Motaleate-e Tatbiqi-e Honar
Year:2011 | Volume:1 | Issue:1|Papers Count:7

The ever-expanding capabilities of the computer, digital art, and Internet such as scope, speed, and virtual interface interactivity have ushered in a new era in the use of new media for engaging the reader in semantic interpretation and socio-cultural issues.This paper presents a discourse analysis of two cases of interactive art basedon the use of new digital media: "01" by Nadalian and "Emotional Traffic" by Benayoun. Both samples are herein compared according to "Bakhtin’s Chronotope". The concept of "chronotope", also referred to as "time-space concept", is derived from Einstein’s relativity theory and is used for describing the intrinsic connectedness of temporal and spatial relationships in literature. This paper drew upon printed and digital library sources, content analysis approach, and Bakhtin’s Chronotope so as to conduct an analytical and comparative study on the two said samples. First, via an analysis of the interactions taking place in the samples, the principal discourse relationship in each case is extracted. Next, the temporal/ spatial relationships in the works are dissected and analyzed. Then, through a comparative analysis, the similarities and dissimilarities between the two cases are discussed. And finally, the method whereby the interactive capacity of the Internet is utilized is explored.The results show that both cases enjoy the characteristics of Bakhtin’s dialogic discourse and showcase Bakhtin’s notion of self/other relations, as a structural hallmark of new art. In both cases, the time-space continuum while maintaining the relations between same time and same place, another time and same place, same time and another place, and another time and another place in accordance with Bakhtin’s theory is observed, which is closely dependent on the usage of the Internet and other cultural technological facilities.

One can classify Sohrab Sepehry as an Iranian poet whose poetry seems to lend itself to the principles of phenomenology. A salient theme prevailing in his poems is the fusion of `comprehending subject with the ‘comprehended object’ - a theme that has potential to be compatible with the main tenets of phenomenology: the emphasis on the inseparability of subjectivity (consciousness) and objectivity (reality), to refute Cartesian thinking. Besides, `behold’ as a communicative verb actualizes the unity and intertwining of the beholding subject and the beheld object. Beholding is a predominant concept Merloponti was perpetually attracted to as known.The main goal in this article is to find the traces of phenomenology, especiallyin last four books of Sepehry. In order to achieve this goal, the article examines the major tenets of phenomenology, with more emphasis on those directly related to the aims sought in this writing, though it is difficult to deal with all details in such a limited attempt. Afterwards the article will discuss ‘the questioning beholder’ and the "laden in the presence of objects" as the principal theme of concerns in his poetry. Furthermore, the article covers "back to childhood" as a notion of ‘return to origin’. Rediscovering the time when one is able to comprehend the world unpresumptuous, and make connections unobtrusively. Sepehry with his approach to understand the world is in denial of all presumptions. This sets him in a unique position in relation to all scientific and philosophical theories based on presumptions.Makes him filled with wonder and in leaves him in search of truth forever. Ultimately, relying on the covered materials in relation to the desires and sophistications of the poet we will conclude our discussions. We will include the poet’s search in achieving the experience of existence and compare it to the lack of courage to step out of the presumed frame of reality.

This essay considers similarities as well as differences of hunting scenes in Achaemenid Persian to Sassanian and Mesopotamia’s art, Assyria in particular. Research is carried out in analytic – comparative style in order to review hunting scenes in these civilizations and to identify some hidden concepts through written documents. The research’s aim is looking for hunting scenes and to introduce symbolic concepts of hunting in these civilizations. The research tries to answer the questions about cause and motivations of carving the scenes. As hunting images are among old patterns of human beings, so they are preserved by civilizations as their symbols. Symbols of human(often kings) power in natural and even supernatural forces consist of animals such as lion, bull and legendary animals. The similarities and differences in hunting scence is observed in art works such as stamps, dishes, paintings, arms, etc. One of the common aspects of ancient Iran and Mesopotamian civilizations is bull hunting as a symbol of season changes or prevailing of good over bad, as well as kings symbolic pictures in hunting scones to show their ability to repel enemies from their country. Differences between ancient Iran and Mesopotamia can be observed is the fact that in Mesopotamia, the legendary animals hunting scenes are related to gods and heroes, while in Iran the king himself is a source of divine blessings and Strength.

