2008-2649 16 42 2025 08 23 Comparative study of translated resources of tonal harmony teaching in Iran Case study: The harmony books of Dubovsky et al., Walter Piston and Richard Stohr Comparative study of translated resources of tonal harmony teaching in Iran Case study: The harmony books of Dubovsky et al., Walter Piston and Richard Stohr 5 24 1426 10.30480/dam.2025.5580.1941 FA Saghar Nasirian Iran university of Art, music department, Tehran, Iran Hamid Askari Rabori Department of World Music Playing, Faculty of Music, University of Art, Tehran, Iran. 0009-0005-6666-9828 Journal Article 2024 11 20 In this research, three Harmony books have been examined, the books by Iosif Ignatovich Dubovski et al., Walter Piston and Richard Stohr, selected from Russian, American and German educational schools. These works have been translated into Farsi and are known as widely used sources of tonal harmony education in Iran. The main question of the research is to find the unique features of each of the sources of harmony, as well as the similarities and differences of the mentioned sources in the way of presenting the topics. In this research, a comparison of the way of organizing the content based on the general and common topics of harmony in all three sources has been done. Based on the number of examples and the diversity of composers, examples of sources are shown with a comparative chart. The type and approach of the exercises in each of the books have also been compared. The findings of the research show that the sources have been compiled according to the specific approach of the authors and their school of music, and have special features in presenting the rules of harmony, at the same time, they have similarities in the way of presenting harmony topics. The distinctive feature of Dubovski is its structure, because chords are introduced based on their role in classical harmony. In addition, it pays special attention to the harmonic and melodic connection, as well as dealing with the harmony of sentences and periods in each chapter. Soprano melody harmonization exercises are considered from the beginning of the book. Piston has introduced all the degrees from the beginning and pays less attention to the function of the chords. This book places less importance on the design and engineering of harmony by the student. Piston has used more examples than other sources. In Stohr’s book, the way of introducing chords is similar to Piston, but he has interpreted some topics like Dubovski, such as the diminished seventh. In Stohr’s book, there is no index subject except the general topics of common harmony in all three sources. In this research, three Harmony books have been examined, the books by Iosif Ignatovich Dubovski et al., Walter Piston and Richard Stohr, selected from Russian, American and German educational schools. These works have been translated into Farsi and are known as widely used sources of tonal harmony education in Iran. The main question of the research is to find the unique features of each of the sources of harmony, as well as the similarities and differences of the mentioned sources in the way of presenting the topics. In this research, a comparison of the way of organizing the content based on the general and common topics of harmony in all three sources has been done. Based on the number of examples and the diversity of composers, examples of sources are shown with a comparative chart. The type and approach of the exercises in each of the books have also been compared. The findings of the research show that the sources have been compiled according to the specific approach of the authors and their school of music, and have special features in presenting the rules of harmony, at the same time, they have similarities in the way of presenting harmony topics. The distinctive feature of Dubovski is its structure, because chords are introduced based on their role in classical harmony. In addition, it pays special attention to the harmonic and melodic connection, as well as dealing with the harmony of sentences and periods in each chapter. Soprano melody harmonization exercises are considered from the beginning of the book. Piston has introduced all the degrees from the beginning and pays less attention to the function of the chords. This book places less importance on the design and engineering of harmony by the student. Piston has used more examples than other sources. In Stohr’s book, the way of introducing chords is similar to Piston, but he has interpreted some topics like Dubovski, such as the diminished seventh. In Stohr’s book, there is no index subject except the general topics of common harmony in all three sources.

