2008-26493620130923Study of Harold Pinter’s playwright (Birthday Party) by
Psychoanalysis of Jacques LacanStudy of Harold Pinter’s playwright (Birthday Party) by
Psychoanalysis of Jacques Lacan1955710.30480/dam.2013.57FAShirinBozorgmehrSepidGhaemiJournal Article20121126Abstract
This article adopts a psychoanalytical approach based on Jacques Lacan’s theories, Neo-Freudian
psychoanalyst, to have a brief look at some of the plays written by Harold Pinter, the English playwright, and
to study and analyze his first long play “The Birthday Party” (1958), which belongs to the early decades of
his dramatic writing. These days Lacan’s theories are widely applied in different fields of literary and cinema
studies. This article aims to utilize his theories in analyzing dramatic literature and plays. In addition the
intellectual foundation of Lacan theories are based on Heidegger, Levi-Strauss and Hegel’s theories ,which
is in connection with Freud’s theories is explained and have subscription with foundations of the philosophy
of Existentialism, is essential to gain an understanding of the foundations of “The Theatre of the Absurd “and
Pinter’s works. Within this framework, some concepts including “The Imaginary, The Symbolic, The Real,
The Empty signifier, Object a and Sexual differences “are elaborated on and then, “The Birthday Party” is
analyzed based on these concepts to make possible achievement the Layers of complex and abstract world
of this play.
Pinter in “The Birthday Party” creates an atmosphere of threat and fear. He puts his characters in enclosed
spaces such as home to emphasize on instability and human failures. Being driven from their world and
located in another world where the meaning of everything has changed, these characters incur a painful fate.
Their names and their identities have been taken and they have been thrown to a world in which the boundary
between reality and non-reality is blurred. In fact, characters in this play use fantasy against external threats
and fear. In modern world emphasis is placed on incomplete human that can never achieve the real truth.
Lacan’s views regarding the incomplete human together with Existentialism in philosophy can be helpful
to analyze Pinter’s plays. For this reason, Lacan insists that without modern science psychoanalysis could
not come into existence and psychoanalytic concepts and theoretical framework are appropriate to modern
times and modern Ego. In Pinter’s opinion the truth in drama is always elusive. You never quite find it but the
search for it is compulsive. The search is clearly what drives the endeavor. More often than not you stumble
upon the truth in the dark, colliding with it or just glimpsing an image or a shape which seems to correspond
to the truth, often without realizing that you have done so. But the real truth is that there never is any such
thing as one truth to be found in dramatic art. As Pinter says in his play “The Birthday Party“ he thinks he
allows a whole range of options to operate in a dense forest of possibility before finally focusing on an act of
subjugation that is Emphasis on the claim. Finally all these are reflected in “The Birthday Party”, which is
analyzed in this articleAbstract
This article adopts a psychoanalytical approach based on Jacques Lacan’s theories, Neo-Freudian
psychoanalyst, to have a brief look at some of the plays written by Harold Pinter, the English playwright, and
to study and analyze his first long play “The Birthday Party” (1958), which belongs to the early decades of
his dramatic writing. These days Lacan’s theories are widely applied in different fields of literary and cinema
studies. This article aims to utilize his theories in analyzing dramatic literature and plays. In addition the
intellectual foundation of Lacan theories are based on Heidegger, Levi-Strauss and Hegel’s theories ,which
is in connection with Freud’s theories is explained and have subscription with foundations of the philosophy
of Existentialism, is essential to gain an understanding of the foundations of “The Theatre of the Absurd “and
Pinter’s works. Within this framework, some concepts including “The Imaginary, The Symbolic, The Real,
The Empty signifier, Object a and Sexual differences “are elaborated on and then, “The Birthday Party” is
analyzed based on these concepts to make possible achievement the Layers of complex and abstract world
of this play.
Pinter in “The Birthday Party” creates an atmosphere of threat and fear. He puts his characters in enclosed
spaces such as home to emphasize on instability and human failures. Being driven from their world and
located in another world where the meaning of everything has changed, these characters incur a painful fate.
Their names and their identities have been taken and they have been thrown to a world in which the boundary
between reality and non-reality is blurred. In fact, characters in this play use fantasy against external threats
and fear. In modern world emphasis is placed on incomplete human that can never achieve the real truth.
