2008-26492420120822The Birth of Tragedy from the Spirit of Satire: Identity and Genre in Najaf-Bay
Vazirov’s DramasThe Birth of Tragedy from the Spirit of Satire: Identity and Genre in Najaf-Bay
Vazirov’s Dramas2254110.30480/dam.2012.41FAMohammadSepahiKamranSepehranJournal Article20120131Abstract
Azerbaijanis are among the pioneers of drama and theatre in the Middle East nations. Najaf Bey
Vazirov (1854-1926), the second Azeri dramatist after Mirza Fathali Akhundzadeh. He had created
five comedies, before he produced Tragedy of Fakhreddin (1896) the first tragedy written by Caucasus
Muslims. It is generally believed that Vazirov followed the dramatic style of his forefather’s
comedies, but there are evident deviations, the most important of which is rejecting Akhundzadeh’s
tendency towards a final reconciliation. This structural division is in parallel with the contrast between
comedy and satire in Northrop Fry’s genre theory, where both of them are regarded as narrative literary
genres. Comedy favors reconciliation while the aggressive spirit of satire rejects it. Satire is not
merely a genre, and is more generally considered as a mode -i.e. a way of representing charactersnamely
‘low mimetic’ in Fry’s account. This paper is reveals a sociological approach of satire in first
six plays written by Vazirov, based on concepts borrowed from the psychoanalysis of Jacque Lacan.
Based on interplay of the Imaginary and the Symbolism in ‘mirror stage’ theory, it is shown the Vazirov’s
emphasis on the ignorance of his people is intermingled with the ideological hegemony of the
Russian colonialism. Then it is shown how the possibility of a sexual satisfaction as the traditional
symbol of reconciliation in comedy, is usually hindered by a feminine character, known in psychoanalysis
as the dominance of Maternal Superego. This is interpreted as a reflection of the exclusion
of Muslim inhabitants of Caucasus from the symbolic (political and institutional) structure of their
society that is a way of ‘foreclosure’ of the ‘Name of Father’. This crisis of identity causes a chaos
that gradually disintegrates the moral and formal coherences of Vazirov’s narrative on one hand, and
leads to moral aggressiveness towards people on the other, that makes satire an imaginary subjection
of them to an indigenous institution. Finally Tragedy of Fakhreddin is interpreted as a fantasy where
the author imagines that the satisfaction of the losses has led him to satire. In summary, the author’s
approach to form and structure as a whole is interpreted as a reaction to the politico-social discriminations
imposed by the colonial conditions.Abstract
Azerbaijanis are among the pioneers of drama and theatre in the Middle East nations. Najaf Bey
Vazirov (1854-1926), the second Azeri dramatist after Mirza Fathali Akhundzadeh. He had created
five comedies, before he produced Tragedy of Fakhreddin (1896) the first tragedy written by Caucasus
Muslims. It is generally believed that Vazirov followed the dramatic style of his forefather’s
comedies, but there are evident deviations, the most important of which is rejecting Akhundzadeh’s
tendency towards a final reconciliation. This structural division is in parallel with the contrast between
comedy and satire in Northrop Fry’s genre theory, where both of them are regarded as narrative literary
genres. Comedy favors reconciliation while the aggressive spirit of satire rejects it. Satire is not
merely a genre, and is more generally considered as a mode -i.e. a way of representing charactersnamely
‘low mimetic’ in Fry’s account. This paper is reveals a sociological approach of satire in first
six plays written by Vazirov, based on concepts borrowed from the psychoanalysis of Jacque Lacan.
Based on interplay of the Imaginary and the Symbolism in ‘mirror stage’ theory, it is shown the Vazirov’s
emphasis on the ignorance of his people is intermingled with the ideological hegemony of the
Russian colonialism. Then it is shown how the possibility of a sexual satisfaction as the traditional
symbol of reconciliation in comedy, is usually hindered by a feminine character, known in psychoanalysis
as the dominance of Maternal Superego. This is interpreted as a reflection of the exclusion
of Muslim inhabitants of Caucasus from the symbolic (political and institutional) structure of their
society that is a way of ‘foreclosure’ of the ‘Name of Father’. This crisis of identity causes a chaos
that gradually disintegrates the moral and formal coherences of Vazirov’s narrative on one hand, and
leads to moral aggressiveness towards people on the other, that makes satire an imaginary subjection
of them to an indigenous institution. Finally Tragedy of Fakhreddin is interpreted as a fantasy where
the author imagines that the satisfaction of the losses has led him to satire. In summary, the author’s
approach to form and structure as a whole is interpreted as a reaction to the politico-social discriminations
imposed by the colonial conditions.https://dam.journal.art.ac.ir/article_41_32735ce9aba6980a611f3fcebc2ba2c0.pdf2008-26492420120822A Comparative Analysis between Two Translations of Shakespeare’s Othello with
Cultural Semiotics Point of ViewA Comparative Analysis between Two Translations of Shakespeare’s Othello with
Cultural Semiotics Point of View36234210.30480/dam.2012.42FAMahboobeSajadifardFarzanSojoudyJournal Article20111231Abstract
This article is a comparative analysis between Shakespeare’s Othello and two persian translations
of this drama by Abol Ghasem Khan Naseralmolk and M.A. Beh’aazin. The current study tries to
consider problems of dramatic translation of the text. The main objective of this article is to consider
the necessity of cultural semiotics in translating of dramatic texts. Although in these texts, it is impossible
to separate text from performance, since theatre consists of the dialectical relationship between
both of them, and also dramatic texts are not complete without performance. But the authors have
tried to look at dramatic texts as independent elements. They mainly tend to find some answers to the
following questions: In addition to dominance to the source language and target language, is it necessary
that the translator dominate cultural semiotics? Should translator compare signs- and especially
the cultural ones- meaning in the source and the target languages? Culture and cultural code have an
essential role in sign decoding especially in translation process. Culture is made of various kinds of
discourses as artistic, literal, politic, religious, etc. Therefore literary discourse is just one part of culture
in each society. In translation, especially in literally ones, cultural code should be considered as
important as metaphoric and metonymic relations and indeterminacy of signs and semantic deviation.