https://dam.journal.art.ac.ir/article_1426_fa12769264dd20c63e112c8533312d03.pdf

2008-2649 16 42 2025 08 23 Musical Fetishism in the Age of Social Media: Emerging Forms of Fetishism in Multimedia Musical Works and Their Reproduction Among Iranian Users Musical Fetishism in the Age of Social Media: Emerging Forms of Fetishism in Multimedia Musical Works and Their Reproduction Among Iranian Users 27 44 1430 10.30480/dam.2025.5719.1965 FA Mehdi Mokhtari Iran University of Art Sayid Hossein Meysami Iran University of Art 0000-0002-9831-0108 Journal Article 2025 02 15 Over the past two decades, the rise of social media within the digital landscape has fundamentally transformed the modes of music production and consumption. These platforms have not only influenced musical processes but have also played a significant role in redefining and reshaping concepts such as musical fetishism. This study investigates the impact of social media on the evolving manifestations of fetishism in music and its reproduction through non-musical categories, drawing upon the theoretical framework of Theodor W. Adorno. The central research question explores how social media contribute to the formation of musical fetishism and examines the user’s position within this process. To address this question, the study employs a descriptive-analytical approach based on library research, alongside a netnographic (online ethnographic) method to analyze user interactions on the Instagram platform. In this context, the virtual activities of a prominent figure in Iran’s mainstream popular music scene are examined to identify concrete patterns in the reproduction of fetishistic relations within this digital environment. The findings suggest that social media platforms—through their algorithmic mechanisms and multimodal affordances (such as video, image, audio, and text)—intensify the atomization of music. As a result, musical fetishism extends beyond the artistic work itself, permeating non-musical and social dimensions. Consequently, music is not only consumed as a cultural commodity but is also redefined and reproduced in relation to users’ identity-related, social, and personal affiliations. Over the past two decades, the rise of social media within the digital landscape has fundamentally transformed the modes of music production and consumption. These platforms have not only influenced musical processes but have also played a significant role in redefining and reshaping concepts such as musical fetishism. This study investigates the impact of social media on the evolving manifestations of fetishism in music and its reproduction through non-musical categories, drawing upon the theoretical framework of Theodor W. Adorno. The central research question explores how social media contribute to the formation of musical fetishism and examines the user’s position within this process. To address this question, the study employs a descriptive-analytical approach based on library research, alongside a netnographic (online ethnographic) method to analyze user interactions on the Instagram platform. In this context, the virtual activities of a prominent figure in Iran’s mainstream popular music scene are examined to identify concrete patterns in the reproduction of fetishistic relations within this digital environment. The findings suggest that social media platforms—through their algorithmic mechanisms and multimodal affordances (such as video, image, audio, and text)—intensify the atomization of music. As a result, musical fetishism extends beyond the artistic work itself, permeating non-musical and social dimensions. Consequently, music is not only consumed as a cultural commodity but is also redefined and reproduced in relation to users’ identity-related, social, and personal affiliations.

