JOURNAL OF DERAMATIC ARTS AND MUSIC
Year:2017 | Volume:7 | Issue:13 |Papers Count:8

University education is considered as the highest level at academic training in every country and the missions of universities are to educate students, research and provide professional services, depending on the scientific development and society needs. Improving the quality of university training, the quality of teaching and learning process, and the quality of graduates’ skills are the tasks a higher education curriculum is assigned. Training and educating artistic forces and researchers, expanding art higher education in line with the needs of the society, increasing knowledge and empowering human resources who are active in art training are among the main goals of the higher education of art. Quality of art higher education has been afflicted with weaknesses and shortcomings in the structure of education and planning systems. The main purpose of this study is to identify the factors affecting the art higher education quality. The research method is descriptive. The population consists of IRIB faculty members (140 people) and the sample was 103 people (completing and submitting the questionnaire). A researcher-madequestionnaire was used in order to collect the information. To measure the content validity, skilled art teachers were asked to give their opinions. The reliability was calculated as 91% through Cronbach’ s alpha. Data analysis was conducted using descriptive statistics and inferential statistics (one-sample t-test and Friedman’ s average ranking test). The results show that educational, humanitarian, environmental and educational systems are respectively effective in improving the quality of the higher education of art.

Nowadays many Television Serials are produced that location plays a key role in shaping their contents and drama structures. In television, these kinds of programs are structurally categorized as Location Based Dramas. Apartment Drama is a special genre of Television Dramas in which characters are going to play in places such as home and apartment complex. Apartment Drama is based on its characters’ lives and stories and real themes. Location is a core element of the content and drama structure. In order to draws the audience, apartment drama are based on themes such as marriage proposal, love and family life within the known locations. These kinds of dramas are close to what happens in real life and they can reach a wide audience. Although these kinds of dramas have a particular place in international television programing and in Iranian television productions as well, they have not been studied properly. Therefore, this study tries to answer the questions about Apartment Dramas: What are their specificities and which dramatic structures they have? What are the differences between these kinds of dramas and other versions of Television Dramas? And what is the cost effect of their production on the quality of such programs? The technique used in this study to answer these questions is library based and structurally analyzing all kinds of Television Dramas. Based on the results of this study, the structures that fit these kinds of dramas have been suggested and some examples of Apartment Dramas in Iranian Television Productions have been given.

In spite of many studies have been conducted on Asghar Farhadi’ s works, there is still no reliable study in terms of psychoanalytic. The purpose of this research is to identify one of three rings of Jacques Lacan’ s Borromean Knot (The real) in Farhadi’ s movies based on contemporary Slavoj Ž iž ek’ s psychoanalytic ideas. The Borromean Knot is a group of three rings which are linked in such a way that if any one of them is cut, all three become separated. Lacan used the Borromean Knot as a way of illustrating the interdependence of three orders of the real, the symbolic and the imaginary. Unlike our conventional conception of objective/collective experience, in Lacanian psychoanalytic theory, the real is something which resists representation. It is pre-mirror, pre-imaginary, presymbolic and cannot be symbolized through language. In other word, language cannot be considered as a means of illustrating it. In fact, man experiences this difficulty during his life and touches the horrible side of the Real through those points where symbolization fails, for example through trauma and aversion. Lacan also used the term ‘ little object a’ (objet petit a) to refer to what is inaccessible in the object of desire and he replaced the familiar subjectobject dichotomy from epistemology with a new dichotomy that expresses the relation between the ‘ barred’ or ‘ split’ subject and the objet petit a, as the enigmatic, ‘ real’ element in the object of desire. Slavoj Ž iž ek explained this psychoanalytic term in relation to Alfred Hitchcock’ s MacGuffin. In this paper, “ The real” in Farhadi’ s movies has been analyzed through descriptive– analytic method. “ About Elli” (2009), “ Separation” (2011), and “ The Past” (2013) are the movies which have been selected to analyze in this paper. We focused on the real in Farhadi’ s movies in the forms of the absence of champion, interference of fantasies and cynicism. In psychoanalytic studies, cynicism manifests itself as a general or specific attitude, characterized by frustration, hopelessness and disillusionment. We have analyzed three mentioned movies as three separated but interrelated works, or in other words as a trilogy and the results shows that many factors in these three movies, for instance, sharing characters’ fault, represent characters as victim, and diminishing the active contribution of Spectator from “ About Elly” to “ The Past” , bold the painful and inevitable aspect of the real and hide its horrible side.

