2008-2649153720240822Formal structural units in Dastgah shur of Ali Akbar Shahnazi’s Advanced Radif/ types of sentencesFormal structural units in Dastgah shur of Ali Akbar Shahnazi’s Advanced Radif/ types of sentences530131610.30480/dam.2024.5168.1862FANimaGhomashiMusic facultyJournal Article20240102It is very important to investigate and recognize the space-sound, time-weight and formal infrastructures in the Dastgah system of Iranian classical music. The topic discussed in this research is the investigation of formal infrastructures in the Dastgah Shur from Ali Akbar Shahnazi’s Advanced Radif, which is considered one of the important repertoires of this field. The form can be examined in three structural levels "macro", "middle" and "small", this research is especially done at the small level. "Tone", "figure", "motif", "phrase", and "sentence" are structural units that make up the smallest level in a piece or "Gushe", in which the composer or musician can present their musical ideas. Citing reliable sources, the author describes each of these units and redefines them in a phenomenological way based on the level of the Advanced Radif and gives examples of the mentioned repertoire for each. Among all the units, some have high frequency and appear many times in the structure of the Gushe, these units are considered to be the characteristics of this Dastgah and especially the special style of phrasing of Ali Akbar Shahnazi. This research is also aimed to introduce Ali Akbar Shahnazi and his career. "Independent phrases", "type two-phrase sentences", "type three-phrase sentences", "sentences with more than three phrases", "expanding sentences", "compound sentences", "modulating sentences and phrases" and "phrase groups" are formal units extracted in this field of research, among which "independent phrases" have the most frequency indicating Ali Akbar Shahnazi's special phrasing style. Pieces and formal units can be classified into three groups: "based on the motif", "intermediate" and "free form". 14 of the 22 pieces of the Dastgah Shur use motifs in their structure, and among the formal units, "motif sentences" have the highest frequency. Therefore, it can be concluded that the structure of the Dastgah Shur of Andvanded Radif passion and especially Ali Akbar Shahnazi's phrasing is "based on the motif". Another aspect of this research is to investigate the role of notes in the formation and degree of finality of formal units. In the modal regions of the Dastgah Shur, the "Shahed" note is considered strong and "stable" in terms of closing power, and other degrees are considered "unstable" and weak.It is very important to investigate and recognize the space-sound, time-weight and formal infrastructures in the Dastgah system of Iranian classical music. The topic discussed in this research is the investigation of formal infrastructures in the Dastgah Shur from Ali Akbar Shahnazi’s Advanced Radif, which is considered one of the important repertoires of this field. The form can be examined in three structural levels "macro", "middle" and "small", this research is especially done at the small level. "Tone", "figure", "motif", "phrase", and "sentence" are structural units that make up the smallest level in a piece or "Gushe", in which the composer or musician can present their musical ideas. Citing reliable sources, the author describes each of these units and redefines them in a phenomenological way based on the level of the Advanced Radif and gives examples of the mentioned repertoire for each. Among all the units, some have high frequency and appear many times in the structure of the Gushe, these units are considered to be the characteristics of this Dastgah and especially the special style of phrasing of Ali Akbar Shahnazi. This research is also aimed to introduce Ali Akbar Shahnazi and his career. "Independent phrases", "type two-phrase sentences", "type three-phrase sentences", "sentences with more than three phrases", "expanding sentences", "compound sentences", "modulating sentences and phrases" and "phrase groups" are formal units extracted in this field of research, among which "independent phrases" have the most frequency indicating Ali Akbar Shahnazi's special phrasing style. Pieces and formal units can be classified into three groups: "based on the motif", "intermediate" and "free form". 