While every artwork needs a space for being displayed, that space perforce entails a boundary between the artwork and the audience. This boundary puts the audience in the position of the distanced viewer. And if the audience trespasses this boundary, the meaning of the artwork will definitely change. Every period in the history of theater has witnessed a different usage of space, either conventional or unconventional, for the organization of performances. In theater studies, it's important for the performance researcher to pay attention to the space of performance and the relations developed amongst Performative elements, as every sort of interaction with space can transfer a different meaning. Diverse divisions of space in performance would increase Performative types and hence develop new relationships, which can help to better convey the meaning intended by the director. Accordingly, contemporary directors have paid more attention to the division of space in their performances, have used space in different ways, and therefore altered the type of relationship between actors and audiences, while introducing Performative types based on new forms and contents. Schechner is one of these directors as well as one of the most important performance theorists. Considering rituals and social activities, he attempts to approach theater in its primal form, which is the ritual. Meanwhile, his concern with the spectator’ s participation or active presence has led to the formation of a new theatrical type which he calls the “ Environmental Theater” encompassing six distinct axioms. In the environmental theater, we encounter a new division of space, which removes any dissociative boundaries between the actor and the spectator’ s positions. The removal of boundaries enables the spectator to take part in the performance and affect the Performative process with his activities as a progressive element in space. The avoidance of classical space divisions in performance would generate new relationships between the actor and the audience, which not only alters the form of performance, but also causes semantic extension. Contemporary theories of performance, especially that of Schechner proves to be beneficial in the study of Puppet Theater as well. The main objective of the present research is to incorporate Schechner’ s theories of form, his usage of space and elimination of positional boundaries into a comparative-analytical reading methodology in order to respond to the basic question of how the removal of spatial boundaries and spatial division in Puppet Theater could create new relationships between the main theatrical elements – that is, between actor and actor; actor and audience. In Puppet Theater, these relations could be traced between the puppet, the puppeteer and the spectators, making the question of spatial elimination and the resultant relations between the puppet, the puppeteer and the audience even more critical. The study reveals that apparently the development of new relationships between Performative elements in Puppet Theater is directly affected by an increase in the number of its Performative forms. Therefore, a better recognition of new relationships in Puppet Theater can be an influential factor in the creation of more diverse and innovative works while involving a new way of audience interaction and situation.

This study recognizes the spatial and locational characteristics of Iranian performance art in the traditional Persian paintings (miniature) in the pre-modern Islamic era. In the history of Iranian performance art, there are limited documents to recognize the characteristics of space and place. However, Iranian culture has many potentials to preserve performance arts. The most important way to reach these potentials is dramaturgy. In Iranian tradition, the principles and main elements of any cultural fields that are subject to restraint could be preserved in other areas. Accordingly, traditional Persian paintings were selected as the sources which possibly contain some features of the Iranian performance arts. Herein, the efforts of painters to create a composition from the elements of performance art in a picture are dramaturgy. Therefore, Persian paintings contain valuable information to analyze the Iranian performance art. Moreover, these paintings have been traditionally drawn to illustrate the Iranian literary, mystical and scientific books. One of these famous painters is Behzā d, who had a chance to deal with theoretical aspects of various subjects such as theater. Therefore, there is a possibility that the theoretical aspects of performance art have been considered in his paintings. It is in contrast with the opinion that Iranian performance art has been preserved by non-educational persons who did not know the theoretical aspects of theater. These paintings could be also resources of the Iranian urban mindscape to recognize places for setting up a traditional theater. A mindscape is a general picture of a place and mental factors including cultural, historical, and memorial events. Herein, the main objectives are to find the relationship between the paintings' subject matter and types of Iranian dramaturgical subjects as well as the features of stage and space to illustrate these subjects. To this aim, the selected paintings have dramatic themes and suitable locations for performance art. Results have revealed that most subject matters of these paintings contain Iranian dramaturgical subjects such as Siavash Pass on Fire. Besides, some paintings contain more information about the performance art locations and mindscapes than associated books. For example, more details of a real location for dramaturgical events, like Behistun as a traditional mindscape, have been painted. The paintings illustrate various stages like proscenium, round, thrust, makeshift, traverse stages, which have been performed permanently or temporarily in coffeehouses, private houses and historical venues such as ancient caravanserais and cultural landscapes. Moreover, to a better illustration of a site for theater set up or a gathering place for performance art, different compositions of symbols, colors, forms, and figures have been used. Different types of Iranian performance arts in these paintings are Ta'zieh (passion play), traditional puppetry, Ru-Howzi (social theater) Naqqā li (narration) Siah-Bazi (comical acts on politics) Saye-Bazi (Shadow plays), Pardeh-Khaani (screen-based storytelling). Even though these paintings do not illustrate a real performance art, they reflect a Performative manner and dramaturgical process in Iranian culture. It should be noted that this research is performed based on historical research methodology and reflection approach in the sociology of art.