The signs are different in each language. They are encoded by language readers and context. In literary
translation, poetic sense should be conveyed as well as intended message and sign meaning. That
is why some of the signs are transformed without any change, some transform according to the cultural
code of target language and some disappear. Some times in this process, translator adds signs to
the text. Because of different meanings of the signs, it is impossible to attain to the author’s mind. In
the process of translation, the cultural differences cause to not relate with text. Besides each writer has
his/her “personal accent”. It is a product of personal ideology, the period and climate, experiences and
continents, cultures, observations, religions, contemporary politics and other factors. In translation
the” Personal accent” of the writer is as important as the translator’s one. It is clear that Shakespeare’s
“personal accent” in not exactly the same as M.A. Beh’aazin or Abol Ghasem Khan Naseralmolk’s
accent. In other words Shakespeare’s cultural lung had been filled with different kind of oxygen. Such
factors act as finger prints that everyone has his/her own special one. Whilst it seems that the source
text and target text are equal and tantamount, translating act is a process of renovation and recreation
of text. The processes of translation involved in making another culture comprehensible. There are direct
relations between Languages and literary texts and culture. If there is an interconnection between
language and the thought, and culture and what the writers write, understanding the culture is very
essential factor. Translation of dramatic texts is formed in two steps. First the task of translator is to
translate text to the target language and then the director, again, translates the text into a specific language
which belongs to the stage. In this process, culture and cultural semiotics have important rolesAbstract
This article is a comparative analysis between Shakespeare’s Othello and two persian translations
of this drama by Abol Ghasem Khan Naseralmolk and M.A. Beh’aazin. The current study tries to
consider problems of dramatic translation of the text. The main objective of this article is to consider
the necessity of cultural semiotics in translating of dramatic texts. Although in these texts, it is impossible
to separate text from performance, since theatre consists of the dialectical relationship between
both of them, and also dramatic texts are not complete without performance. But the authors have
tried to look at dramatic texts as independent elements. They mainly tend to find some answers to the
following questions: In addition to dominance to the source language and target language, is it necessary
that the translator dominate cultural semiotics? Should translator compare signs- and especially
the cultural ones- meaning in the source and the target languages? Culture and cultural code have an
essential role in sign decoding especially in translation process. Culture is made of various kinds of
discourses as artistic, literal, politic, religious, etc. Therefore literary discourse is just one part of culture
in each society. In translation, especially in literally ones, cultural code should be considered as
important as metaphoric and metonymic relations and indeterminacy of signs and semantic deviation.
The signs are different in each language. They are encoded by language readers and context. In literary
translation, poetic sense should be conveyed as well as intended message and sign meaning. That
is why some of the signs are transformed without any change, some transform according to the cultural
code of target language and some disappear. Some times in this process, translator adds signs to
the text. Because of different meanings of the signs, it is impossible to attain to the author’s mind. In
the process of translation, the cultural differences cause to not relate with text. Besides each writer has
his/her “personal accent”. It is a product of personal ideology, the period and climate, experiences and
continents, cultures, observations, religions, contemporary politics and other factors. In translation
the” Personal accent” of the writer is as important as the translator’s one. It is clear that Shakespeare’s
“personal accent” in not exactly the same as M.A. Beh’aazin or Abol Ghasem Khan Naseralmolk’s
accent. In other words Shakespeare’s cultural lung had been filled with different kind of oxygen. Such
factors act as finger prints that everyone has his/her own special one. Whilst it seems that the source
text and target text are equal and tantamount, translating act is a process of renovation and recreation
of text. The processes of translation involved in making another culture comprehensible. There are direct
relations between Languages and literary texts and culture. If there is an interconnection between
language and the thought, and culture and what the writers write, understanding the culture is very
essential factor. Translation of dramatic texts is formed in two steps. First the task of translator is to
translate text to the target language and then the director, again, translates the text into a specific language
which belongs to the stage. In this process, culture and cultural semiotics have important roleshttps://dam.journal.art.ac.ir/article_42_8175fa29f742b0e5b1d14899cff7d8a3.pdf2008-26492420120822Derrida’s Silence or Performative Avoidance: a Reflection on Theoretical
Distance of Antonin Artaud and Samuel Beketts’ TheatreDerrida’s Silence or Performative Avoidance: a Reflection on Theoretical
Distance of Antonin Artaud and Samuel Beketts’ Theatre53374310.30480/dam.2012.43FAMohammad JafarYousefian KenariJournal Article20120109Abstract
This paper aims to deal with some of the most important ideas of Jacques Derrida on theatre in terms of the existing
philosophical gap between Antonin Artaud and Samuel Beckett. Assessing Derrida’s notions on theatre
studies lead to find an exact reasonable solution for this main question that how his critical views on aesthetics
of modern theatre might been employed today as recognized approaches to face with dramatic artworks; and
the mentioned issue is actually in priority of this research. The leading approach of this paper is based upon
post-structuralism and it covers a range of interdisciplinary records concerned with philosophy and theatre.