14 of the 22 pieces of the Dastgah Shur use motifs in their structure, and among the formal units, "motif sentences" have the highest frequency. Therefore, it can be concluded that the structure of the Dastgah Shur of Andvanded Radif passion and especially Ali Akbar Shahnazi's phrasing is "based on the motif". Another aspect of this research is to investigate the role of notes in the formation and degree of finality of formal units. In the modal regions of the Dastgah Shur, the "Shahed" note is considered strong and "stable" in terms of closing power, and other degrees are considered "unstable" and weak.https://dam.journal.art.ac.ir/article_1316_cb35de12c063a320264086db14ff900a.pdf2008-2649153720240822Application of game theory in cinematic narration with a look at Christopher Nolan's Inception and Tenet.Application of game theory in cinematic narration with a look at Christopher Nolan's Inception and Tenet.3145132810.30480/dam.2024.5185.1867FAAliRouhaniassistant professorMohammad BagherSoltani ZadehDepartment of Cinema, Faculty of Arts, Sooreh UniversityJournal Article20240122The function of game theory in film narration has rarely been noticed by film researchers. Even in sources in other languages, the use of generic games and other game theory concepts is less common. Since game theory tries to analyze situations in which the result of a strategy for one player depends on the decisions of other players, the concepts of this theory can be used to analyze the characters of a movie narrative. In a movie narrative, there are interactions and confrontations and conflicts between the characters of the story, which can be modeled in the form of a game. The purpose of this research is to model the confrontations of the story characters in a cinematic narrative. Since Christopher Nolan's movies contain complex confrontations between characters, two films of this director have been selected to examine the function of game theory in cinematic narration. In <em>Inception</em>, a game is formed between several characters of the film, and different games can be modeled in this film. On the other hand, the non-linear time structure in the confrontations between the characters in the film Tenet can help to analyze the film based on concepts such as reverse inference.
Since the beginning of cinema, theorists have expressed different definitions and functions for cinema. People like Rudolph Arnheim believed that cinema should avoid reality and achieve a special mindset and art. On the other hand, directors like <em>Sergei Eisenstein</em> tried to produce new meanings by assembling scenes. In contrast, these theorists were realists. French theoretician Andre Bazen believed that cinema should be a tangent line on the edge of reality. Formalist and realistic theories have been discussed and investigated at length throughout the history of cinema. With the passage of time, new concepts and theories were introduced that can be used in cinema theories. One of these theories is game theory. In one definition, the movie can be defined and modeled as a game. In this definition, expressing reality or passing it is not the main issue, but the film remains like a game that must be played. This game can be played on two levels. Outside games in which the audience is invited to interact more, and in fact, to fully understand the story, a game outside the world of the film is formed between the audience and the filmmaker. On the other hand, there are internal games that explore the world inside the movie through games. Based on this, two Christopher Nolan movies, <em>Inception</em> and <em>Tenet</em>, have been chosen to be analyzed through the lens of games. These two films show more advanced and numerous games due to the complex interactions between the characters as well as the non-linear time structures. After examining these two films, some ways can be formulated to apply game theory to analyze a cinematic narration.The function of game theory in film narration has rarely been noticed by film researchers. Even in sources in other languages, the use of generic games and other game theory concepts is less common. Since game theory tries to analyze situations in which the result of a strategy for one player depends on the decisions of other players, the concepts of this theory can be used to analyze the characters of a movie narrative. In a movie narrative, there are interactions and confrontations and conflicts between the characters of the story, which can be modeled in the form of a game. The purpose of this research is to model the confrontations of the story characters in a cinematic narrative. Since Christopher Nolan's movies contain complex confrontations between characters, two films of this director have been selected to examine the function of game theory in cinematic narration. In <em>Inception</em>, a game is formed between several characters of the film, and different games can be modeled in this film. On the other hand, the non-linear time structure in the confrontations between the characters in the film Tenet can help to analyze the film based on concepts such as reverse inference.