Lacan’s views regarding the incomplete human together with Existentialism in philosophy can be helpful
to analyze Pinter’s plays. For this reason, Lacan insists that without modern science psychoanalysis could
not come into existence and psychoanalytic concepts and theoretical framework are appropriate to modern
times and modern Ego. In Pinter’s opinion the truth in drama is always elusive. You never quite find it but the
search for it is compulsive. The search is clearly what drives the endeavor. More often than not you stumble
upon the truth in the dark, colliding with it or just glimpsing an image or a shape which seems to correspond
to the truth, often without realizing that you have done so. But the real truth is that there never is any such
thing as one truth to be found in dramatic art. As Pinter says in his play “The Birthday Party“ he thinks he
allows a whole range of options to operate in a dense forest of possibility before finally focusing on an act of
subjugation that is Emphasis on the claim. Finally all these are reflected in “The Birthday Party”, which is
analyzed in this articlehttps://dam.journal.art.ac.ir/article_57_697d1bfc58bce7722c835e859c6c7914.pdf2008-26493620130923A Survey on the Relation of the Nation-State to the Rise of Drama Institution in the 1st Pahlavi PeriodA Survey on the Relation of the Nation-State to the Rise of Drama Institution in the 1st Pahlavi Period34215810.30480/dam.2013.58FAKamranSepehranAssistant Professor at Tehran University of ArtBehzadAghajamaliM.A. of Dramatic Literature, Tehran University of ArtJournal Article20121003Abstract
The second half of the thirteenth century in the solar calendar (1250-1300) is very important in the history
of Iran. Vast social-political changes took place gradually and led to the Constitutional Monarchy which,
after being established and stable, caused overthrow of Qajar and advent of Pahlavi Dynasty. Despite
maintaining the monarchy system, political power of the government accepted the structural changes,
and the importance of this change was due to that. Then, a modern state or nation-state settled down in
combination with autocracy: the First Pahlavi. This situation affected different layers of the society and,
naturally, art, literature and basically aesthetics of that period were influenced. In the meantime, Iranian
drama (which had a kind of political advent under the influence of the so-called changes and social events
in the Constitution Period before) changed its face and color. But drama was not able to be a good reflection
of the nation-state in Reza Khan Period, and there were some reasons for that. Although it had some
cultural or artistic functions, and even developed, its nature and structure were artificial. Changing from
the traditional autocracy to an autocratic nation-state brought about a political-social system that needed
the advent of a genre as a medium. Meanwhile certain phenomena had important roles in the advent of this
medium. Some phenomena such as bazaar, modernity, shaping of the middle class, and other reasons had
a crucial role in distinguishing a special literary medium or genre. Every political-social period finds its
medium. This medium can be of literary forms or art genres. The Constitution did it well and its inherently
political drama came out. But the 1st Pahlavi Period was different from the Constitution Period. So by
referring to drama of the Constitution and novel of Reza Khan Period, we will clarify nature, structure and
genealogy of drama of the Reza Khan Period: how is it related to the modern state of Reza Khan, and also
how is it different from and similar to the drama, which is the other dominant literary institution in that
period. This nature comes from the society and its political system.Abstract
The second half of the thirteenth century in the solar calendar (1250-1300) is very important in the history
of Iran. Vast social-political changes took place gradually and led to the Constitutional Monarchy which,
after being established and stable, caused overthrow of Qajar and advent of Pahlavi Dynasty. Despite
maintaining the monarchy system, political power of the government accepted the structural changes,
and the importance of this change was due to that. Then, a modern state or nation-state settled down in
combination with autocracy: the First Pahlavi. This situation affected different layers of the society and,
naturally, art, literature and basically aesthetics of that period were influenced. In the meantime, Iranian
drama (which had a kind of political advent under the influence of the so-called changes and social events
in the Constitution Period before) changed its face and color. But drama was not able to be a good reflection
of the nation-state in Reza Khan Period, and there were some reasons for that. Although it had some
cultural or artistic functions, and even developed, its nature and structure were artificial. Changing from
the traditional autocracy to an autocratic nation-state brought about a political-social system that needed
the advent of a genre as a medium. Meanwhile certain phenomena had important roles in the advent of this
medium. Some phenomena such as bazaar, modernity, shaping of the middle class, and other reasons had
a crucial role in distinguishing a special literary medium or genre. Every political-social period finds its
medium. This medium can be of literary forms or art genres. The Constitution did it well and its inherently
political drama came out. But the 1st Pahlavi Period was different from the Constitution Period. So by
referring to drama of the Constitution and novel of Reza Khan Period, we will clarify nature, structure and
genealogy of drama of the Reza Khan Period: how is it related to the modern state of Reza Khan, and also
how is it different from and similar to the drama, which is the other dominant literary institution in that
period. This nature comes from the society and its political system.https://dam.journal.art.ac.ir/article_58_d14e549eb6e47ceb7a94b5eb86fdee64.pdf2008-26493620130923Evaluation of place transformation in the kanale komeil play: semiotic approachEvaluation of place transformation in the kanale komeil play: semiotic approach46355910.30480/dam.2013.59FAMahdiHamedsaghaianAssistant professor at Department of Art, University of Tarbiat ModarresHamidrezaShairiAssociate Professor, Faculty of Humanities, Tarbiat Modarres UniversityMohammad FarzanRajabiMaster of art student, University of Tarbiat ModarresJournal Article20130312Abstract
No discourse is lack of place. Place explicitly or implicitly impact on formation and production of meaning.
Place interchange the form of discourse and content. In some cases place would be presented absolutely
physically and objective in some other cases, these objective functions are weakened and change to abstract
function. Objective places have interactive specification where transcendental places have imaginative
ones. How do discourse can change to challenge place and there for change to reactive position? In fact,
unboundary, running away from objective limitation, phenomenal experience, expanding imaginative
aspect and etc. are such factors which weaken interactive functions of place. In this paper the attempt has
been made to examine discourse pattern of place which plays an important role in production of meaning.