Rhetoric is the science which evaluates the eloquence of discourse. Through the rules of this science, any discourse is evaluated as to three aspects of Ma’ani (rhetorical figures), Bayan (utterance) and Badi’ (figures of speech). Ma’ani is one of the main branches of rhetoric which studies different aspects of a sentence such as its secondary meanings and its relevance to the situation. Persian scholars of rhetoric have always paid attention to Arabic rhetorical books. Negligence of grammatical and rhetorical differences between Persian and Arabic has led to some mistakes regarding definitions, divisions and examples. The category Enshaye Gheire Talabi (declaratives in the form of Performative or a Performative with declarative interpretation) is one of the issues which has not been defined and delineated clearly in rhetorical books. Analyzing such a category in the field of Ma’ani, this study aims at explaining its position with regard to grammatical and semantic characteristics of various kinds of Performatives.

The present paper is an attempt to study Randa Abdel-Fattah’ s novel, Ten Things I Hate about Me (2006) from Judith Butler's Performative perspective. The main question of the research is whether the diasporic subjectivity of the Muslim protagonist of the novel is innate, static, and finalized or rather Performatively constructed. It is argued that Jamilah, as a diasporic Muslim woman, is not a being with an essentialized identity; rather she is a becoming whose identity is constructed in diaspora. It is contended that Jamilah is a discursive subject, hailed by the dominant Lebanese, Australian, and Islamic discourses. Butler's attestation of the infelicity of some performances leaves space for the resignification and reappropriation of the discourses, which attempt to interpellate the subject. The study seeks to demonstrate that Jamilah as the diasporic doer, who is constituted as a result of the Performative linguistic, corporal, culinary, and artistic deeds, is not determined by any of the discourses she is immersed in, and thus becomes a hybridized liminal subject who negotiates the discourses of home and host cultures through evading the dualistic logic.

The tale of Rostam and Esfandyar is one of the most fascinating stories in Shahnameh which has had wide reflection among the populace. Ever since its creation this tragedy has been very popular in different regions of Iran and has undergone changes and been distorted at times. The ancient region of Kouhmareh Sorkhi is one region where this tale is very popular since antiquity. Like most other narratives this tale is not remembered by the people of this locality and only is told by the eldest and the most renowned naqqal of this area, Ali Hossein Allinejad, the last of the naqqals and narrators of the region. The naqqali narrative of this tale in this area is an amalgam of epic, popular and mythological beliefs of the natives of the region. The studies made by the writer of this article on the present epic narratives in the area and specifically the recent narrative shows that narrators and naqqals have tried to make these narratives more acceptable among the community by incorporating mythological ethnic elements and beliefs among people and thus preserve them in memories. This inspection not only shows part of mythological beliefs of this community but also records narratives not previously studied nor recorded in references. The findings of this research are presented under the following sections: 1-Birth of Esfandyar 2-Fertility myth 3-Martyred gods 4-belief in genies