Since the beginning of cinema, theorists have expressed different definitions and functions for cinema. People like Rudolph Arnheim believed that cinema should avoid reality and achieve a special mindset and art. On the other hand, directors like <em>Sergei Eisenstein</em> tried to produce new meanings by assembling scenes. In contrast, these theorists were realists. French theoretician Andre Bazen believed that cinema should be a tangent line on the edge of reality. Formalist and realistic theories have been discussed and investigated at length throughout the history of cinema. With the passage of time, new concepts and theories were introduced that can be used in cinema theories. One of these theories is game theory. In one definition, the movie can be defined and modeled as a game. In this definition, expressing reality or passing it is not the main issue, but the film remains like a game that must be played. This game can be played on two levels. Outside games in which the audience is invited to interact more, and in fact, to fully understand the story, a game outside the world of the film is formed between the audience and the filmmaker. On the other hand, there are internal games that explore the world inside the movie through games. Based on this, two Christopher Nolan movies, <em>Inception</em> and <em>Tenet</em>, have been chosen to be analyzed through the lens of games. These two films show more advanced and numerous games due to the complex interactions between the characters as well as the non-linear time structures. After examining these two films, some ways can be formulated to apply game theory to analyze a cinematic narration.https://dam.journal.art.ac.ir/article_1328_39be3caedc6191fba8c47fc4256d65bc.pdf2008-2649153720240822Investigating the Use and Importance of “Structural Texture” in Animation (Case example of Toy Story Animation Quartet)Investigating the Use and Importance of “Structural Texture” in Animation (Case example of Toy Story Animation Quartet)4765132910.30480/dam.2024.5189.1870FABaharakShahrokhiSoore UniversityMajidFadaeiAssistant Professor in Visual & Fine Arts Faculty
Art University of Isfahan0000-0001-8907-6244Journal Article20240125The element of “texture”, especially the “structural texture”, is among the most important factors influencing the richness of an animation. This texture can be effective in the overall coherence of the work and the better and more effective transfer of the sense of its scenes to the audience. This issue has been given less attention in Iranian animation works. In this respect, lack of sufficient understanding of the role and function of “structural texture” in animation is among the main causes of this shortcoming in Iranian animation. This research aims to investigate and explain the role and function of “structural texture” in animation. In addition, it aims to answer the question “what structural texture is and how it affects animation?” For this purpose, this research has used descriptive-analytical and at the same time exploratory method to answer this question. The information needed for the research was collected from two documentary (library) and field methods. Interviews and other information obtained from thematic analysis were also used for this purpose. The obtained results show that “structural texture” results from coordination and interweaving of different components or elements including story (narrative), character, composition, image texture, direction, editing, and sound which are elements that have a relationship of companionship and they chain together, create events and facts in the animation, and can contain messages. These elements have a syntagmatic relation and a chain in combination with each other. Besides, elements or components including image texture, technique, color, light, background, concept, details, and cultural elements as components that have a substitute or selective relationship express signs, special codes and the mental world of the artist. These elements create the "structural texture" of the work in both horizontal and vertical axes and in combination and interweaving with each other. "Structural texture" creates the necessary coherence in the work, and organizes a work with a strong structure in terms of form and content with multiple and deep layers of meaning, which results in attracting more audience and more effective communication with the work, which should be considered by animation creators in Iran.The element of “texture”, especially the “structural texture”, is among the most important factors influencing the richness of an animation. This texture can be effective in the overall coherence of the work and the better and more effective transfer of the sense of its scenes to the audience. This issue has been given less attention in Iranian animation works. In this respect, lack of sufficient understanding of the role and function of “structural texture” in animation is among the main causes of this shortcoming in Iranian animation. This research aims to investigate and explain the role and function of “structural texture” in animation. In addition, it aims to answer the question “what structural texture is and how it affects animation?” For this purpose, this research has used descriptive-analytical and at the same time exploratory method to answer this question. The information needed for the research was collected from two documentary (library) and field methods. Interviews and other information obtained from thematic analysis were also used for this purpose. The obtained results show that “structural texture” results from coordination and interweaving of different components or elements including story (narrative), character, composition, image texture, direction, editing, and sound which are elements that have a relationship of companionship and they chain together, create events and facts in the animation, and can contain messages. These elements have a syntagmatic relation and a chain in combination with each other. Besides, elements or components including image texture, technique, color, light, background, concept, details, and cultural elements as components that have a substitute or selective relationship express signs, special codes and the mental world of the artist. These elements create the "structural texture" of the work in both horizontal and vertical axes and in combination and interweaving with each other. "Structural texture" creates the necessary coherence in the work, and organizes a work with a strong structure in terms of form and content with multiple and deep layers of meaning, which results in attracting more audience and more effective communication with the work, which should be considered by animation creators in Iran.https://dam.journal.art.ac.ir/article_1329_61b84e06bad69306c9b3f44de503c00b.pdf2008-2649153720240822Study of the concept of film-essay as a type of ethnographic documentaryStudy of the concept of film-essay as a type of ethnographic documentary6786133310.30480/dam.2024.5287.1891FASaraHamzehDepartment of cinema/Art university of TehranSeyed MohsenHashemiFaculty of Cinema and Theater Faculty of Tehran University of ArtJournal Article20240422Abstract
The term " Essay Film" is used in film criticism to describe a self-reflexive and self-referential documentary cinema that blurs the boundaries between fiction and non-fiction. Essay Film has a critical expression and is sufficient in its documentary genre. This type of documentary is also called self-reflective documentary. Among those who have opinions about such films André Bazen, Chris Marker, Jean-Lac Godard, Hans Richter, and even Alain René and Agnes Varda in experimental cinema can be mentioned. Scholars unanimously agree that the term was first used by Richter in 1940. Also, André Bazen, in 1958, was the first to analyze Chris Marker's Screenplay from Siberia (1958) in Essay Film form. Bazen's description of Marker's style in his critique deeply illuminates the way we think about Essay Film today, especially emphasizing the cinema of the word, a film that cannot be produced without an "intelligent" text. The voice of the narrator and the composition of the article and the freedom of the filmmaker and the essayist are also worthy of consideration from Andre Bazen's point of view.