This article tries to analyze the concept of instrumental rationality in Stanley Kubrick’ s cinema. In order to perform the analysis, the idea has been got from German sociologist, Max Weber’ s theories. In the first step, the meaning of the instrumental rationality has explained with the help of Weber’ s theories. He believed that instrumental rationality plays a significant role in the formation of modern societies. Max Weber, one of the greatest sociologists, gave a detailed explanation for the causes of emergence and propagation of instrumental rationality. By introducing the concept of iron cage, he developed different aspects of instrumental or formal rationality so that this concept nowadays is a significant metaphor for understanding the modern world, even beyond the social sciences. The most important achievement of Weber in differentiating between rationality’ s types is the emphasis on formal rationality. Formal rationality’ s guideline, gains its legitimacy from referring to rules, laws and orders which have common functionality. He believed formal rationality is developed and matured in modern societies only because of using rationally functioning instruments in their most effective manner in modern societies. Weber believed that bureaucracy, the substantial part of modern management, is an example of instrumental rationality. He believed that the disenchantment and the total dominance of formal rationality in social life, and the decline of the other types of rationality and social interactions, is an irreversible path which permanently increases its own complexity from inside and places limitations on variety of options for the subject. He uses the iron cage metaphor to explain the captivity into the instrumental rationality frame works. He believed that in bureaucratic systems, mankind is inevitably imprisoned in the iron cage and no escape can be imagined. The development of the iron cage technically makes mankind more confined to boundaries. In contemporary art, along with the emergence of social crisis and tension, the instrumental rationality has been widely criticized. In the contemporary intellectual cinema, we can see the representation of critique of instrumental rationality. But only a few filmmakers have chosen the representation of instrumental rationality in modern world as their main focus and concern, one of these filmmakers is Stanley Kubrick. We can consider Max Weber’ s metaphor of iron cage as the central and fundamental element of meaning in Stanley Kubrick’ s cinema. By looking into Kubrick’ s works, we can say that the problem which contemporary intellectuals call it instrumental or technological rationality or iron cage, is the pivotal issue in his mind and works. His films show an obvious difference between his approach and Weber’ s toward the instrumental rationality crisis, Weber thought instrumental rationality is an inevitable and indispensable fate, but Kubrick strongly believes the destructive aspects of unconscious mind and claims that organizing and regulating human consciousness is impossible. Because of his different views on the subject, Kubrick has achieved different results.

One of the key differences between video game and the other media is audience interaction. Like no other audio or visual media, video game has a reciprocal relationship with its audience rather than consider them as mere viewers. Actually, video games need players to achieve their potential. Game is not only confined to the virtual world of video games created by game creators but also to the real world of players who interact with each other. So we should study humor not only within the video games but also among the players. We call the first one “ Scripted humor” and the latter one “ Emergent humor” . Emergent humor is also divided into “ Emergent humor through game” and “ Post game emergent humor” . One type of video games which has a wide range of audience is violent video games. Humor and violence have close relationship with each other. Numerous studies on this relationship in different media outlets indicate the issue. When it comes to the combination of humor and violence, we have three kinds of it: Friendly humor, Aggressive humor and Humorous aggression. Considering all types of humor in the media, game elements and humor-violence combinations, this paper is going to present a framework to study humor not only within video games but also among the players. At the end, we can figure an outline of the combination of humor and violence which can be used by video game creators.

In terms of storytelling in the literature and cinema, “ me, the narrator” and “ first-person narrative” are familiar phrases used to describe certain categories of cinematic or fictional works. Another definition is also conceivable for the first-person narrative: the first-person narrative as anything arising from the author’ s ego, regardless of the characteristic language of the work. In this sense, all works can be considered as a “ first-person narrative” ; the product of the author’ s ego. In the familiar definition of the “ narrator’ s ego” , the word “ ego” refers to a character of the story/work and in another definition, it refers to the author of the story/work. It can be said that the first definition is a subset of the latter definition. When an author chooses the first-person perspective storytelling, s/he is creating the narrator’ s personality, just as all the characters in the story are being created by his/her mind. In other words, the story narrator’ s personality has an “ ego” in line with the “ ego” of the creator, placed in second place compared to it. What is the precise meaning of the author’ s ego? Does the ego have only one state? Or if there are different ego states, could we conclude that these ego states are at work at different stages of the work? Considering this, we refer to Eric Berne’ s theory of “ transactional analysis” , leading to questions such as: “ What “ ego states” are used in making an animation? ” and “ Which “ ego states” are used by the author to shape different parts of an animation? ” In continuation, a distinction is made between technical activities and creative ones. Another question raised is “ Which “ ego state” of the animation maker is possibly more active while creating different kinds of animations? It is then to be explained the different nature of mainstream narrative and more personal, individualized ways of storytelling. Referring to Piaget’ s theory of cognitive development, a relationship is depicted between the characteristics of the child’ s mind and language and creative aspect of the author of animation. In this part, the two types of speech are being considered, i. e. ego-centered speech and social speech. Applying these two terms, the language spectrum of the “ me, the narrator” in animation is being studied, leading to a conclusion that each animation could be located somewhere on this spectrum, depending its utilization ratio of these two types of speech.