https://dam.journal.art.ac.ir/article_1430_7f6d33f1aec591ce4bd63932332ab93c.pdf

2008-2649 16 42 2025 08 23 Video Game Studies, Interactive Narratives, Loss, Existential Anxiety, What Remains of Edith Finch. Video Game Studies, Interactive Narratives, Loss, Existential Anxiety, What Remains of Edith Finch. 47 65 1431 10.30480/dam.2025.5850.1994 FA Ali Razizadeh Assistant Professor in Department of Media Arts, Religion and Media Faculty, IRIB University, Qom, Iran Journal Article 2025 05 09 With the expansion of digital media and the emergence of interactive narratives, video games have become a new platform for representing fundamental human experiences. Among them, narrative-based games not only serve as entertainment tools but also provide the opportunity to confront concepts such as loss, death, anxiety, and existential displacement. This study aims to analyze the concepts of loss and existential anxiety in the user's experience of interactive narrative through a case study of the video game What Remains of Edith Finch, a work that creates an existential experience through its episodic narrative structure, cinematic graphics, complex architecture, and guided user interaction. The central research question is how this game, through its narrative and interactive design, represents the concepts of loss and existential anxiety and transforms them into a lived experience. Using a qualitative approach and interpretive-analytical method, the structural and content elements of the game have been examined based on the frameworks of existential philosophy and digital narrative theory. Data were collected through repeated gameplay observation, narrative analysis, visual content analysis, and examination of interactive elements. Selected episodes were analyzed and interpreted based on their significance in representing loss and anxiety. Findings indicate that the game's episodic structure, gradual spatial obstruction, purposeful silences, fragmented narratives, and limited agency together create a process of meaning collapse and confrontation with nothingness. Despite limited interaction, user participation plays a crucial role in engaging cognitively and emotionally with the state of loss. The user, unable to change or escape the narrative, finds themselves immersed in trauma, fragmentation, and narrative silence. The conclusion emphasizes that such games, through the integration of sound, imagery, space, and narrative, constitute a new medium for representing and embodying existential experiences. These games do not merely narrate death and loss but construct a structure in which the user's lived experience acquires an existential quality. The gradual, inescapable confrontation with death, the emergence of anxiety within silence, fragmentation, and spatial rootlessness, all demonstrate that the narrative in this game transcends mere representation and transforms into an inner, emotional experience. From this perspective, such games can be regarded not only as interactive structures but as multimedia texts with the capacity for philosophical reflection, cultural analysis, and psychoanalytic exploration, texts whose language emerges from experience, participation, and loss; a language that offers neither salvation nor a definite end, but only the possibility of movement through anxiety, loss, and silence. With the expansion of digital media and the emergence of interactive narratives, video games have become a new platform for representing fundamental human experiences. Among them, narrative-based games not only serve as entertainment tools but also provide the opportunity to confront concepts such as loss, death, anxiety, and existential displacement. This study aims to analyze the concepts of loss and existential anxiety in the user's experience of interactive narrative through a case study of the video game What Remains of Edith Finch, a work that creates an existential experience through its episodic narrative structure, cinematic graphics, complex architecture, and guided user interaction. The central research question is how this game, through its narrative and interactive design, represents the concepts of loss and existential anxiety and transforms them into a lived experience. Using a qualitative approach and interpretive-analytical method, the structural and content elements of the game have been examined based on the frameworks of existential philosophy and digital narrative theory. Data were collected through repeated gameplay observation, narrative analysis, visual content analysis, and examination of interactive elements. Selected episodes were analyzed and interpreted based on their significance in representing loss and anxiety. Findings indicate that the game's episodic structure, gradual spatial obstruction, purposeful silences, fragmented narratives, and limited agency together create a process of meaning collapse and confrontation with nothingness. Despite limited interaction, user participation plays a crucial role in engaging cognitively and emotionally with the state of loss. The user, unable to change or escape the narrative, finds themselves immersed in trauma, fragmentation, and narrative silence. The conclusion emphasizes that such games, through the integration of sound, imagery, space, and narrative, constitute a new medium for representing and embodying existential experiences. These games do not merely narrate death and loss but construct a structure in which the user's lived experience acquires an existential quality. The gradual, inescapable confrontation with death, the emergence of anxiety within silence, fragmentation, and spatial rootlessness, all demonstrate that the narrative in this game transcends mere representation and transforms into an inner, emotional experience. From this perspective, such games can be regarded not only as interactive structures but as multimedia texts with the capacity for philosophical reflection, cultural analysis, and psychoanalytic exploration, texts whose language emerges from experience, participation, and loss; a language that offers neither salvation nor a definite end, but only the possibility of movement through anxiety, loss, and silence.

