MASHREQ-E MOUOOD
Year:2012 | Volume:6 | Issue:21|Papers Count:8

In this "era of poverty" that people take advantage of modern technology and see the humanity reduced to the degree of mastering the nature, Martin Heidegger, finds Art as the only way to break out of the modernity crisis. Art means a special and unusual concept, playing a exceptional role in the thought of this German philosopher. Art, in the ontological sense, is exploration of truth and truth itself is the reality of development. For Heidegger, the art itself is a piece of poetry in nature and poetry is so high as the language. In this philosophy, language has an ontologic meaning and is the place for interpretation of appearance and truth. This article begins with prsenting a structural interpretation of Heidegger’s “Beginning of an artistic work” and ends with an artistic and aesthetic consideration in the thought of some Muslim thinkers and elucidates that the horizon Heidegger depicts is not unfamiliar to the Islamic East thinkers in terms of Art.

This paper aims to analyse the issue of “ground-setting art” in the context of groundsetting preparations in the messianic Mahdism Doctrine, seeking out the roots and principles of a type of Art that fits well with the religious and Islamic characteristics. Then, in this context, we will be discussing such a concept as the ground setting art with the emphasis on the entities, and then combine the abovementioned entities in the argument.In discussing, we present two ways to look at the field of art in the theoretical arguments. On the one hand, the art and the artist are viewed as functioning on decisions and choiceand on the other hand, art would be based on the artist's intuitions and the subconscious power driving them. After that, we discuss the art of "ground-setting" in the context of both above mentioned methods and argue that one of them is more in line with religious art and the artistic and religious aspects indicative of Islamic culture and civilization. Based on this, we consider thereligious art of ground-setting more accurately. We think the term “waiting art” conveys a more exact and correct meaning of out intentios that “ground-setting art”. In his article, we make an effort to explain and respond to the challenges that may result from acceptance of this way of looking at things in the face of conventional advertising, or planning and holding conferences (or festivals).

The emergence of the ideal city in history has always attracted the attention of the human mind and influenced the thoughts and opinions of philosophers and political thinkers. The present study, using qualitative-interpretive analysis attempts to consider the evolution of the meaning of this term in history, political philosophy and social thought and its entry into the West and its literary and artistic works and then survey its influence on interactions and cultural institutions, particularly the theater. The purpose of the present paper is considering the origin of the idea of utopia in the West and its reflection in contemporary theater. In this approach, some philosophers have tried to offer theories about the ideal society. While Plato, Moore and Campanella have presented a general plan, there are others such as Marx and Fukuyama who have theorized it and based on that some governments were formed. The present researcher illusatrates the most important theories of utopian ideology in the history of social and political thought in western philosophy, considering the most valid refrences in research. Then, with a focus on the West, he examines the impact of social, cultural and political conditions of the time on the ideological frameworks and perspectives, and thereby concludes that theater is the ideal vehicle for critiquing the ideal community of each period.

Among the major challenges in the new era that some thinkers call it the era of postmodernity, is the challenge in relating the way of life of the Muslims and the faith communities with modern and postmodern era. In this context, a central question comes up in this regard, as regards the Art. This question can be turned into a dialogue, in which we ask if there is the epistemic compatibility between the principles of religious art and Mahdavi knowledge and principles of the postmodern art and art Mahdavi or not. In this paper, two models and theories are explained and surveyed and their criticisms are discussed. Then, a model has been proposed based on the nature of living.

This study was based on the question that if we are writing a movie script revolving around the "Mahdi", the screenplay will follow which of the formal and technical pattern. Classic film screenplays are usually designed based on a patterns typically known as Aristotelian model. With regards to the philosophical foundations and cultural origins in which such patterns are based on, these cannot be an appropriate catalyst for infallible and divine characters, such as Mahdi. Given the complex structure of the numerous aspects of the script (like the story plot, character development, writing, etc.), this study only focuses the "character development" in the script, in which the technical characteristics and requirements of the characterization of the Screenplay are considered. In this way, their effectiveness in character design of Mahdi will be evaluated.Hypothesis of this paper is that the technical capabilities of the movie script patterns typically known as Aristotelian figures are only appropriate for designing the earthly characters and (for outr purpose), structural characteristics of these patterns including characterization should be manipulated and of a new set of features be provided in the structure of such movie scripts.

The process of world’s move toward the end of history and development of a concept called Messiah and its ups and downs in the age of commincation, has been noted in many cinematic productions. Noting the apocalyptic theme in many Western cinematic productions is one of the first products formed and shown in the cinema. At the end of the world, a savior comes for upholding justice, a theme that can be seen in many cinematic productions of the West. Perhaps, a root of this thinking can be seen in the activities of Meliss. Meliss established the first film studio around Paris in 1897. He used his films to express his ideas. His first long film, Dreyfus trial (250 meter), supported the freedom seeking ideas of innocent convicts under a tyranny, and would herald the end with the release. Perhaps looking at the next activities in this line can reveal the use of religious and messianic themes of the end of history in 300, Persepolis, Independence Day, The Green Mile, A Night without the King, The Messiah.The methodology for the identification and analysis of apocalyse themes and implications is based on cinematic productions and has various approaches, techniques and methods. A close look at activities done in this field, whether in Iran or beyond shows that the present approach shouldinclude various approaches, time-based approaches (e.g., history based analyzes r the ones based on time or date), or the approaches based on depth and vastness (such as methods used in descriptive methods) or the semiotic approaches and so it includes any of a series of methods and techniques.It may be possible to use the emphasis on how to collect data and thus use all three categories of methods, be it descriptive, explanatory or combination to elicit and analyze messianic themes and analysis of the related concepts that can be used. Descriptive research can utilize qualitative content analysis, discourse analysis, content analysis. Explanatory research uses the inferential content analysis and combination research makes use of critical discourse analysis, narrative analysis, content analysis, and communication.The approach emphasized in this paper is the scientific evidence and documentation. In this paper, ia lso aim to design a methodology of content analysis for understanding the mesianistic themes in the movies.

This paper is an attempt at understanding the use of visual metaphor in Hollywood, through which the implicit meanings of an intended apocalyptic discourse is brought into the media. To understand the discourse behind visual metaphors, we use the interactive theory of Black. The case study of films, "2012", "Ayla Book" and "Babylon AD" in a semiotics approach, we set to analyzing evidence discussed metaphorically. The analyses of data clarified that the desired discourse provided in these types of films are not in accordance with the interpretation os the reliogions from the apocalypse.