The fundamental style of collecting and processing the linguistic signs as well as the philosophical facts,
follow a descriptive-analytical method that is common in qualitative researches. Referring on many reliable
library facts and assessing several linguistic data which are extracted from Derrida’s original contributions
and his translated texts in English, this study attempts to lead any possible reader to a new reception of his
key technical term, Deconstruction, and its all engaged and related meanings in theatre. It is pre-supposed that
Derrida’s perspective on “Theatre of Cruelty and the enclosure of Representation”, in a general sense, could
not be simply conceived as his theatrical standpoint but rather, it is a philosophical chance for him to avoid
his own real positions on the nature of performance. Beckett, furthermore, has a secret absence in his contributions
on modern theatre and literature. Meanwhile, his perspectives on literature and philosophy which
are often associated with a branch of poststructuralist studies would act as the starting point of propounding
a theoretical challenge for the present study. Artaud and Beckett as two prominent theatre practitioners of
modern era are in their own selves typical of a paradox in terms of their performative attitudes and techniques.
Deconstruction, as a new philosophical approach to literary texts and signs, could be applied for theatre studies.
Re-exploring the matter that whether Derrida and his philosophical teachings are naturally applicable
in contemporary challenges of theatre and doing a critical reflection on measuring the interpretability of
dramatic artworks based on his view points, are among the main purposes of the study. On the other hand, it
intends to present reliable judgments on Derrida’s terminology and the manner which they are broadly used
in Iranian academic papers and discourses. The limits of its verifiability, accessibility as well as the accuracy
of his critical point of views on theatre would be examined. In conclusion, some new propositions on deconstruction
there will be propounded which emphasize on the importance of Iranian scholars to reconsider their
conventional views on Derrida and his late neologism.Abstract
This paper aims to deal with some of the most important ideas of Jacques Derrida on theatre in terms of the existing
philosophical gap between Antonin Artaud and Samuel Beckett. Assessing Derrida’s notions on theatre
studies lead to find an exact reasonable solution for this main question that how his critical views on aesthetics
of modern theatre might been employed today as recognized approaches to face with dramatic artworks; and
the mentioned issue is actually in priority of this research. The leading approach of this paper is based upon
post-structuralism and it covers a range of interdisciplinary records concerned with philosophy and theatre.
The fundamental style of collecting and processing the linguistic signs as well as the philosophical facts,
follow a descriptive-analytical method that is common in qualitative researches. Referring on many reliable
library facts and assessing several linguistic data which are extracted from Derrida’s original contributions
and his translated texts in English, this study attempts to lead any possible reader to a new reception of his
key technical term, Deconstruction, and its all engaged and related meanings in theatre. It is pre-supposed that
Derrida’s perspective on “Theatre of Cruelty and the enclosure of Representation”, in a general sense, could
not be simply conceived as his theatrical standpoint but rather, it is a philosophical chance for him to avoid
his own real positions on the nature of performance. Beckett, furthermore, has a secret absence in his contributions
on modern theatre and literature. Meanwhile, his perspectives on literature and philosophy which
are often associated with a branch of poststructuralist studies would act as the starting point of propounding
a theoretical challenge for the present study. Artaud and Beckett as two prominent theatre practitioners of
modern era are in their own selves typical of a paradox in terms of their performative attitudes and techniques.
Deconstruction, as a new philosophical approach to literary texts and signs, could be applied for theatre studies.