The French New Wave popularized essay-short films, and the German New Cinema saw a resurgence in Essay Film due to the widespread interest in examining German history. Scholars differ on what exactly constitutes an Essay Film and how Essay Film should be classified. Researchers generally fall into two categories: those who find literary genealogy for the Essay Film and those who find the documentary genealogy for the Essay Film. The most common French and German essay filmmakers; Marker, René, Godard and Farooqui. These filmmakers are noted for their wide range of Essay Film projects, compared to filmmakers who have made Essay Film but specialize in other genres.
Ethnographic film is a genre of documentary film that uses visual media to present the results of ethnographic research or convey an ethnographic perspective on a culture or group of people. Essay Film can be considered a sub-genre of ethnographic film, as both forms use images and sounds to express a personal, subjective perspective on a topic or theme. However, not all Essay Films are ethnographies, and not all ethnographic films are Essay Film. Some Essay Films may use films or ethnographic methods, but may also incorporate other sources, styles, and techniques that are not strictly ethnographic. Some ethnographic films may be more objective, descriptive, or analytical than essay-style, and may follow more conventional documentary formats and conventions.Abstract
The term " Essay Film" is used in film criticism to describe a self-reflexive and self-referential documentary cinema that blurs the boundaries between fiction and non-fiction. Essay Film has a critical expression and is sufficient in its documentary genre. This type of documentary is also called self-reflective documentary. Among those who have opinions about such films André Bazen, Chris Marker, Jean-Lac Godard, Hans Richter, and even Alain René and Agnes Varda in experimental cinema can be mentioned. Scholars unanimously agree that the term was first used by Richter in 1940. Also, André Bazen, in 1958, was the first to analyze Chris Marker's Screenplay from Siberia (1958) in Essay Film form. Bazen's description of Marker's style in his critique deeply illuminates the way we think about Essay Film today, especially emphasizing the cinema of the word, a film that cannot be produced without an "intelligent" text. The voice of the narrator and the composition of the article and the freedom of the filmmaker and the essayist are also worthy of consideration from Andre Bazen's point of view.
The French New Wave popularized essay-short films, and the German New Cinema saw a resurgence in Essay Film due to the widespread interest in examining German history. Scholars differ on what exactly constitutes an Essay Film and how Essay Film should be classified. Researchers generally fall into two categories: those who find literary genealogy for the Essay Film and those who find the documentary genealogy for the Essay Film. The most common French and German essay filmmakers; Marker, René, Godard and Farooqui. These filmmakers are noted for their wide range of Essay Film projects, compared to filmmakers who have made Essay Film but specialize in other genres.