Such as place–Network. Such a place is called inductive place. A Place which affects and creates an idea
in the mind of actor. It is named because our place is separated at specific distances and in a defined
distance, changes into two place Until eventually something transfer from one to the another That is due
to the action, place acquires spatial trans feature This feature also can be generalized to a virtual places
such as cyber places. Subject in virtual place has the potential to be present simultaneously in different
geographic points. Another discourse patterns for place, is continuous place. This type of places are places
that Contrary to a network places, nothing can separate them from each other. Another issue to be dealt
with are vortical places with self-contained function This place is also a place breaker and astonishes the
actor This Place appears in front of the actor and then collapses and eventually astonishes the actor. Finally
in this paper transcendence of Place has been examined. In this kind of place presence and thought of the
actor has not been stopped and continues beyond that and reaches transcendence. The main purpose of this
research represents how transcendental of place and movement toward space relying on Canale komeil
play. No doubt, the play discourses a suitable sample for surveying the changing place and passing by meta
place, because it can enter to scene and to be dramatized.Abstract
No discourse is lack of place. Place explicitly or implicitly impact on formation and production of meaning.
Place interchange the form of discourse and content. In some cases place would be presented absolutely
physically and objective in some other cases, these objective functions are weakened and change to abstract
function. Objective places have interactive specification where transcendental places have imaginative
ones. How do discourse can change to challenge place and there for change to reactive position? In fact,
unboundary, running away from objective limitation, phenomenal experience, expanding imaginative
aspect and etc. are such factors which weaken interactive functions of place. In this paper the attempt has
been made to examine discourse pattern of place which plays an important role in production of meaning.
Such as place–Network. Such a place is called inductive place. A Place which affects and creates an idea
in the mind of actor. It is named because our place is separated at specific distances and in a defined
distance, changes into two place Until eventually something transfer from one to the another That is due
to the action, place acquires spatial trans feature This feature also can be generalized to a virtual places
such as cyber places. Subject in virtual place has the potential to be present simultaneously in different
geographic points. Another discourse patterns for place, is continuous place. This type of places are places
that Contrary to a network places, nothing can separate them from each other. Another issue to be dealt
with are vortical places with self-contained function This place is also a place breaker and astonishes the
actor This Place appears in front of the actor and then collapses and eventually astonishes the actor. Finally
in this paper transcendence of Place has been examined. In this kind of place presence and thought of the
actor has not been stopped and continues beyond that and reaches transcendence. The main purpose of this
research represents how transcendental of place and movement toward space relying on Canale komeil
play. No doubt, the play discourses a suitable sample for surveying the changing place and passing by meta
place, because it can enter to scene and to be dramatized.https://dam.journal.art.ac.ir/article_59_834461b40d022cb353e97ba25a92d688.pdf2008-26493620130923Bergson: Infrastructure of Deleuze Cinematic PhilosophyBergson: Infrastructure of Deleuze Cinematic Philosophy63476010.30480/dam.2013.60FAZahraGolnaz Manteghi FasayiPhD Student of Philosophy of art ,Science & Research Branch , Islamic Azad
University.EsmailBani ArdalanPhd of Art Research, Assistant Professor of Art university , Faculty of Cinema & TheaterJournal Article20121104Abstract
This paper attempts to define The role of Bergsonian concepts in forming of Deleuze’s Philosophy of Cinema.
Deleuze is one of the most important contemporary philosopher who works on Cinema. He wrote two
major books in field of cinema which entitled them: Cinema 1, Movement-Image & Cinema 2, Time-Image.
Bergson is one of the most influential figures in philosophy of Deleuze, who plays a key role in Cinema
1 & 2. Deleuze uses some main concepts of Bergson like Duration, Movement, Memory… to construct
his philosophy of Cinema. Bergson Believes that Image is Movement of Matter. According to Connection
of Image and Movement, Deleuze Constructs Movement-Image which has a Movement Inherently. Based
on this concept, He named Cinema before world war II as Movement- Image or Indirect Image of Time.
In Cinema 1, Deleuze used Duration and Qualitive Movement to describe some definitions like Shot and
Montage in early years of cinema. Deleuze defines Montage in foundation of Bergson concept: something
changes from the beginning to the end of the film. It is Duration. Montage as Duration connects Shots which
present Images. It makes a whole entirely different from each shot. Whole is openness of Existence in which
time occurs. Deleuze finds some examples in history of cinema, such as: 1)American Montage school of
Griffith. 2)French Impressionist, 3)Revolutionary Russian School of Montage at 1920’s era and ultimately 4)
Expressionist School of pre war Germany. Coincidentally to war, belief of human to world changed. Cinema
wasn’t except from these changes. Deleuze called this Cinema Time-Image or Direct Image of time. Deleuze
used Bergsonian concept of Memory and Coexistence of Time to deconstruct formal meaning of time,
particularly Narration to explore purest mode of time. Time-Image is emergence of Duration. It gradually
appears in some school of film like Neorealism, French New Wave and totally Modern Cinema after World
War II. In This Image, Time isn’t linear and Homogeneous, but conversely Hetrogeneous. Deleuze used
Concept of Memory to create Recollection and Dream-Image. These Types of Time-Image makes Circuit
consisted of Subjective and Objective. There isn’t recognizable limits between Imaginary and Real in These
two Images. Recollection-Image uses Memory in Consciousness state like flashback in Cinema, while
Dream-Image employs it subconsciously. Another Bergsonian concept in cinema 2 is Coexistence of Time.