https://dam.journal.art.ac.ir/article_1431_fca43b53836d0c2944233e1ccf3d5855.pdf

2008-2649 16 42 2025 08 23 The Effects of the Environment on the Musical Culture of the Arab Hor in Khuzestan Province The Effects of the Environment on the Musical Culture of the Arab Hor in Khuzestan Province 67 77 1432 10.30480/dam.2025.5817.1985 FA Mahmood Mashhodi department ethnomusicology.university art karaj.tehran Pooyan Azadeh Iran University of Art, Martin-Luther-Universität Halle-Wittenberg, Tehran University of Art Journal Article 2025 05 22 In the Iran, the Arab ethnic population is primarily concentrated in the southwestern region, particularly in the central, western, and southern parts of Khuzestan Province. Among the various Arab communities inhabiting this region, the Marsh Arabs—locally known as the Ma'dan—live in the wetland areas of western Khuzestan, especially in and around the Hoor al-Azim and Shadegan marshes (hor). This community maintains a rich, deeply rooted, and highly localized musical culture that distinguishes it from other Arab groups within the same province. For the Marsh Arabs, music is not merely a form of artistic expression but a central and inseparable component of their ecological, cultural, and social life. This research primarily aims to explore the environmental and cultural factors that have significantly influenced the formation, evolution, and continued vitality of the Marsh Arabs’ musical identity. The study adopts Jonathan Stock’s ethnomusicological model as a theoretical framework, allowing for a comprehensive and contextual understanding of music. Stock’s approach emphasizes the interconnectedness of music with ecological landscapes, bodily practices, belief systems, and political realities. This holistic model is particularly well-suited for studying how music functions within the broader web of relationships that shape human experience in the marshlands. The research methodology is qualitative, both descriptive and analytical, and is based on extended ethnographic fieldwork conducted within the Hoor al-Azim and Shadegan wetland areas. A combination of ethnographic methods was utilized, including semi-structured interviews with local musicians, elders, and tradition bearers; participant observation during public gatherings, religious rituals, and everyday social activities; and the systematic collection and analysis of audio-visual recordings. These methods helped capture the lived experiences of the community and offered insight into the role of music within their social and spiritual worlds. The findings of the research indicate that the wetland environment—with its dense reed beds, changing water levels, and humid subtropical climate—has played a crucial role in shaping the musical practices of the Marsh Arabs. Instruments such as the Motbag (a reed-based wind instrument) and the Tabl (a hand-played drum) are crafted using locally available natural materials, illustrating a deep relationship between environmental resources and musical creation. The rhythms and melodies often echo the sonic patterns of the marshes, with musical structures inspired by the natural sounds and rhythms of the ecosystem. Ritual dances such as Choubiyeh and Ahchemi serve not only as entertainment but also as powerful vehicles of communal expression, reinforcing social bonds and cultural memory. Vocal traditions like Yeshli, performed during herding or agricultural work, reflect music’s integration into both the economic and emotional aspects of daily life. A profound feature of this culture is the symbolic and emotional connection between the Marsh Arabs and their water buffaloes. These animals are essential to their livelihoods and are frequently represented in songs, rhythms, and lyrical themes related to survival, mourning, and celebration.In conclusion, the musical culture of the Marsh Arabs represents a compelling example of how music reflects environment, shapes identity, and sustains collective memory and emotional resilience. In the Iran, the Arab ethnic population is primarily concentrated in the southwestern region, particularly in the central, western, and southern parts of Khuzestan Province. Among the various Arab communities inhabiting this region, the Marsh Arabs—locally known as the Ma'dan—live in the wetland areas of western Khuzestan, especially in and around the Hoor al-Azim and Shadegan marshes (hor). This community maintains a rich, deeply rooted, and highly localized musical culture that distinguishes it from other Arab groups within the same province. For the Marsh Arabs, music is not merely a form of artistic expression but a central and inseparable component of their ecological, cultural, and social life. This research primarily aims to explore the environmental and cultural factors that have significantly influenced the formation, evolution, and continued vitality of the Marsh Arabs’ musical identity. The study adopts Jonathan Stock’s ethnomusicological model as a theoretical framework, allowing for a comprehensive and contextual understanding of music. Stock’s approach emphasizes the interconnectedness of music with ecological landscapes, bodily practices, belief systems, and political realities. This holistic model is particularly well-suited for studying how music functions within the broader web of relationships that shape human experience in the marshlands. The research methodology is qualitative, both descriptive and analytical, and is based on extended ethnographic fieldwork conducted within the Hoor al-Azim and Shadegan wetland areas. A combination of ethnographic methods was utilized, including semi-structured interviews with local musicians, elders, and tradition bearers; participant observation during public gatherings, religious rituals, and everyday social activities; and the systematic collection and analysis of audio-visual recordings. These methods helped capture the lived experiences of the community and offered insight into the role of music within their social and spiritual worlds. The findings of the research indicate that the wetland environment—with its dense reed beds, changing water levels, and humid subtropical climate—has played a crucial role in shaping the musical practices of the Marsh Arabs. Instruments such as the Motbag (a reed-based wind instrument) and the Tabl (a hand-played drum) are crafted using locally available natural materials, illustrating a deep relationship between environmental resources and musical creation. The rhythms and melodies often echo the sonic patterns of the marshes, with musical structures inspired by the natural sounds and rhythms of the ecosystem. Ritual dances such as Choubiyeh and Ahchemi serve not only as entertainment but also as powerful vehicles of communal expression, reinforcing social bonds and cultural memory. Vocal traditions like Yeshli, performed during herding or agricultural work, reflect music’s integration into both the economic and emotional aspects of daily life. A profound feature of this culture is the symbolic and emotional connection between the Marsh Arabs and their water buffaloes. These animals are essential to their livelihoods and are frequently represented in songs, rhythms, and lyrical themes related to survival, mourning, and celebration.In conclusion, the musical culture of the Marsh Arabs represents a compelling example of how music reflects environment, shapes identity, and sustains collective memory and emotional resilience.