Ethnographic film is a genre of documentary film that uses visual media to present the results of ethnographic research or convey an ethnographic perspective on a culture or group of people. Essay Film can be considered a sub-genre of ethnographic film, as both forms use images and sounds to express a personal, subjective perspective on a topic or theme. However, not all Essay Films are ethnographies, and not all ethnographic films are Essay Film. Some Essay Films may use films or ethnographic methods, but may also incorporate other sources, styles, and techniques that are not strictly ethnographic. Some ethnographic films may be more objective, descriptive, or analytical than essay-style, and may follow more conventional documentary formats and conventions.https://dam.journal.art.ac.ir/article_1333_ca0e04b7e131c62bf4142f6bd5462912.pdf2008-2649153720240822Application of Noel Carroll's evaluative theory in fiction film criticism (Case study: Criticism of the movie Killers of the flower Moon)Application of Noel Carroll's evaluative theory in fiction film criticism (Case study: Criticism of the movie Killers of the flower Moon)87102133410.30480/dam.2024.5215.1874FAMohamad JavadFarahaniIsfahan university of art.Isfahan.IranMarziehPiravi VanakIsfahan university of rt.Isfahan.IranJournal Article20240216Evaluation is one of the most crucial pillars of art criticism. As Carroll asserts, the critique process is incomplete without evaluation and should not rely solely on description and interpretation. In his book "On Criticism," Carroll addresses the key issues that a critic must consider when evaluating artistic works. The critique process envisioned by Carroll establishes a dialectic between achievement value (objective aspects) and received value (subjective aspects), ultimately deriving the final criteria through this method. This research aims to identify the fundamental elements of Carroll's evaluative criticism theory and demonstrate their practical application in the realm of fiction film criticism. Consequently, after establishing a connection between these components and their cinematic counterparts, an opportunity for the systematic critique of fiction films is created. To this end, the essential elements of Carroll's theory applicable to fiction film criticism are employed, followed by the presentation of their theoretical instances in the context of film. Subsequently, to achieve a detailed and systematic application, the film <em>Killers of the</em> <em>Flower Moon</em> is critiqued as a case study. This research is conducted using a descriptive-analytical method, relying on library resources and Carroll's theory. The main components of Carroll's theory that can be inferred for fiction film criticism include: first, Success Value, which is evaluated concerning stylistic and textual techniques and the filmmaker's tendencies towards possible innovations. This issue, regarding <em>Killers of the Flower Moon</em>, pertains to the filmmaker's historical reference to the Western genre. The second topic concerns artistic techniques, which find relevance under the discussion of genre in cinema. Due to overlaps with the third topic—narrative and characterization—they are analyzed together. The results concerning <em>Killers of the</em> <em>Flower Moon</em> indicate that some weaknesses arising from characterization and dramatic effects, combined with neglect of certain genre-specific traits, lead to a negative evaluation of the film. The fourth topic is the evaluation of the work based on the filmmaker's intentionality, where the filmmaker also fails to achieve some of his objectives, such as depicting Native American independence and making certain scenes impactful. Overall, according to Carroll's theory, after examining the main evaluation points, the film's overall evaluation can be considered negative.Evaluation is one of the most crucial pillars of art criticism. As Carroll asserts, the critique process is incomplete without evaluation and should not rely solely on description and interpretation. In his book "On Criticism," Carroll addresses the key issues that a critic must consider when evaluating artistic works. The critique process envisioned by Carroll establishes a dialectic between achievement value (objective aspects) and received value (subjective aspects), ultimately deriving the final criteria through this method. This research aims to identify the fundamental elements of Carroll's evaluative criticism theory and demonstrate their practical application in the realm of fiction film criticism. Consequently, after establishing a connection between these components and their cinematic counterparts, an opportunity for the systematic critique of fiction films is created. To this end, the essential elements of Carroll's theory applicable to fiction film criticism are employed, followed by the presentation of their theoretical instances in the context of film. Subsequently, to achieve a detailed and systematic application, the film <em>Killers of the</em> <em>Flower Moon</em> is critiqued as a case study. This research is conducted using a descriptive-analytical method, relying on library resources and Carroll's theory. The main components of Carroll's theory that can be inferred for fiction film criticism include: first, Success Value, which is evaluated concerning stylistic and textual techniques and the filmmaker's tendencies towards possible innovations. This issue, regarding <em>Killers of the Flower Moon</em>, pertains to the filmmaker's historical reference to the Western genre. The second topic concerns artistic techniques, which find relevance under the discussion of genre in cinema. Due to overlaps with the third topic—narrative and characterization—they are analyzed together. The results concerning <em>Killers of the</em> <em>Flower Moon</em> indicate that some weaknesses arising from characterization and dramatic effects, combined with neglect of certain genre-specific traits, lead to a negative evaluation of the film. The fourth topic is the evaluation of the work based on the filmmaker's intentionality, where the filmmaker also fails to achieve some of his objectives, such as depicting Native American independence and making certain scenes impactful. Overall, according to Carroll's theory, after examining the main evaluation points, the film's overall evaluation can be considered negative.https://dam.journal.art.ac.ir/article_1334_46700b29d00199da406c01bade1b5ec2.pdf2008-2649153720240822Lacanian Musicology: A feasibility StudyLacanian Musicology: A feasibility Study103119133510.30480/dam.2024.5208.1873FAMasoudGhafariindependentJournal Article20240209Critical musicology, which is also referred to by other terms such as "new musicology" and "radical musicology", is a new field in musicology studies that has been popular since the 1980s. In terms of methodology, the unique feature of critical musicology is its distance from positivist approaches and its interdisciplinary feature. Critical musicology uses a variety of fields such as cultural studies, social studies, critical sociology, gender studies, feminism, psychoanalysis, and post-modernism discourse for the study of musicology. In terms of subject of research, Critical musicology considers both artistic and popular music and analyzes the historical evolution of them. In this article, first critical musicology is introduced. Then the features of Lacanian musicology are analyzed and limitations of its application are discussed. After that, four reasons for the justification of using Lacan's theory in musicology are presented. These reasons include "the interdisciplinary nature of musicology", "emotional and non-conceptual nature of music", "contribution of unconscious elements to the creation and reception of music" and "structural analysis of music". Additionally, this research aims to answer the question, "What possibilities does Lacan's theory of psychoanalysis provide for critical musicology?" In this way, first Lacan's concepts that have been most used in musicology are introduced, including "gaze", "object petit a", "three orders of imaginary, symbolic, real", "jouissance" and "fantasy". By investigating works written in the context of Lacanian musicology, the application of these concepts in Lacanian musicology is tested. Then the advantages and limitations of Lacanian musicology are discussed. In summary, the most important advantages of Lacanian musicology are "the possibility of analyzing the unconscious processes involved in the creation and reception of music", "the wide analytical scope of Lacan's theory", "opening new fields of social/cultural, literary and gender research for musicology", "the ability to explain the impact of "extra-musical elements on music" and "pathology of music". Nevertheless, the limitations of Lacan's musicology are also taken into consideration, the most important of which are "the non-argumentative feature of psychoanalysis", "the openness of Lacan's theories to different interpretations", "the impossibility of providing a unique aesthetic theory" and "the inability to provide a criterion for evaluating and measuring musical works".. At the end, the topic of ethics in music with the approach of Lacanian ethics in "psychoanalytic ethics" is suggested as a plan for future researches.Critical musicology, which is also referred to by other terms such as "new musicology" and "radical musicology", is a new field in musicology studies that has been popular since the 1980s. In terms of methodology, the unique feature of critical musicology is its distance from positivist approaches and its interdisciplinary feature. Critical musicology uses a variety of fields such as cultural studies, social studies, critical sociology, gender studies, feminism, psychoanalysis, and post-modernism discourse for the study of musicology. In terms of subject of research, Critical musicology considers both artistic and popular music and analyzes the historical evolution of them. In this article, first critical musicology is introduced. Then the features of Lacanian musicology are analyzed and limitations of its application are discussed. After that, four reasons for the justification of using Lacan's theory in musicology are presented. These reasons include "the interdisciplinary nature of musicology", "emotional and non-conceptual nature of music", "contribution of unconscious elements to the creation and reception of music" and "structural analysis of music". Additionally, this research aims to answer the question, "What possibilities does Lacan's theory of