Re-exploring the matter that whether Derrida and his philosophical teachings are naturally applicable
in contemporary challenges of theatre and doing a critical reflection on measuring the interpretability of
dramatic artworks based on his view points, are among the main purposes of the study. On the other hand, it
intends to present reliable judgments on Derrida’s terminology and the manner which they are broadly used
in Iranian academic papers and discourses. The limits of its verifiability, accessibility as well as the accuracy
of his critical point of views on theatre would be examined. In conclusion, some new propositions on deconstruction
there will be propounded which emphasize on the importance of Iranian scholars to reconsider their
conventional views on Derrida and his late neologism.https://dam.journal.art.ac.ir/article_43_9a4d62dde1c9ec75f73ceafd99ea62c4.pdf2008-26492420120822The Position of Reality in Transition from the Analog Movie to the Digital oneThe Position of Reality in Transition from the Analog Movie to the Digital one68554410.30480/dam.2012.44FAMehdiAzhariradAliSheikhmehdiJournal Article20120303From the beginning of cinema invention, the problem of relation between reality and the cinematic
image has been very important for filmmakers as well as the scholars. Cinema’s dependence on technology,
as one of its basic features, has led to the main causes of theoreticians, disagreement about
films. With the arrival of digital technology in movie production and distribution, two basic issues
became important; higher reproduction power of digital technology in comparison to analog one
(while the copy images had the lower quality than the original ones), and creating realistic images
by using this technology than analog images. These issues have been created a new challenge for
representing the reality in cinema. So the question of this article is: What condition reality has found
in transition from the analog cinema to the digital? The descriptive-analytical method is used for this
article. The theoretical framework of this research is based on the concept of sign in C.S. Peirce’s
viewpoint and Baudrillard’s post structuralism approach. Semiotic analysis of cinema technology can
look for the type of signs and how they refer to reality, in the message of this media. The result of this
study makes clear that the produced signs by the cinema, in analog era, due to a mechanical recording
technology, are also depending physically to object and somewhat similar to it, and thus these are the
indexical-iconic signs. The analog film technology has advanced so much that this similarity is obvious.
But in digital filming, the factor which joins the images to their reference is the figures that set
in binary based. And according to that symbolic aspect of sign saying that is based on contract, here,
the image can be seen as symbolic-iconic sign. But in Baudrillard’s perspective, with the arrival of
digital technology, gradually the relationship between cinematic image and real signified or reference
is completely disconnected. Real reference is replaced by reality in the virtual world that is Called
“hyper reality”. This type of reality has been used to make an illusionary reality and it has dominates,
the images made by digital technology by the apparent similarity with reality. On the other hand, due
to the ease of digital filming, and create the possibility of producing and publishing images, infinitely,
in the virtual spaces, the signifiers that are produced, can only refer to one each other.From the beginning of cinema invention, the problem of relation between reality and the cinematic
image has been very important for filmmakers as well as the scholars. Cinema’s dependence on technology,
as one of its basic features, has led to the main causes of theoreticians, disagreement about
films. With the arrival of digital technology in movie production and distribution, two basic issues
became important; higher reproduction power of digital technology in comparison to analog one
(while the copy images had the lower quality than the original ones), and creating realistic images
by using this technology than analog images. These issues have been created a new challenge for
representing the reality in cinema. So the question of this article is: What condition reality has found
in transition from the analog cinema to the digital? The descriptive-analytical method is used for this
article. The theoretical framework of this research is based on the concept of sign in C.S. Peirce’s
viewpoint and Baudrillard’s post structuralism approach. Semiotic analysis of cinema technology can
look for the type of signs and how they refer to reality, in the message of this media. The result of this
study makes clear that the produced signs by the cinema, in analog era, due to a mechanical recording
technology, are also depending physically to object and somewhat similar to it, and thus these are the
indexical-iconic signs. The analog film technology has advanced so much that this similarity is obvious.
But in digital filming, the factor which joins the images to their reference is the figures that set
in binary based. And according to that symbolic aspect of sign saying that is based on contract, here,
the image can be seen as symbolic-iconic sign. But in Baudrillard’s perspective, with the arrival of
digital technology, gradually the relationship between cinematic image and real signified or reference
is completely disconnected. Real reference is replaced by reality in the virtual world that is Called
“hyper reality”. This type of reality has been used to make an illusionary reality and it has dominates,
the images made by digital technology by the apparent similarity with reality. On the other hand, due
to the ease of digital filming, and create the possibility of producing and publishing images, infinitely,
in the virtual spaces, the signifiers that are produced, can only refer to one each other.https://dam.journal.art.ac.ir/article_44_ce1c5626ddc7a022e0543dd6245cbd10.pdf2008-26492420120822New Temporal Structures in Film: An Approach to Network NarrativeNew Temporal Structures in Film: An Approach to Network Narrative82694510.30480/dam.2012.45FAShahabeddinAdelHoseinHeidariBehnamHosseinyJournal Article20120514New temporal structure, especially in two recent decades, is a method to articulate the narration of
film story, in which storytelling uses game or manipulates in film temporal structure, challenges or
interacts with film audiences to participate in film remaking in their mind or final interpretation. Actually,
directors, of these films present complex stories or create complication in time to tend especial
intellectual spectator and create a kind of thoughtful pondering cinema. One of these films, New
temporal structure, named Network Narrative in which director intends to present single or multiple
stories from the point of view of multiple characters telling through the film, represented different
conception of reality or similarities of an event of multiple stories from the POV of multiple characters
via these differences or similarities accomplishes to make culture on the issue of globalization of
human worlds. On the other hands, this is a kind of extension of human knowledge to the outer space,
makes, thus, network of humans have the similar destinies. Actually, another film of this kind, new
temporal structure, named puzzle or mind-game complex narrative films. This extension of human
thought is to the inner space of human mind to represent their dreams, hallucinations, memories, and
thoughts. New temporal structure, is an answer to the millennium films in two recent decades or a
reaction against the extreme extension of human relations in the realm of knowledge, culture, science,
economy, etc. therefore, at the beginning of new millennium, a group similar destiny for human beings
have been created. Theoretical approach to this research is on the base of thoughts of two famous
theoricians of narrative discourse, Gerard Genette & David Bordwell. The former debates on the
strategy of narrative discourse to the focalization of narrative in which he means visual concepts and
even total conceptions of the concept every time and focalizes area of narrative information to one
of the fiction characters, whereas the latter’s approach is more constructive or structural. He debates
about it in the Poetics of Cinema’s and analyses Network Narrative and historical basis of creation in
movies. In an essay called Mutual Friends and Chronologies of Chance of Poetics of Cinema, he has
explained the kinds of Network Narrative, and has exemplified and analyzed some of the important
movies made by NN. He believes that ‘Narration Makes Networks’. Narration of each film, in coaxing
us to build the story world a particular way, must expose the relationships among the characters. In
a network tale, the narration does this with an elaborateness seldom seen in the more ordinary movie.