https://dam.journal.art.ac.ir/article_1432_a6e574e20406eeeae1fa8da665a8dea0.pdf

2008-2649 16 42 2025 08 23 Identifying the Anti-war cinema in the Holy Defense films by the Lens comparison method Identifying the Anti-war cinema in the Holy Defense films by the Lens comparison method 79 94 1435 10.30480/dam.2025.5842.1992 FA Masoume Elahi Art Research Department, Faculty of Art, Shahed University, Tehran, Iran Mohsen Marasy Art Research Department, Faculty of Art, Shahed University, Tehran, Iran Journal Article 2025 05 04 The cinema of Holy Defense has been accompanied by ups and downs during more than four decades of its emergence, and sometimes it has left a representation contrary to the truth of Holy Defense. Holy Defense movies are a reflection of the culture of Holy Defense. But for various reasons, filmmakers produce works in which anti-war components are prominent. The aims of this research are identifying the anti-war components of one of the most famous works of of anti-war cinema in the world with some works of the Holy Defense cinema. This research seeks to answer the question: what are the components of the anti-war cinema of the world and its examples in selected Holy Defense movies? This research is based on lens comparison method and first the anti-war components of the movie All Quiet on the Western Front were identified, and in the next step, these components were identified and analyzed in the movies The Bear, The Queen, and The Last 50 Steps. The findings of the research led to the introduction of 13 anti-war components of the film All Quiet on the Western Front, which include: ignorance of war conditions, false healing, exaggeration of mental and psychological injuries, exaggerated depiction of the wounded and dead in war, emphasis on the victims of war refugees, the narrow border between friend and enemy, feeling guilty about killing the enemy, unfavorable living conditions, emphasis on famine and lack of food and struggle for survival, doubt in religious and ideological beliefs, hesitation in war and regret of participating in it, decline of previous values and decline of affection and collapse of family. Among them, seven components including ignorance of the conditions of war, false healing, narrow border between friend and enemy, feeling guilty about killing the enemy, unfavorable living conditions, emphasis on famine and lack of food and struggle for survival and the decline of previous values in the film The Last 50 Steps, three components of exaggeration of mental and psychological injuries, narrow border between friend and enemy and feeling guilty about killing the enemy in the film The Queen and two components of hesitation in war and regret of participating in it and the collapse of the family in the film The Bear were identified. The cinema of Holy Defense has been accompanied by ups and downs during more than four decades of its emergence, and sometimes it has left a representation contrary to the truth of Holy Defense. Holy Defense movies are a reflection of the culture of Holy Defense. But for various reasons, filmmakers produce works in which anti-war components are prominent. The aims of this research are identifying the anti-war components of one of the most famous works of of anti-war cinema in the world with some works of the Holy Defense cinema. This research seeks to answer the question: what are the components of the anti-war cinema of the world and its examples in selected Holy Defense movies? This research is based on lens comparison method and first the anti-war components of the movie All Quiet on the Western Front were identified, and in the next step, these components were identified and analyzed in the movies The Bear, The Queen, and The Last 50 Steps. The findings of the research led to the introduction of 13 anti-war components of the film All Quiet on the Western Front, which include: ignorance of war conditions, false healing, exaggeration of mental and psychological injuries, exaggerated depiction of the wounded and dead in war, emphasis on the victims of war refugees, the narrow border between friend and enemy, feeling guilty about killing the enemy, unfavorable living conditions, emphasis on famine and lack of food and struggle for survival, doubt in religious and ideological beliefs, hesitation in war and regret of participating in it, decline of previous values and decline of affection and collapse of family. Among them, seven components including ignorance of the conditions of war, false healing, narrow border between friend and enemy, feeling guilty about killing the enemy, unfavorable living conditions, emphasis on famine and lack of food and struggle for survival and the decline of previous values in the film The Last 50 Steps, three components of exaggeration of mental and psychological injuries, narrow border between friend and enemy and feeling guilty about killing the enemy in the film The Queen and two components of hesitation in war and regret of participating in it and the collapse of the family in the film The Bear were identified.

