the maturity of the nature of their industry in the new environment of international competition. As such, these contradicting exhibitions enabled them to build a hierarchy of information about legitimizing their modern monopolistic productivity. Also they could inform their industries about colonial arts as economic resources and persuade them to get involved in business markets of “handcrafts and tribal arts”; thus destabilizing the use of arts in handcrafts and tribal arts in accordance with their imperialistic policies and their financial interests, and share that with their own society in order to internationally empower Britain in a legitimate manner.

Musical instrument classification is one of the main branches of Ethnomusicology. Identifying cultural values and aesthetic standards can be understood through identification of musical instruments. In other words musical instrument classification is one of the most significant ways to understand the history of music in particular cultures and civilizations. In this regard, the Sassanid period in the history of art and civilization has high position. Sassanid period is one of the most important courses of art and civilization in Iranian history before Islam. In this period, position of art and artists experienced a high rising and prosperity. Music in Sassanid period had a prominent place in people's lives and in imperial court. The signs in promotion of of music position can be comprehended in the illustration of Sassanid period and also in gestures of travelogues of the western explorers. Remains illustrations of the Sassanid period such as stone reliefs, metal and ceramic plates are the most important resource in the study of music and musical instruments of the period. In some of these illustrations with images of musical instruments, mythical creatures and grape branches have also been located next to the musicians. Musical instruments types in illustrations of the Sassanid period include string instruments, wind instruments, Percussion instrument and idiophones. Among these musical instruments wind instruments and comprise the majority of illustrations after string instruments. The results of this study indicates that wind instruments depicted in the illustration of this period include Syrinx, Double Reeds (Double Reeds), Moshtak, Sorna, Trumpet, and Horn. Syrinx is one of musical instruments in illustrations of the Sassanid period. Syrinx was brought to Iran by western art. The instrument consists of small straws that are wrapped with a sling. Double reed is composed of two separate straws. The double reed instruments in the Images were illustrated as a solo instrument. Moshtak images, as a Musical Instruments, can be seen only in the Sassanid period. This instrument consists of several short straws that set in an air chamber. Musician, to play Moshtak, breathe through the tubes that come out of the instrument. In this period, Sorna can be seen in many illustrations. Stringer in Sassanid illustrations is shown as a solo player. Sassanid Trumpet instrument is similar to trumpets use in Mashhad and the Northern of Iran. Musicians hold the instrument and blow into it. Horn instrument is divided into three distinct categories: The first category is long horn, the second category is curved horn and the third category is small horn. This study performed in the descriptive analysis method, and the data collection method was library documents use.