It is coincident of Past, Present and Future. This concept presents itself in different aspects: Mirror-Image
and Crystal-Image. In crystal-Image which is multiple dimensional Mirror-Image, sequence of time isn’t
determinable. Finally, Concepts of Bergson helps Deleuze to construct his prominent concept in his Cinematic
philosophy: Thought-Image. This paper also attempts to solve the question How Bergsonian concepts affect
Thought-Image. An Image which induces a Shock to Thought and promotes its value. You can recognize it in
all genres of cinema both Modern and Classic.Abstract
This paper attempts to define The role of Bergsonian concepts in forming of Deleuze’s Philosophy of Cinema.
Deleuze is one of the most important contemporary philosopher who works on Cinema. He wrote two
major books in field of cinema which entitled them: Cinema 1, Movement-Image & Cinema 2, Time-Image.
Bergson is one of the most influential figures in philosophy of Deleuze, who plays a key role in Cinema
1 & 2. Deleuze uses some main concepts of Bergson like Duration, Movement, Memory… to construct
his philosophy of Cinema. Bergson Believes that Image is Movement of Matter. According to Connection
of Image and Movement, Deleuze Constructs Movement-Image which has a Movement Inherently. Based
on this concept, He named Cinema before world war II as Movement- Image or Indirect Image of Time.
In Cinema 1, Deleuze used Duration and Qualitive Movement to describe some definitions like Shot and
Montage in early years of cinema. Deleuze defines Montage in foundation of Bergson concept: something
changes from the beginning to the end of the film. It is Duration. Montage as Duration connects Shots which
present Images. It makes a whole entirely different from each shot. Whole is openness of Existence in which
time occurs. Deleuze finds some examples in history of cinema, such as: 1)American Montage school of
Griffith. 2)French Impressionist, 3)Revolutionary Russian School of Montage at 1920’s era and ultimately 4)
Expressionist School of pre war Germany. Coincidentally to war, belief of human to world changed. Cinema
wasn’t except from these changes. Deleuze called this Cinema Time-Image or Direct Image of time. Deleuze
used Bergsonian concept of Memory and Coexistence of Time to deconstruct formal meaning of time,
particularly Narration to explore purest mode of time. Time-Image is emergence of Duration. It gradually
appears in some school of film like Neorealism, French New Wave and totally Modern Cinema after World
War II. In This Image, Time isn’t linear and Homogeneous, but conversely Hetrogeneous. Deleuze used
Concept of Memory to create Recollection and Dream-Image. These Types of Time-Image makes Circuit
consisted of Subjective and Objective. There isn’t recognizable limits between Imaginary and Real in These
two Images. Recollection-Image uses Memory in Consciousness state like flashback in Cinema, while
Dream-Image employs it subconsciously. Another Bergsonian concept in cinema 2 is Coexistence of Time.
It is coincident of Past, Present and Future. This concept presents itself in different aspects: Mirror-Image
and Crystal-Image. In crystal-Image which is multiple dimensional Mirror-Image, sequence of time isn’t
determinable. Finally, Concepts of Bergson helps Deleuze to construct his prominent concept in his Cinematic
philosophy: Thought-Image. This paper also attempts to solve the question How Bergsonian concepts affect
Thought-Image. An Image which induces a Shock to Thought and promotes its value. You can recognize it in
all genres of cinema both Modern and Classic.https://dam.journal.art.ac.ir/article_60_21f1c6cd4cc4dc46f5ec2c6077ce369e.pdf2008-26493620130923Hybridization of Identity in Postcolonial Theory: The Case Study of Roman
Polanski’s The PianistHybridization of Identity in Postcolonial Theory: The Case Study of Roman
Polanski’s The Pianist73636110.30480/dam.2013.61FAMasoudFarahmandfarPhD Student of English Literature, Shahid Beheshti UniversityAmir AliNojoumianAssociate Prof., of English Literature and Literary Theory, Shahid Beheshti UniversityJournal Article20130501Abstract
Postcolonial approach to literature is not merely restricted to analyzing the texts produced by those who
have experienced the bitter taste of colonization. The theorists of the field (Homi K. Bhabha, Edward
Wadie Said, Gayatri Chakravorty Spivak, Robert J. C. Young, to name but a few) are mostly interested
in the interaction of colonizers/subalterns, and attempt to take a fresh look at the important concepts of
identity, hybridity, narratives of nation, im/migration and so on and so forth. Therefore, challenging the
dominant discourse, reconsidering the ideologically-charged texts, rethinking the relationship between
characters, and overall, creating enunciatory spaces for the subalterns (in which) to act and speak back to
power become the main pillars of this critical approach. In this way, this article attempts to introduce and
expound on these ideas and then to analyze the application of them to a Roman Polanski film (The Pianist),
mainly in the light of Homi K. Bhabha’s ideas. Bhabha holds that identities are hybrid, and repudiates any
essentialist, hierarchical view of it. He puts forth the idea of “negotiations of identity”, and goes on to call
hybridity a “strategy of survival”. In general, postcolonial theory maintains that identity is constructed
through a negotiation of difference. In the movie Pianist (2002) we see the main character, Wladyslaw,
is always on the move and as an exile he has to redefine the concepts of home and belonging for himself
frequently. We believe that Polanski’s mere act of recording his personal trauma of the Second World
War into a feature film is itself a postcolonial act, because he tries to rewrite the colonial history from
a postcolonial perspective. This sheer act of ‘re-membering’ becomes a necessary but perilous bridge
between the trauma of colonial oppression and post-colonial survival, which is not only nostalgic but is
almost always accompanied with a sort of Bhabhaian ‘time-lag’. The other important point in the film is
notion of ‘third-space’, which is the proper site of inbetweenness within the locality of cultural translation.