The narrations should often reveal connections, anticipate and conceal them too. More evidently, the
narration of a movie must show how characters are separated by a few links. Network Narrative film
as a New Temporal Structure can reveal and anticipate connections by employing unrestricted narration,
skipping and back and forth among people and places. On the other hands, method of research in
this essay is surveying on the base of other masters and theoricians in this field and the related ones, in
which each one of courses is accomplished to the special subjects and analysis of instance film made
by Network NarrativeNew temporal structure, especially in two recent decades, is a method to articulate the narration of
film story, in which storytelling uses game or manipulates in film temporal structure, challenges or
interacts with film audiences to participate in film remaking in their mind or final interpretation. Actually,
directors, of these films present complex stories or create complication in time to tend especial
intellectual spectator and create a kind of thoughtful pondering cinema. One of these films, New
temporal structure, named Network Narrative in which director intends to present single or multiple
stories from the point of view of multiple characters telling through the film, represented different
conception of reality or similarities of an event of multiple stories from the POV of multiple characters
via these differences or similarities accomplishes to make culture on the issue of globalization of
human worlds. On the other hands, this is a kind of extension of human knowledge to the outer space,
makes, thus, network of humans have the similar destinies. Actually, another film of this kind, new
temporal structure, named puzzle or mind-game complex narrative films. This extension of human
thought is to the inner space of human mind to represent their dreams, hallucinations, memories, and
thoughts. New temporal structure, is an answer to the millennium films in two recent decades or a
reaction against the extreme extension of human relations in the realm of knowledge, culture, science,
economy, etc. therefore, at the beginning of new millennium, a group similar destiny for human beings
have been created. Theoretical approach to this research is on the base of thoughts of two famous
theoricians of narrative discourse, Gerard Genette & David Bordwell. The former debates on the
strategy of narrative discourse to the focalization of narrative in which he means visual concepts and
even total conceptions of the concept every time and focalizes area of narrative information to one
of the fiction characters, whereas the latter’s approach is more constructive or structural. He debates
about it in the Poetics of Cinema’s and analyses Network Narrative and historical basis of creation in
movies. In an essay called Mutual Friends and Chronologies of Chance of Poetics of Cinema, he has
explained the kinds of Network Narrative, and has exemplified and analyzed some of the important
movies made by NN. He believes that ‘Narration Makes Networks’. Narration of each film, in coaxing
us to build the story world a particular way, must expose the relationships among the characters. In
a network tale, the narration does this with an elaborateness seldom seen in the more ordinary movie.
The narrations should often reveal connections, anticipate and conceal them too. More evidently, the
narration of a movie must show how characters are separated by a few links. Network Narrative film
as a New Temporal Structure can reveal and anticipate connections by employing unrestricted narration,
skipping and back and forth among people and places. On the other hands, method of research in
this essay is surveying on the base of other masters and theoricians in this field and the related ones, in
which each one of courses is accomplished to the special subjects and analysis of instance film made
by Network Narrativehttps://dam.journal.art.ac.ir/article_45_33786f70d81e8950ff41dea5201cb9e7.pdf2008-26492420120822Analyses of ArchaeoIranology Documentary Film of IranAnalyses of ArchaeoIranology Documentary Film of Iran99834610.30480/dam.2012.46FAMasihMousavizadeganAhmadZabeti JahromiJournal Article20111226Abstract
Documentary films are among the most important media in archaeological researches and education,
which unfortunately have not been under consideration. This article attempts to provide the definition
and classification of subspecies of archaeological documentary films, examine the history of such
films in Iran and all around the world and talk about its benefits and functions. This research has been
done based on library and documentary (films) resources. Unlike other genres of documentary films
such as ethnographical documentary films, archaeological films of Iran are not supportive of theoretical
issues. The results show that archaeological documentary film is a documentary film which by
relying on a scientific research deals with current methods, theoretical framework, scope and general
goals of archaeology, and other related sciences. According to their goals, we can divide archeological
documentary films into inspirational, training, interpretive, educational categories or according to
their audiences; we can divide them into professional or specialized films for professional audiences
and “educational films” for students and general audiences. Another way to study archeological films
is dividing them by their subjects. Making archaeological films began from the late silent film era.