In the present article, the two main historical and cultural fields in the east(Turkmens) and the west (Amerindians) have been taken into consideration with regards to their exclusive products. As a result, similar and dissimilar aspects are determined. What have been observed mostly were particular types of weavings named Turkmen Asmalyk and Eskimos Chilkat. Therefore the qualitative and visual properties, with respect to the cultural and tribal backgrounds of the weavings and other traditions have been studied. By the did of such similarities and contrasts, we have eventually tried to clarify the origin of similarities and differences.The tests and results show that there are some similar features in the qualitative and visual structure of these weaves such as geometric designs, decorations, naturlism, style, function, and other features. Yet the special distance as weel as religious, classical and geographical differences have all caused the genesis of different characteristics such as preparations, materials, clothings, size, and other things in these two fields.

The collection of ZafarnamehTeimouri, available in the museum of Golestan palace, is one of the Iranian artistic and literal masterpieces in the Islamic era which was written by Sharafodin Ali Yazdi, the poet and historian of 9th century(A.H) on the order of Ibrahim Soltan in 828 (A.H). The present version in the museum of Golestan palace was pictured on the order of Hossein Baighara in 935 (A.H).The collection including24 pictures related to Kamalodin Behzad's patronage workshop, is the master of painters in Teimouri and Safavi era. Iranian painting along its own up and down period, have continually had its specific aesthetics principles which seems those painters had used these principles in their paintings consciously. Now the question is whether the principles and essentials of western aesthetics are also comparable in Iranian paintings (in terms of the type of elements and how to use them).One of these principles is the seven fold colored contrasts which is used to create solid compositions, establish primrose spaces and the strong relationshipbetween form and color and the theme of work. In the present article, using analytical method (analysis of color and the investigation of kind, quantity and how to apply color to them), the application of seven fold colored contrasts (separately) is demonstrated in two pictures of this collection.

Having a more extensive view of translation as an intersemiotic, intertextual, and intercultural practice, the present paper studies film adaptation – a kind of intersemiotic translation – of Iranian screenplay and film -‘Canaan’- from a Canadian short story -‘Post and Beam’. In fact, based on the intertextuality theory and its expansion using the approaches of cultural semiotics and intersemiotic translation, it seeks to examine how the Canadian short story passes from one sign system to another one, and from the other culture to the self culture, and how it is represented in the stratificational and multimedia structure of cinema.By examining the intertextual relations between the Canadian short story(as prototext) and its corresponding Iranian adapted screenplay and film (as metatexts), it is found that the filmmaker/adapter repeats some universally unmarked events or actions of the prototext but transforms and appropriates them both at the story and cultural levels, and creates some other parts which are divided into universally unmarked, culturally marked, and sign function creations. Finally, the results indicate that film adaptation is a transformational creative process in which there is no absolute repeatition since culturally marked and universally unmarked repeatitions with transformations in a hierarchical order of markedness affect the intertextual relations in the process of film adaptation and break their dichotomous nature of repetition and creation.

The quality of life concept with the objective of improving the residential life is an approach that has been considered during the recent years. The target of this study is to determine urban quality of life in unplanned and planned areas and to study them. Gaemieh as an unplanned neighborhood in Slamshar and Vavan as planned neighborhood near to them. The quality of life concept is a complicated and is affected by various factors such as social, cultural, economic, physical and spatial issues that include both objective and subjective aspects. Sustainability and well-beingness are important indices of the quality of life. The methodology includes four steps and focuses on localizing any index, and at least includes 11 indices: housing, neighborhood, traffic, facilities, entertainment, security, economic opportunities and threats, environmental hygiene, and neighborhood relationships, belonging sense and management and urban governing. The conceptual model in this study has measured with a factor analysis technique. The result shows that these indices describe 78% statistical group variances and so this model is permissive. In this study the objective aspect of quality of life was surveyed by studying the residents’ satisfaction of these neighborhoods by likert scale five options. So 175 questionnaires were distributed in each neighborhood with accidental sample method. Some objective indices were also measured by studying them and through researchers observations, so as to eventually valuate them. Use has been maid the objective and subjective indices as well as comparative two neighborhoods the hierarchy analysis (AHP) method. The result confirmed the hypothetsis that was about the better quality of life in planned neighborhood and showed that Vavan has better quality of life (1.512 score) rather than Qaemieh (with 0.8014 score). The issues such as belonging sense neighborhood relationships and security of unplanned area (Qaemieh) have better situation than Vavan.