Wladyslaw resides in this transnational/translational site of enunciation and negotiation. What we witness
in Polanski’s movie is more than anything else an archetypal quest on the part of the hero to overcome
the binary of belonging/non-belonging, to come to terms with the “representational strategies of real and
imagined places.” This trans-national space if a site of (both personal and collective) resistance, on which
the essentialist issues of race, class, gender, nationality, etc. have no bearing whatsoever. All in all, this
research was an attempt to go through the notions of ‘hybridity’ and ‘identity’ from a postcolonial vista and
to trace those concepts in Polanski’s movie, which turned out to be quite receptive of such a (postcolonial)
reading. The Pianist was a tribute to transcendentality of art (especially music) and it amazingly showed
that art is not bound to ethnic, national, political or religious boundaries and it creates an enunciatory space
of its own.Abstract
Postcolonial approach to literature is not merely restricted to analyzing the texts produced by those who
have experienced the bitter taste of colonization. The theorists of the field (Homi K. Bhabha, Edward
Wadie Said, Gayatri Chakravorty Spivak, Robert J. C. Young, to name but a few) are mostly interested
in the interaction of colonizers/subalterns, and attempt to take a fresh look at the important concepts of
identity, hybridity, narratives of nation, im/migration and so on and so forth. Therefore, challenging the
dominant discourse, reconsidering the ideologically-charged texts, rethinking the relationship between
characters, and overall, creating enunciatory spaces for the subalterns (in which) to act and speak back to
power become the main pillars of this critical approach. In this way, this article attempts to introduce and
expound on these ideas and then to analyze the application of them to a Roman Polanski film (The Pianist),
mainly in the light of Homi K. Bhabha’s ideas. Bhabha holds that identities are hybrid, and repudiates any
essentialist, hierarchical view of it. He puts forth the idea of “negotiations of identity”, and goes on to call
hybridity a “strategy of survival”. In general, postcolonial theory maintains that identity is constructed
through a negotiation of difference. In the movie Pianist (2002) we see the main character, Wladyslaw,
is always on the move and as an exile he has to redefine the concepts of home and belonging for himself
frequently. We believe that Polanski’s mere act of recording his personal trauma of the Second World
War into a feature film is itself a postcolonial act, because he tries to rewrite the colonial history from
a postcolonial perspective. This sheer act of ‘re-membering’ becomes a necessary but perilous bridge
between the trauma of colonial oppression and post-colonial survival, which is not only nostalgic but is
almost always accompanied with a sort of Bhabhaian ‘time-lag’. The other important point in the film is
notion of ‘third-space’, which is the proper site of inbetweenness within the locality of cultural translation.
Wladyslaw resides in this transnational/translational site of enunciation and negotiation. What we witness
in Polanski’s movie is more than anything else an archetypal quest on the part of the hero to overcome
the binary of belonging/non-belonging, to come to terms with the “representational strategies of real and
imagined places.” This trans-national space if a site of (both personal and collective) resistance, on which
the essentialist issues of race, class, gender, nationality, etc. have no bearing whatsoever. All in all, this
research was an attempt to go through the notions of ‘hybridity’ and ‘identity’ from a postcolonial vista and
to trace those concepts in Polanski’s movie, which turned out to be quite receptive of such a (postcolonial)
reading. The Pianist was a tribute to transcendentality of art (especially music) and it amazingly showed
that art is not bound to ethnic, national, political or religious boundaries and it creates an enunciatory space
of its own.https://dam.journal.art.ac.ir/article_61_e3dcca43d08d641d2f9cb9d8fa0f3730.pdf2008-26493620130923An Iconological Analysis of City Concept in Mainstream and Independent
Cinema (1980-2010)An Iconological Analysis of City Concept in Mainstream and Independent
Cinema (1980-2010)89756210.30480/dam.2013.62FAGholamhosseinMahdavinejadLecturer and Head of Department of Maaref, Semnan University of Medical SciencesMohammadjavadMahdavinejadAssistant Professor, Faculty of Art and Architecture, Tarbiat Modares UniversityAbolfazlToghrayiM.A. in Urban Design, Tabriz Islamic Art UniversitySiyamakQazipoorM.A. in Urban Design, Tabriz Islamic Art University.Journal Article20120702Abstract
There is an old saying which refers to “We build our cities and our cities build us”. This meaning could
be understood through new masterpieces of contemporary cinema especially after World War II and other
related changes. There are some meaningful hints in contemporary cinema which emphasize role of built
environment in manifestation of meaning in artworks. Literature review of the paper show that this is an
interactive issue which our cities influence our understanding about our cities and in the other hand cinema
manipulate mankind’s relationship to his environment. Postmodern city is a title which mentions a wide range
of phenomena such as postindustrial cities and so on which enjoys a great respect in contemporary cinema.