https://dam.journal.art.ac.ir/article_1435_a647bb938c036185ddde2347a3942cef.pdf

2008-2649 16 42 2025 08 23 The evolutionary signature is similar to the character in the ties of the FathAli Shah to Nasseri an approach to Zeinab The evolutionary signature is similar to the character in the ties of the FathAli Shah to Nasseri an approach to Zeinab 97 112 1439 10.30480/dam.2025.5700.1962 FA Somayeh Salimi Student Dramatic Literature Department of Art. Science and Research Branch. Islamic Azad University. Tehran. Iran Journal Article 2025 01 28 The main purpose of this paper is to investigate the effective factors from the storm of the state of the situation in the period of Fath Ali Shah Qajar due to structural transformation in speech and poetry and due to the transformation process similar to that of the period due to the demand factors such as the opposition force and the spread of the validity which is a way of evolving similar to the individuation and identities .Simple narratives and similar identities similarities have been determined by non-specificity. Increasing the presence of women in the context of the Federali Shahs Rehabilitation Treaties is the beginning of the womans change and how to from this process from public speeches . Speaking talks with identity similar to it and is generally common for all people like the opposite clashes against the opposite group and in this article Zainab and Fatemeh Zahra have been selected as sample due to the fact that the change in the relevant manuscripts occurs for all the people like this. The statistical proportions of female speeches in the field of therapy indicate an increase in a similar role in women in the same letters that opens the way to the same way like the Zinab in the Nasser period which is discussed in another research. Tapes left from the Fath Ali Shahs vote of trust in the claim. The khodzco collection includes thirty-four phases of the tape that is commonly at the time. The main question of this article pays attention to the words of women Shabehs to contribute to the contract. Also the main hypothesis also refers to the effect of increasing the presence and speech of women Shabehs the womans surface in the title paper are analyzed on quality analysis and using the Fath Ali Shahs Qajar period .einbs transformation platform based on the character dynamics of the character from my bodies is derived from the book of theory and the deama analysis of Manford Fester. The corresponding theory evaluates the transformation and dynamics of personality in the movement of the stage to another. The texts left from that period of reliable resources to examing how the evolution and evolutionary seemingly Zainab. This article is similar Zainab as a sample and has no connection with the a true character of Zaynab. The main purpose of this paper is to investigate the effective factors from the storm of the state of the situation in the period of Fath Ali Shah Qajar due to structural transformation in speech and poetry and due to the transformation process similar to that of the period due to the demand factors such as the opposition force and the spread of the validity which is a way of evolving similar to the individuation and identities .Simple narratives and similar identities similarities have been determined by non-specificity. Increasing the presence of women in the context of the Federali Shahs Rehabilitation Treaties is the beginning of the womans change and how to from this process from public speeches . Speaking talks with identity similar to it and is generally common for all people like the opposite clashes against the opposite group and in this article Zainab and Fatemeh Zahra have been selected as sample due to the fact that the change in the relevant manuscripts occurs for all the people like this. The statistical proportions of female speeches in the field of therapy indicate an increase in a similar role in women in the same letters that opens the way to the same way like the Zinab in the Nasser period which is discussed in another research. Tapes left from the Fath Ali Shahs vote of trust in the claim. The khodzco collection includes thirty-four phases of the tape that is commonly at the time. The main question of this article pays attention to the words of women Shabehs to contribute to the contract. Also the main hypothesis also refers to the effect of increasing the presence and speech of women Shabehs the womans surface in the title paper are analyzed on quality analysis and using the Fath Ali Shahs Qajar period .einbs transformation platform based on the character dynamics of the character from my bodies is derived from the book of theory and the deama analysis of Manford Fester. The corresponding theory evaluates the transformation and dynamics of personality in the movement of the stage to another. The texts left from that period of reliable resources to examing how the evolution and evolutionary seemingly Zainab. This article is similar Zainab as a sample and has no connection with the a true character of Zaynab.