psychoanalysis provide for critical musicology?" In this way, first Lacan's concepts that have been most used in musicology are introduced, including "gaze", "object petit a", "three orders of imaginary, symbolic, real", "jouissance" and "fantasy". By investigating works written in the context of Lacanian musicology, the application of these concepts in Lacanian musicology is tested. Then the advantages and limitations of Lacanian musicology are discussed. In summary, the most important advantages of Lacanian musicology are "the possibility of analyzing the unconscious processes involved in the creation and reception of music", "the wide analytical scope of Lacan's theory", "opening new fields of social/cultural, literary and gender research for musicology", "the ability to explain the impact of "extra-musical elements on music" and "pathology of music". Nevertheless, the limitations of Lacan's musicology are also taken into consideration, the most important of which are "the non-argumentative feature of psychoanalysis", "the openness of Lacan's theories to different interpretations", "the impossibility of providing a unique aesthetic theory" and "the inability to provide a criterion for evaluating and measuring musical works".. At the end, the topic of ethics in music with the approach of Lacanian ethics in "psychoanalytic ethics" is suggested as a plan for future researches.https://dam.journal.art.ac.ir/article_1335_53e47046cd32f38c8caf16794808ed5e.pdf2008-2649153720240822Ta`wil as Dramaturgy and Performing Mechanism in Suhrawardi`s Aql-i-Sorkh (the Red Intellect) in the light of H. Corbin`s Hermetical InterpretationTa`wil as Dramaturgy and Performing Mechanism in Suhrawardi`s Aql-i-Sorkh (the Red Intellect) in the light of H. Corbin`s Hermetical Interpretation121136133810.30480/dam.2024.5272.1887FAFarhadAminiDepartment of Theater,Insha-allahRahmatiProfessor, Department of Islamic Philosophy, Faculty of Humanities, Center Tehran Branch, Azad University, Tehran, Iran.FatemeShahroodiDepartment of Art Research, Arts Faculty, Central Tehran Branch, Islamic Azad University, Tehran, IranJournal Article20240413This research aims to show a special dramaturgical method in Aql-i-Sorkh as one of Suhrewardi`s Recitals and finally introduce this text and other recitals written by Suhrawardi as a performing text. Henry Corbin repeatedly pointed out the dramaturgical aspect in Suhrawardi's recitals, and the present study will try to explain Ta`wil as the main element of this dramaturgical mechanism. Ta`wil allows Suhrawardi to combine his literary, philosophical and religious heritage, lexical or oral, and contemporize them in a mystical Drama. This research shows how we can re-identify these recitals as a performance text by re-narrating them in Ta`wil as a special method. The present research by establishing a relationship between a type of performance which is the lineal descendant of the sacred or esoteric theater, such as what can be seen in the works of Artaud and Grotowski and the dramaturgical method of Suhrawardi reveals that Aql-i-Sorkh and other plays of Sheikh Eshraq can be considered as reports of a ritual/Gnostic performance and new performances can be achieved by reinterpreting and contemporizing them. This concept of contemporization, while maintaining Gnostic links, will communicate with the simultaneous concepts of each author and, accordingly, the audience of the performance, and in this way, interpretation as the main element of Suhrawardi's dramaturgical mechanism provides the ability to produce an endless chain of text/performance, which will be applicable at any time with the contemporary form and structure of that time.This research aims to show a special dramaturgical method in Aql-i-Sorkh as one of Suhrewardi`s Recitals and finally introduce this text and other recitals written by Suhrawardi as a performing text. Henry Corbin repeatedly pointed out the dramaturgical aspect in Suhrawardi's recitals, and the present study will try to explain Ta`wil as the main element of this dramaturgical mechanism. Ta`wil allows Suhrawardi to combine his literary, philosophical and religious heritage, lexical or oral, and contemporize them in a mystical Drama. This research shows how we can re-identify these recitals as a performance text by re-narrating them in Ta`wil as a special method. The present research by establishing a relationship between a type of performance which is the lineal descendant of the sacred or esoteric theater, such as what can be seen in the works of Artaud and Grotowski and the dramaturgical method of Suhrawardi reveals that Aql-i-Sorkh and other plays of Sheikh Eshraq can be considered as reports of a ritual/Gnostic performance and new performances can be achieved by reinterpreting and contemporizing them. This concept of contemporization, while maintaining Gnostic links, will communicate with the simultaneous concepts of each author and, accordingly, the audience of the performance, and in this way, interpretation as the main element of Suhrawardi's dramaturgical mechanism provides the ability to produce an endless chain of text/performance, which will be applicable at any time with the contemporary form and structure of that time.https://dam.journal.art.ac.ir/article_1338_66fcc66fd98c64673077504ee6539c21.pdf