Two silent documentary films on the ancient world made in 1931 and 1932-33 exist in the “Peabody”
film museum at Harvard University that show “Dorothy Garrod’s” excavations, English archaeologist,
in “Carmel” Mountain in Palestine. In 1955, Archaeological Institute of America by establishing
Committee for film and television took the first step to take initiative and responsibility in making
archaeological films under the direct supervision of archaeologists. The trend continues till today and
with the development of the cinema, these films also improve. For a detailed study of the history of
archeological films, it can generally be divided into five periods:
Period I: “1297 – 1330 SH”;
Period II: “1330 – 1357 SH”: the institutionalization of documentary cinema in Iran. At this time we
are faced with several processes. These processes based on their formation date and activities are:
- Department of Syracuse University;
- A group of students studied in west universities and institutions of filmmaking, after returning
to Iran made archeological films privately or with the support of Ministry of Culture and Fine Arts.
Among these students, Fereydoon Rahnama and Mostafa Farzaneh did great services for their next
generation;
- Golestan film organization (under management of Ebrahim Golestan); and
- National TV of Iran with Iranzamin Group.
Period III: “1357 – 1370 SH”: Revolution and War. The main charge of making documentary films
in this period and later periods is national television. One of the prominent filmmakers in this period
is Hamid Soheili.
Period IV: “1370 – 1380 SH”: Orod Zand, Mohsen Abdol Vahab and Muhammad Moghadam are
eminent filmmakers in this period.
Period V: “1380- 1390 SH”: in this period these groups are active:
- TV and documentation group of Channel Four;
- Private sector; and
- Center of Documentary and Experimental Films.
Orod Atapour, Ali Akbar Valadbeigi, Vahid Bagherzadeh and ... are prominent filmmakers of this
period.Abstract
Documentary films are among the most important media in archaeological researches and education,
which unfortunately have not been under consideration. This article attempts to provide the definition
and classification of subspecies of archaeological documentary films, examine the history of such
films in Iran and all around the world and talk about its benefits and functions. This research has been
done based on library and documentary (films) resources. Unlike other genres of documentary films
such as ethnographical documentary films, archaeological films of Iran are not supportive of theoretical
issues. The results show that archaeological documentary film is a documentary film which by
relying on a scientific research deals with current methods, theoretical framework, scope and general
goals of archaeology, and other related sciences. According to their goals, we can divide archeological
documentary films into inspirational, training, interpretive, educational categories or according to
their audiences; we can divide them into professional or specialized films for professional audiences
and “educational films” for students and general audiences. Another way to study archeological films
is dividing them by their subjects. Making archaeological films began from the late silent film era.
Two silent documentary films on the ancient world made in 1931 and 1932-33 exist in the “Peabody”
film museum at Harvard University that show “Dorothy Garrod’s” excavations, English archaeologist,
in “Carmel” Mountain in Palestine. In 1955, Archaeological Institute of America by establishing
Committee for film and television took the first step to take initiative and responsibility in making
archaeological films under the direct supervision of archaeologists. The trend continues till today and
with the development of the cinema, these films also improve. For a detailed study of the history of
archeological films, it can generally be divided into five periods:
Period I: “1297 – 1330 SH”;
Period II: “1330 – 1357 SH”: the institutionalization of documentary cinema in Iran. At this time we
are faced with several processes. These processes based on their formation date and activities are:
- Department of Syracuse University;
- A group of students studied in west universities and institutions of filmmaking, after returning
to Iran made archeological films privately or with the support of Ministry of Culture and Fine Arts.
Among these students, Fereydoon Rahnama and Mostafa Farzaneh did great services for their next
generation;
- Golestan film organization (under management of Ebrahim Golestan); and
- National TV of Iran with Iranzamin Group.
Period III: “1357 – 1370 SH”: Revolution and War. The main charge of making documentary films
in this period and later periods is national television. One of the prominent filmmakers in this period
is Hamid Soheili.
Period IV: “1370 – 1380 SH”: Orod Zand, Mohsen Abdol Vahab and Muhammad Moghadam are
eminent filmmakers in this period.
Period V: “1380- 1390 SH”: in this period these groups are active:
- TV and documentation group of Channel Four;
- Private sector; and
- Center of Documentary and Experimental Films.
Orod Atapour, Ali Akbar Valadbeigi, Vahid Bagherzadeh and ... are prominent filmmakers of this
period.https://dam.journal.art.ac.ir/article_46_6fafc80bf88763e6b5d8fbc72a7fa3a9.pdf2008-26492420120822The State of Expressing Islamic Mystical themes in Iranian Traditional MusicThe State of Expressing Islamic Mystical themes in Iranian Traditional Music1131014710.30480/dam.2012.47FAMasoudMoosapoorAli AsgharShiraziJournal Article20110810Abstract
The influence of Persian Music on inner realm is mentioned by well known Post-Islamic music theorists.