https://dam.journal.art.ac.ir/article_1439_a6f1ba6c4170295cefcd44299bd64565.pdf

2008-2649 16 42 2025 08 23 Geopathology and Its Dramatic Functions in The Hairy Ape and The Stray Dog Based on Una Chaudhuri's Theory Geopathology and Its Dramatic Functions in The Hairy Ape and The Stray Dog Based on Una Chaudhuri's Theory 115 127 1440 10.30480/dam.2025.5743.1967 FA Esmaeil Najar Department of Drama,,College of Arts,, Tarbiat Modares University, Tehran, Iran. Ali Zare Department of Drama,, College of Arts, Tarbiat Modares University, Tehran, Iran Journal Article 2025 03 04 This study undertakes a comparative analysis of the dramatic and pathological functions of space in Eugene O'Neill's play The Hairy Ape and Sadegh Hedayat's short story The Stray Dog, utilizing Una Chaudhuri's theoretical framework, particularly the concept of “geopathology”. It posits that both works, as notable examples of modern literature, leverage the potential of place not merely as a backdrop, but as an active, identifying, and at times traumatizing element that propels the narrative and illustrates the tragic destinies of the principal characters, Yank and Pat. Geopathology, understood as the pathological examination of place, is manifested in both texts through the characters' encounters with hostile, alienating, and de-identifying environments. This is evident in the industrial and class contexts of The Hairy Ape and the natural and socially exclusionary settings found in The Stray Dog. The findings of this descriptive-analytical investigation indicate that themes such as migration and exile, the dichotomy between private and public spaces, and the futile quest for belonging serve as essential mechanisms through which spatial dynamics influence the psyche and fate of characters. This study aims to underscore the broad applicability and analytical efficacy of Chaudhuri's theory of geopathology and dramatic space in the interpretation of modern plays and fiction. Furthermore, it demonstrates how O'Neill and Hedayat, each through their unique stylistic approaches, elevate space to a central element in articulating universal themes of alienation, identity crisis, and the environmental impact on the individual. This study undertakes a comparative analysis of the dramatic and pathological functions of space in Eugene O'Neill's play The Hairy Ape and Sadegh Hedayat's short story The Stray Dog, utilizing Una Chaudhuri's theoretical framework, particularly the concept of “geopathology”. It posits that both works, as notable examples of modern literature, leverage the potential of place not merely as a backdrop, but as an active, identifying, and at times traumatizing element that propels the narrative and illustrates the tragic destinies of the principal characters, Yank and Pat. Geopathology, understood as the pathological examination of place, is manifested in both texts through the characters' encounters with hostile, alienating, and de-identifying environments. This is evident in the industrial and class contexts of The Hairy Ape and the natural and socially exclusionary settings found in The Stray Dog. The findings of this descriptive-analytical investigation indicate that themes such as migration and exile, the dichotomy between private and public spaces, and the futile quest for belonging serve as essential mechanisms through which spatial dynamics influence the psyche and fate of characters. This study aims to underscore the broad applicability and analytical efficacy of Chaudhuri's theory of geopathology and dramatic space in the interpretation of modern plays and fiction. Furthermore, it demonstrates how O'Neill and Hedayat, each through their unique stylistic approaches, elevate space to a central element in articulating universal themes of alienation, identity crisis, and the environmental impact on the individual.

https://dam.journal.art.ac.ir/article_1440_27c985e3fe9d03da0c429ffc6019e111.pdf