Recent reflections regarding to city and other related fields emphasize the roll of postmodern cinema toward
formation of new gender of understanding between art and audience, cinema and society etc. Our cities and
societies, particularly in west, are now in various ways ‘post-industrial’: ‘post-Fordist’, ‘post-modern’, even
‘post-historical’. The economy is undergoing a transition from the production of goods to the provision of
services. In this context, media can play important roles not only as a tool to represent the urban condition, but
also as a service that can intense the post-industrial condition. Film is a young medium and just like any type of
media, it can represent or criticize all aspects of life and all aspects of humanity in a simple motioned image, in
a frame. The theoretical framework of the paper is based on literature review which emphasized on the latest
theories in related field that developed by German art historian, Erwin Panofsky. Panofsky’s iconography as
a highly influential modern academic tool for interpretation of contemporary artworks is adopted as base of
theoretical framework of the paper. This tool refers as three strata of subject matter or meaning: 1- Primary:
natural subject matter, 2- Iconography: conventional subject matter, 3- Iconology: intrinsic meaning or
content. Regarding to iconology step, cinema cannot be isolated and should be considered as an historical
incident and product of a historical environment which reflects all aspects of its circumstances especially
built environment. This paper is to discover the image of city in mainstream and independent cinema from
1980 to 2010. Iconological approach is chosen especially because of its depth and capability to analysis
icons and symbols. Urban iconic meanings have been interpreted from chosen movies, in both cinematic
types, through analysis the “film pictures”. The results of this research indicate that some common and some
specialized urban aspects of the two cinematic types can be distinguished, and all are summarized in two
tables. Mainstream cinema is more representing leisure, advertisement and entertainment city; whereas urban
images of contrast, identity crisis and multiculturality can be seen in independent cinema category. The results
of the paper show that there are meaningful relationship between two parts of this challenge namely city
and cinema especially in case of postmodern and postindustrial city and related phenomena in comparison
between independent and mainstream cinemasAbstract
There is an old saying which refers to “We build our cities and our cities build us”. This meaning could
be understood through new masterpieces of contemporary cinema especially after World War II and other
related changes. There are some meaningful hints in contemporary cinema which emphasize role of built
environment in manifestation of meaning in artworks. Literature review of the paper show that this is an
interactive issue which our cities influence our understanding about our cities and in the other hand cinema
manipulate mankind’s relationship to his environment. Postmodern city is a title which mentions a wide range
of phenomena such as postindustrial cities and so on which enjoys a great respect in contemporary cinema.
Recent reflections regarding to city and other related fields emphasize the roll of postmodern cinema toward
formation of new gender of understanding between art and audience, cinema and society etc. Our cities and
societies, particularly in west, are now in various ways ‘post-industrial’: ‘post-Fordist’, ‘post-modern’, even
‘post-historical’. The economy is undergoing a transition from the production of goods to the provision of
services. In this context, media can play important roles not only as a tool to represent the urban condition, but
also as a service that can intense the post-industrial condition. Film is a young medium and just like any type of
media, it can represent or criticize all aspects of life and all aspects of humanity in a simple motioned image, in
a frame. The theoretical framework of the paper is based on literature review which emphasized on the latest
theories in related field that developed by German art historian, Erwin Panofsky. Panofsky’s iconography as
a highly influential modern academic tool for interpretation of contemporary artworks is adopted as base of
theoretical framework of the paper. This tool refers as three strata of subject matter or meaning: 1- Primary:
natural subject matter, 2- Iconography: conventional subject matter, 3- Iconology: intrinsic meaning or
content. Regarding to iconology step, cinema cannot be isolated and should be considered as an historical
incident and product of a historical environment which reflects all aspects of its circumstances especially
built environment. This paper is to discover the image of city in mainstream and independent cinema from
1980 to 2010. Iconological approach is chosen especially because of its depth and capability to analysis
icons and symbols. Urban iconic meanings have been interpreted from chosen movies, in both cinematic
types, through analysis the “film pictures”. The results of this research indicate that some common and some
specialized urban aspects of the two cinematic types can be distinguished, and all are summarized in two
tables. Mainstream cinema is more representing leisure, advertisement and entertainment city; whereas urban
images of contrast, identity crisis and multiculturality can be seen in independent cinema category. The results
of the paper show that there are meaningful relationship between two parts of this challenge namely city
and cinema especially in case of postmodern and postindustrial city and related phenomena in comparison
between independent and mainstream cinemashttps://dam.journal.art.ac.ir/article_62_5e2d80fe9e1eed61f17fe405e60b50a2.pdf2008-26493620130923Mikle Dfrenne: A Phenomenological approach to Wagner’s Tristan and
Isolde OperaMikle Dfrenne: A Phenomenological approach to Wagner’s Tristan and
Isolde Opera100916310.30480/dam.2013.63FAFatemehBenvidiPh.D. Philosophy of Art, Islamic Azad University, Research and Science Branch, Tehran, Iran.Journal Article20121126Abstract
Mikel Dufrenne of the most important figures in the art of classical phenomenology. His voluminous book on
the phenomenology of aesthetic experience has created a fundamental shift in aesthetics. The development
continued and formed a book about poetry. Phenomenology of aesthetic experience Dufrenne books on
modern philosophy, as well as events, notably the second joint of the French as “phenomenology”, and only
in terms of Merleau-Ponty’s phenomenology of perception takes precedence. Dufrenne course of Moritz
Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman
Ingardn and his emphasis on the role of art in shaping the actions of intentionality is sufficient; Sartre and
Merleau-Ponty’s work is well-read.