Persian Music is known as a factor affect spiritual growth, moving toward perfection and purification
of the soul. Since a very long period, the mystical and spiritual effects of this music have been
repeatedly noted by Persian Music theorists such as Safiyeddin Ormavi; And even mystics like Emam
Mohammad Ghazzali, have considered the relationship between music and mysticism. Contemporary
Specialists such as Sayyed Hossein Nasr have emphasized this relationship too. The so-called “Traditional
Music” in Iran, has reached us through oral instruction, and a major part of its sources contain
spiritual and mystical aspects and have a close correlation with Islamic mysticism. Perfection, ecstasy,
symmetrization and repetition, as well as the inseparable relation of Iranian Traditional of Music with
poetry have been among the specifications of the mentioned music that jointed it with mysticism. This
kind of music is based on a system called “Radif”. Radif contains “Dastgah” or modes and “Avaz”
or songs, each one expresses specific spiritual and mystical themes and moods. The stages of Islamic
mysticism are as follows: religion, creed, wisdom and truth. These are classified in certain Dastgah
and Avaz. for example, the wisdom stage was associated with Nava (one of the 7 “Dastgah”s in Iranian
Traditional Music; and these Dastgahs, along with five “Avaz”es, make a Radif-series of twelve
each). Although these effects cannot be issued a general warrant, but the correct selection and usage of
Dastgah for the expected themes and moods is instrumental. This article shows how Iranian Traditional
Music expresses Islamic mysticism themes. This research is descriptive-analytic. The authors have
described Islamic mystical themes in Dastgahs and Avazes, as well as the mentioned Music specialty
context, and have analyzed the statements based on opinion of authorities. The relationship between
this music and Islamic mysticism, with this aim in the article has been the in forming of correct and
appropriate usage of qualitative and spiritual characteristics of Iranian Traditional Music and it’s relying
on the Radif, based on its mystical themes which can be expressed. The authors have shown that
Persian the mentioned Music has a great potential to help expressing Islamic mystical themes and
moods. An important point that has been tried to be proved in this article is showing that how this expression
was in search of spiritual possibilities of this music; Using material means, pretending to be
so and the mere shaking of the head and strange gestures and the use of instruments such as Tanbour
and Daf, Pretend forming a kind of music, called “mystical”. In fact, the goal is the same mystical
and spiritual ecstasy that has a superior place, comparing with technique. There fore, musical instruments,
physical materials and tools concern spiritual and mystical aspects of this kind of music, and
paying attention to Dastgah and Avaz states, leads to expressions of Mystical themes. Also, matching
Dastgahs and Avazes with Islamic mysticism stages were analyzed that however, some matches seem
appropriate, but some are obscure and far from reality.Abstract
The influence of Persian Music on inner realm is mentioned by well known Post-Islamic music theorists.
Persian Music is known as a factor affect spiritual growth, moving toward perfection and purification
of the soul. Since a very long period, the mystical and spiritual effects of this music have been
repeatedly noted by Persian Music theorists such as Safiyeddin Ormavi; And even mystics like Emam
Mohammad Ghazzali, have considered the relationship between music and mysticism. Contemporary
Specialists such as Sayyed Hossein Nasr have emphasized this relationship too. The so-called “Traditional
Music” in Iran, has reached us through oral instruction, and a major part of its sources contain
spiritual and mystical aspects and have a close correlation with Islamic mysticism. Perfection, ecstasy,
symmetrization and repetition, as well as the inseparable relation of Iranian Traditional of Music with
poetry have been among the specifications of the mentioned music that jointed it with mysticism. This
kind of music is based on a system called “Radif”. Radif contains “Dastgah” or modes and “Avaz”
or songs, each one expresses specific spiritual and mystical themes and moods. The stages of Islamic
mysticism are as follows: religion, creed, wisdom and truth. These are classified in certain Dastgah
and Avaz. for example, the wisdom stage was associated with Nava (one of the 7 “Dastgah”s in Iranian
Traditional Music; and these Dastgahs, along with five “Avaz”es, make a Radif-series of twelve
each). Although these effects cannot be issued a general warrant, but the correct selection and usage of
Dastgah for the expected themes and moods is instrumental. This article shows how Iranian Traditional
Music expresses Islamic mysticism themes. This research is descriptive-analytic. The authors have
described Islamic mystical themes in Dastgahs and Avazes, as well as the mentioned Music specialty
context, and have analyzed the statements based on opinion of authorities. The relationship between
this music and Islamic mysticism, with this aim in the article has been the in forming of correct and
appropriate usage of qualitative and spiritual characteristics of Iranian Traditional Music and it’s relying
on the Radif, based on its mystical themes which can be expressed. The authors have shown that
Persian the mentioned Music has a great potential to help expressing Islamic mystical themes and
moods. An important point that has been tried to be proved in this article is showing that how this expression
was in search of spiritual possibilities of this music; Using material means, pretending to be
so and the mere shaking of the head and strange gestures and the use of instruments such as Tanbour
and Daf, Pretend forming a kind of music, called “mystical”. In fact, the goal is the same mystical
and spiritual ecstasy that has a superior place, comparing with technique. There fore, musical instruments,
physical materials and tools concern spiritual and mystical aspects of this kind of music, and
paying attention to Dastgah and Avaz states, leads to expressions of Mystical themes. Also, matching
Dastgahs and Avazes with Islamic mysticism stages were analyzed that however, some matches seem