Sociology of knowledge is one of the oldest subfields in sociology. In this field the social determination of knowledge is investigated. Musical judgment is a kind of knowledge. Therefore, sociology of musical judgement is a subfield of sociology of knowledge. In sociology of musical judgement, the social determination of musical judgement is explored. In this research, the relations between musical judgement and cultural background and economic situation of the art students in Shiraz are investigated. The researcher tries to find out the relations between society and music, in a systematic way. In order to achieve this purpose, the Pierre Bourdieu’ s theory was used. The purpose of this research is not to provide a wide variety of scientific statements about the mentioned relations and therefore, even in the theoretic literature, only the theories that have directly influenced Bourdieu are mentioned. Cultural capital, economic capital, stylistic judgement of taste and content-based judgement of taste are the main factors in this research and the question is: Do these factors have any influence on each other? The data is collected by the questionnaires in art institutions in Shiraz. The method of collecting data was systematic and random sampling. Using Cochran’ s formula, 384 cases were chosen among 2, 000 people. As it was mentioned before, the framework for this research is Bourdieu’ s theory. Bourdieu’ s theory is explained shortly and before that, the theories that have influenced Bourdieu’ s theory – Kant, Panofsky and Blaise Pascal’ s theories– are reviewed. Bourdieu believes that any person occupies a position in the fields in society. Therefore, every one in the field has a specific judgment about musical works of art, according to his position. He provides a research tool for the researcher to investigate the field. By using these conceptual tools, the researcher has wanted to introduce a viewpoint that is dynamic and does not provide a fixed theory about the relationship between society and art. Results achieving by Using Pearson’ s correlation coefficient, show that there is a positive and significant relation between these factors: cultural capital and stylistic judgment of taste, cultural capital of the family and content-based judgment of the taste, economic capital and content-based judgment; while there is a negative and significant relation between these factors: cultural capital and content-based judgment of taste, cultural capital of the family and stylistic judgment of taste, economic capital and stylistic judgement of taste. Considering these results, we could say that in the field of art institutions in Shiraz, the theory of Bourdieu is approved and there are relations between the abovementioned factors. Society influences our judgement of musical taste. At the end of the article these factors are explained and the way they influence the judgement of taste is discussed.

In Iranian classical music, Yousef Foroutan is more known as a Setar player than a Radif master who had his unique and individual techniques and style in playing and great huge knowledge about the old Metric pieces. Consequently, his Radif as an independent and single source of Iranian classical music is less referred to and performed by other musicians. In this paper, Gosheha of Forutan’ s Radif are divided in four sections: 1-Rhythmic, 2-Melodic, 3-Metric, and 4 Modal. Then Forutan’ s Radif are compared with Mirza Abdollah and Mirza Hosseingholi’ s Radifs. The comparison indicates that there are some differences between the Ghoeha of Forutan’ s Radif and that of the two later. Modal, Melodic and Rhythmic Gosheha of Forutan’ s Radif are not radically different with those of Mirza Abdollah and Mirza Hosseingholi’ s Radifs, but Metric Gosheha are significantly different and considered as characteristic elements of his Radif. Forutan’ s Radif may be considered as a summary of Mirza Abdollah and Mirza Hosseingholi’ s Radifha to which Foroutan’ s certain melodic patterns are added, emphasizing on representation of Modal and Melodic Gosheh. A large number of Metric pieces have been made by Foroutan himself. The number of Metric pieces may be considered as the most important characteristic of Foroutan Radif. Metric Radif shows changes in composing musical Radif. These changes provide a source of training and preserving the ancient songs to write ready-to-perform set of melodies in Foroutan period. Considering the above differences between three mentioned Radifha, we have concluded that Foroutan’ s Radif can be a source of performance rather than a source of training. When Foroutan’ s performance of Radif was recorded, other composers followed his method. As Mirza Abdollah and Mirza Hosseingholi gave few performances and had limited facilities for recording an album, they merely emphasized performing musical pieces in Radif format to preserve the original melodies and pieces facing the danger of being forgotten. They used Radif as a training guide to perform the Gosheha in their original from, not to omit any of the pieces of the music and in general, to preserve the complete set of Iranian Musical Radif. But Foroutan had the chance to consider composing his Radif as a source of performance, create more metric pieces and use the basic pieces from his masters because in the period he lived, the facilities for recording have been improved and there were good prospects for performing live music. For little chance of live performance in Mirza Abdollah and Mirza Hosseingholi period, musicians had no motivation for live performances. Musical sources of the past and Foroutan’ s use of such sources in order to compose modern music under the conditions of his time may now be the source of inspiration for contemporary musicians to write music.