The aesthetic object is a controversial subject in the recent aesthetics field. In this article the Dufrenne point
of view would be described as the most famous philosopher in phenomenology of art briefly. The author is
going to consider Dufrenne things on art in summary. Then the author brings of the relationship and different
between work of art and aesthetic object at the end of article we will survey the Tristan and Isolde opera
why descriptive manner in a phenomenological approach. In the result we will find the phenomenological
analysis on aesthetic object. We would be possible through work of art analysis in order to understand, the
work of art must be performance. In Dufrenne view, the performance reveals the work or master property. The
performance is indepens feeling which performer shows in work even if the performance doesn’t add anything
to work. The performance is necessary because when the work of art is performed spectator is encountered
with it. In the stage the work of art is completed and aesthetic object will be reveal. The work completed by
performance and we can claim that the being and fact of work of art will be revealed and aimed. These facts
lead us to aesthetic object. Audience participation is trying to work for their release. Public aesthetic object
needs. We are aware of the fact that it has not offered entirely absent. The only artist to have his say because
he creates them. On the other hand the artist loves his work be judged by others and must pass this way. Artist
could not be left to the judgment of others. When it takes effect, the evidence of this expectation is the fact
that it is there for us? Simultaneously, the effect is understood by the audience. Unlike conventional aesthetic
object, the object can not be proven to be obvious.
The author wishes to reveal the work of art, not necessarily the “I” will be revealed. Performed in front of an
audience in which it occurs. So we really can say that the audience somehow is implementing. Attendance is
implementing the same task. That should work as a performer to surrender and be faithfulAbstract
Mikel Dufrenne of the most important figures in the art of classical phenomenology. His voluminous book on
the phenomenology of aesthetic experience has created a fundamental shift in aesthetics. The development
continued and formed a book about poetry. Phenomenology of aesthetic experience Dufrenne books on
modern philosophy, as well as events, notably the second joint of the French as “phenomenology”, and only
in terms of Merleau-Ponty’s phenomenology of perception takes precedence. Dufrenne course of Moritz
Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman
Ingardn and his emphasis on the role of art in shaping the actions of intentionality is sufficient; Sartre and
Merleau-Ponty’s work is well-read.
The aesthetic object is a controversial subject in the recent aesthetics field. In this article the Dufrenne point
of view would be described as the most famous philosopher in phenomenology of art briefly. The author is
going to consider Dufrenne things on art in summary. Then the author brings of the relationship and different
between work of art and aesthetic object at the end of article we will survey the Tristan and Isolde opera
why descriptive manner in a phenomenological approach. In the result we will find the phenomenological
analysis on aesthetic object. We would be possible through work of art analysis in order to understand, the
work of art must be performance. In Dufrenne view, the performance reveals the work or master property. The
performance is indepens feeling which performer shows in work even if the performance doesn’t add anything
to work. The performance is necessary because when the work of art is performed spectator is encountered
with it. In the stage the work of art is completed and aesthetic object will be reveal. The work completed by
performance and we can claim that the being and fact of work of art will be revealed and aimed. These facts
lead us to aesthetic object. Audience participation is trying to work for their release. Public aesthetic object
needs. We are aware of the fact that it has not offered entirely absent. The only artist to have his say because
he creates them. On the other hand the artist loves his work be judged by others and must pass this way. Artist
could not be left to the judgment of others. When it takes effect, the evidence of this expectation is the fact
that it is there for us? Simultaneously, the effect is understood by the audience. Unlike conventional aesthetic
object, the object can not be proven to be obvious.