appropriate, but some are obscure and far from reality.https://dam.journal.art.ac.ir/article_47_7fc57b7f021197d10322f2363f6b7cfb.pdf2008-26492420120822Female Musicians of the Safavid Period in Persian MiniaturesFemale Musicians of the Safavid Period in Persian Miniatures1321154810.30480/dam.2012.48FAIlnazRahbarHoomanAsadihJournal Article20111015Abstract
This article has been written in order to consider the female musicians in the Safavid Period based
on some written sources and specifically Persian Miniatures. Generally speaking, there is no specific
explanation about female musicians, in Safavid - or even Timurid - written history. Besides few
references rarely just refer to the names of musicians. Therefore, in order to survey the female musicians
and any information about them it is necessary to consider the existed paintings. In Timurid
period, female musicians were active in their professional life and this point can be obtained only
from iconographical sources; because in the written one, generally, it is ignored to cite the name of
female musicians despite the considerable number of them. Safavid period is one of the most glorious
periods in Iranian art history. Thus in order to get unknown musical points, it is necessary to refer
to iconographical sources. Pictures show that females have played active important roles as players,
singers and dancers. Generally the number of male players in pictures was more than female ones and
it came back to the cultural situation of that time. In Safavid period, due to many specific reasons, the
life of music declined compare to the Timurid glorious musical era. The most prominent features of
parties were prostitutes. According to the written and iconographical sources, it seams that dancers
were generally known as prostitutes. The names of some of them have been mentioned in written
sources and documents. Although, the very point does not refer to any players clearly; the pictures
show the female players usually in their special parties that just one man, probably the king, had
been there, however they are rarely seen in accompanying male players. It can be inferred that the
only man beside female musicians at the picture was the king, so most pictures illustrate the court or
harem of king; and it probably reveals playing and singing of the king’s wives. It seems that there is a
relationship between the players’ gender and the kinds of instruments. It means that female were more
professional in playing particular instruments like Qānoon and Chang. In other words, women, just
in their female groups, played different instruments; but when they were. Accompanying with male
players, their only instruments were Qanoon or Chang. Besides, if should be stated that many pictures,
in Isfahan school, show two Daf female players between male and female players, but it is one of
the style of that school that painters generally depict musicians in their paintings. In the mentioned
period, little information could be found about music training of women. In this article, these deductions
have got through analysis of 22 Safavid miniatures in comparison to various written documents.
The pictures, which were related to main school of Safavid miniatures, belonged to Tabriz, Qazvin,
and Shiraz and Isfahan schoolsAbstract
This article has been written in order to consider the female musicians in the Safavid Period based
on some written sources and specifically Persian Miniatures. Generally speaking, there is no specific
explanation about female musicians, in Safavid - or even Timurid - written history. Besides few
references rarely just refer to the names of musicians. Therefore, in order to survey the female musicians
and any information about them it is necessary to consider the existed paintings. In Timurid
period, female musicians were active in their professional life and this point can be obtained only
from iconographical sources; because in the written one, generally, it is ignored to cite the name of
female musicians despite the considerable number of them. Safavid period is one of the most glorious
periods in Iranian art history. Thus in order to get unknown musical points, it is necessary to refer
to iconographical sources. Pictures show that females have played active important roles as players,
singers and dancers. Generally the number of male players in pictures was more than female ones and
it came back to the cultural situation of that time. In Safavid period, due to many specific reasons, the
life of music declined compare to the Timurid glorious musical era. The most prominent features of
parties were prostitutes. According to the written and iconographical sources, it seams that dancers
were generally known as prostitutes. The names of some of them have been mentioned in written
sources and documents. Although, the very point does not refer to any players clearly; the pictures
show the female players usually in their special parties that just one man, probably the king, had
been there, however they are rarely seen in accompanying male players. It can be inferred that the
only man beside female musicians at the picture was the king, so most pictures illustrate the court or
harem of king; and it probably reveals playing and singing of the king’s wives. It seems that there is a
relationship between the players’ gender and the kinds of instruments. It means that female were more
professional in playing particular instruments like Qānoon and Chang. In other words, women, just
in their female groups, played different instruments; but when they were. Accompanying with male
players, their only instruments were Qanoon or Chang. Besides, if should be stated that many pictures,
in Isfahan school, show two Daf female players between male and female players, but it is one of
the style of that school that painters generally depict musicians in their paintings. In the mentioned
period, little information could be found about music training of women. In this article, these deductions
have got through analysis of 22 Safavid miniatures in comparison to various written documents.
The pictures, which were related to main school of Safavid miniatures, belonged to Tabriz, Qazvin,
and Shiraz and Isfahan schoolshttps://dam.journal.art.ac.ir/article_48_d068603ba6a9946b859d1a28a8daf07b.pdf