Performative Computational Architecture (PCA) is an intelligent approach to the design process based on performance criteria, which has generated considerable conceptual confusion among some students, designers, and researchers. Furthermore, this concept entails various factors depending on the design subject, necessitating examination, prioritization, and analysis. This study aims to conduct a review of Performative Computational Architecture based on evolutionary and swarm computation methods and elucidate its performance and architectural factors. The research method employed is a comprehensive quantitative-qualitative approach, analyzing content from the literature on the subject of Performative Computational Architecture. The statistical population of this research includes studies conducted from approximately 2002 to 2021, with purposive sampling and snowball sampling techniques utilized. Data analysis was conducted through descriptive analysis and correlation and Shannon tests on the topics and factors examined. The findings indicate that research in the field of Performative Computational Architecture has been conducted on three main subjects: skin, form, and building layout. Among these, shading, window dimensions, window placement, and window-to-wall ratio emerge as the most significant factors in skin formation and facade design. The overall form, floor height, and the number of buildings are highlighted as key factors in form generation for building design, while spatial location, adjacency matrix, and grid matrix are identified as crucial factors in generating building layout design. Based on the findings, it can be concluded that Performative Computational Architecture, as a performance-based design approach, embodies three shared design concepts: generative design, algorithmic design, and parametric design, with a focus on performance evaluation and optimization. Additionally, form-finding factors exhibit diverse degrees of importance based on the triadic subjects, among which spatial location and adjacency matrix in building layout configuration, shading in skin formation, and overall building shape in form emerge as key form-finding factors.