The author wishes to reveal the work of art, not necessarily the “I” will be revealed. Performed in front of an
audience in which it occurs. So we really can say that the audience somehow is implementing. Attendance is
implementing the same task. That should work as a performer to surrender and be faithfulhttps://dam.journal.art.ac.ir/article_63_24293eb9713a106f7efff77afc675390.pdf2008-26493620130923The Semiotic of Popular Music and Its’ Medium AspectsThe Semiotic of Popular Music and Its’ Medium Aspects1151016410.30480/dam.2013.64FAFarzanSojoodiAssociate Prof., University of Art, TehranFarzadMirhamidiJournal Article20120610Abstract
This essay is a study about medium aspects of popular music in the culture- belief viewpoint which is out
came from Structural-Marxism approach to society and its’ various levels(politic, economic, legal regime and
so on), which is based on theories of Structural-Marxism critics like Antonio Gramsci and Louis Althusser.
Therefore with emphasize on communicative role of popular music, as a medium in modern societies, among
the factors and various levels of society in mass culture and consumer marketing(bazaar) necessities, through
a semiotic methodology, studies the popular music as a main discourse in culture- belief viewpoint.
Thus after some primary definitions from the view of culture-belief and description the main traits of popular
music in this point of view, with its’ highlighted medium function specially in modern society, and after
reviewing permanent concepts of sign and semiotic theories, through comparing Ferdinand de Saussure and
Charles Sanders Peirce’s thoughts and plans, while considering some examples and case studies of Iranian
popular music and movies in 60s to 80s of 20 century (beforeIslamic Revolution of Iran), this issue by
representing a simple plan of a dominant communicative pattern which is taken from “Introductory notes to
the Semiotics of Music” by “Philip Tagg” (1999), will study the semiotic of popular music, in three functions
of medium aspects (functional approaches)of; production, perception, and inner structures or different text
layers, that the inner structures (different text layers) will be more carefully and categorically discussed than
two others.
In medium aspect (functional approach) of production, after emphasize to discriminate each genre of
music from other genres, like popular music from classic music, has been implied some significant signs
such asselfevidences or moods or styles about production processing of popular music for example about;
composer, arrangement, sound engineering and like that. In second medium aspect, perception approach,
with attention to importance of audience role in discussed genre of music (popular music), it expresses some
reasons of deficiency of semiotic studies in this approach. And finally in last approach of medium aspects,
which is inner structures, has been implicit discussed about complicating socio- cultural factors to connotation
different layers of musical and lyric texts in this genre of music and has been explained some musical signs
such as major or minor scale,motifand melodic expression, rhythm, orchestration, and so on.
At the end,with attention to traits, in every of these three approaches of medium aspects; production,
perception and inner structures, and through concentrating on relationship between them and their principal
signs, this article will emphasize on necessities of popular music as a structural unit which is conformed from
differenttextual layers in cultural discourse and it’s consultative socio-cultural backgroundAbstract
This essay is a study about medium aspects of popular music in the culture- belief viewpoint which is out
came from Structural-Marxism approach to society and its’ various levels(politic, economic, legal regime and
so on), which is based on theories of Structural-Marxism critics like Antonio Gramsci and Louis Althusser.
Therefore with emphasize on communicative role of popular music, as a medium in modern societies, among
the factors and various levels of society in mass culture and consumer marketing(bazaar) necessities, through
a semiotic methodology, studies the popular music as a main discourse in culture- belief viewpoint.
Thus after some primary definitions from the view of culture-belief and description the main traits of popular
music in this point of view, with its’ highlighted medium function specially in modern society, and after
reviewing permanent concepts of sign and semiotic theories, through comparing Ferdinand de Saussure and
Charles Sanders Peirce’s thoughts and plans, while considering some examples and case studies of Iranian
popular music and movies in 60s to 80s of 20 century (beforeIslamic Revolution of Iran), this issue by
representing a simple plan of a dominant communicative pattern which is taken from “Introductory notes to
the Semiotics of Music” by “Philip Tagg” (1999), will study the semiotic of popular music, in three functions
of medium aspects (functional approaches)of; production, perception, and inner structures or different text
layers, that the inner structures (different text layers) will be more carefully and categorically discussed than
two others.
In medium aspect (functional approach) of production, after emphasize to discriminate each genre of
music from other genres, like popular music from classic music, has been implied some significant signs
such asselfevidences or moods or styles about production processing of popular music for example about;
composer, arrangement, sound engineering and like that. In second medium aspect, perception approach,
with attention to importance of audience role in discussed genre of music (popular music), it expresses some
reasons of deficiency of semiotic studies in this approach. And finally in last approach of medium aspects,
which is inner structures, has been implicit discussed about complicating socio- cultural factors to connotation
different layers of musical and lyric texts in this genre of music and has been explained some musical signs
such as major or minor scale,motifand melodic expression, rhythm, orchestration, and so on.
At the end,with attention to traits, in every of these three approaches of medium aspects; production,
perception and inner structures, and through concentrating on relationship between them and their principal
signs, this article will emphasize on necessities of popular music as a structural unit which is conformed from
differenttextual layers in cultural discourse and it’s consultative socio-cultural backgroundhttps://dam.journal.art.ac.ir/article_64_52fdfb4d3cd1de7d86287215069289f9.pdf