A B S T R A C TSatisfaction is considered one of the effective methods for evaluating the success of urban development plans and projects, and it is a tool to measure which type of housing and residential environment meets the needs, expectations, and aspirations of residents. This article aims to compare Amiriyeh and Pay-eToop neighborhoods in Bojnord city in terms of residents' satisfaction with living in these neighborhoods. Using a questionnaire, the data was obtained by a survey from 229 heads of sample households living in Bojnoord city. The residents' satisfaction is analyzed by 26 indicators set as home and neighborhood indices. The data is entered into SPSS software to run the One Sample T-Test and calculate statistical parameters. Also, the data is entered in Arc GIS in accordance with the UTM coordinates of the responder's locations to provide a GIS point layer to use zoning maps to be drawn. Residential satisfaction is lower than average and slightly higher in Pay-eToop than in Amiriyeh. Also, the average score of the indicators that are set as home indices is lower than those for neighborhood indices. The zoning maps indicate that most parts of the neighborhoods show an average level of satisfaction with housing, and the maps of different indicators are not much different from each other. The role of physical indicators in low satisfaction is much more significant than social indicators. To improve satisfaction, paying attention to the neighborhood regeneration and improving the housing quality is necessaryExtended AbstractIntroductionSatisfactory housing is one of the most valuable aspects of life and one of the main elements of people's living standards. The higher the level of satisfaction with a place, the more people will feel a sense of belonging to that place and feel more relaxed about being there. The feeling of satisfaction from a place can cause the positive effects of the place in the process of relationships in which the environment is being formed and carried out. On the one hand, satisfaction measurement is considered one of the effective methods of evaluating the success of urban programs and plans. On the other hand, it is a tool to measure which type of housing and residential environment currently meets its residents' needs, expectations, and aspirations. MethodologyThe residents' satisfaction is analyzed by 26 indicators set as home and neighborhood indices. A questionnaire gathers the data. Household heads in the studied neighborhoods (Amirieh and Pay-e Toop) are randomly selected as 229 sample people. The sample people evaluate the items in the questionnaire in a 5-range of the Likert scale from very high to very low. The qualified range was then changed to quantified scores from 5 to 1. Afterward, they were entered into SPSS software to run the One Sample T-Test and calculate other statistical parameters. The address of each respondent is included in the questionnaires, and based on the address, the UTM coordinates of the respondent are determined using Google Earth. Then, the information from the questionnaires is entered into the GIS according to the coordinates to provide a GIS point layer for drawing zoning maps. Results and discussionThe score of 2.75, which is the average figure of the evaluation scores for all the indicators of both neighborhoods, indicates that residential satisfaction is lower than the assumed average score (3). The average scores are 2.90 and 2.57 for Pay-e Toop and Amirieh neighborhoods, respectively, and they indicate that the residential satisfaction in the first is slightly higher than the other. Pay-e Toop is the oldest neighborhood in Bojnoord, which accommodates the traditional complex of shops (Bazar) and essential physical elements of historical eras, such as the city's citadel. In addition to the high proportion of immigrants, it also includes deep-rooted and native families that have strong social relationships. Also, the average score for the neighborhood indices is slightly higher than for the home indices. The average figure for all 26 indicators is lower than the assumed average score (3) and indicates a lower residential satisfaction. Five indicators with the higher satisfaction score are as follows: relationship with neighbors, living in the ancestral neighborhood, the situation of streets and ways, living with relatives, and the quality of wastewater disposal. On the contrary, lower satisfaction scores belong to the indicators of access to shopping centers, healthcare service centers, the size of homes, and access to public transportation, respectively. Despite the fame of the gardens of Bojnord in previous centuries, in recent decades, most of the gardens disappeared, especially in the city's central business district, which corresponds to the two studied neighborhoods; there is a small area of land covered by parks and green spaces. Green spaces are mainly the small green strips on the edge or in the middle of the streets. For Amiriye and Pay-e Toop neighborhoods, the Pearson correlation coefficient between the respondents' education levels and their scores of residential satisfaction are -0.36 and -0.23, respectively. It implies that residential satisfaction has an inverse relationship with education. Also, the correlation coefficient between the residence length in the neighborhood and residential satisfaction scores are +.001 and -0.29, respectively (for Amirieh and Pay-e Toop neighborhoods). It also indicates no relation for the first neighborhood and an inverse relation for the other.The zoning map of all the indicators shows that in more than 90% of the neighborhood area, the level of satisfaction is in the medium range. In Amirieh, the parts with low satisfaction are scattered. It can be said that the northeastern edge of the Amirieh neighborhood and the southwestern edge of the Pay-e Toop neighborhood have lower satisfaction. ConclusionThe role of physical indicators in low satisfaction is much more significant than social indicators. The physical components of the neighborhoods caused a low level of satisfaction. On the contrary, higher satisfaction is revealed from the socio-cultural components. Households prefer the quality of services more than the availability of services. In medium-sized cities such as Bojnoord, neighborhood relations, closeness to relatives, and living in neighborhoods where the ancestors lived are still decisive in creating residential satisfaction. To improve life satisfaction, paying attention to housing quality and the regeneration of both neighborhoods is necessary. Also, improvement, retrofitting, enhancing the quality of the building, and improving the quality of urban services, especially healthcare services, public transportation, and commercial services, should be considered. FundingThere is no funding support. Authors’ ContributionAuthors contributed equally to the conceptualization and writing of the article. All of the authors approved thecontent of the manuscript and agreed on all aspects of the work declaration of competing interest none. Conflict of InterestAuthors declared no conflict of interest. Acknowledgments We are grateful to all the scientific consultants of this paper.

The purpose of article is review and represent of theoretical framework of place into three approaches: positive, critical and phenomenological. First part of article explains definitions of place. Second part presents phenomenological theories such as Relph and Schultz. The third part of the article contains critical approach of Messy and Habermas to just phenomenological approach about place. The forth part presents positive approach and explains criteria and policies which have been expanded by Montgomery and canter. The fundamental concepts of phenomenological approach is topology and inside-69outside. Critical approach distinct the essential role of economical and social structure in forming place. Positive approach explains three dimensions of place as physical, meaning and activity; but the most important issues are human and his interaction of human being with latter dimensions. The content analysis has been used.