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Showing 2 results for Khodadadi Motarjemzadeh
Psychoanalysis of Arthur Tress’s Photographs based on C.G Jung’s Perspective and with the Method of Gilbert Durand’s Mythoanalysis
Miss Soudabeh Shaygan, Dr Mohammad Khodadadi Motarjemzadeh, Dr Mehdi Moghimnejad,
year 10, Issue 19 (8-2020)
Abstract
With the beginning of Freud’s critique of psychoanalysis, a great change took place in the field of critique: since before Freudian psychoanalyzing method, all the critics were analyzing art and literatures based on artists’ conscious mind and their conscious intentions, but after that analyzers focus on unconscious mind to interpret artworks, and Jung who was one of his students, offered ideas on evaluation and in some cases even opposition to his ideas. Jung considered the unconscious mind to be individual and collective. The purpose of this paper is examining the relationship between Arthur tress’s artworks, American contemporary staged photographer, and the individual and collective unconscious mind. This photographer was chosen because Tress is very interested in studying Jungian psychology, and dream is an important concern for him, so investigating these artworks would not be far-fetched. This article seeks to find the reasons of repeating some components or themes of Tress’s works, which are likely attributed to his unconscious mind. This research was carried out by analytical-historical method, and in the first stage, Arthur Tress’s works were analyzed using Jung’s special method and terms regarding individual unconscious mind, and then in order to examine the effect of the collective unconscious mind on his photographs, these works have been compared with the myths that certainly attributed to the human collective unconscious mind. Therefore, in this stage of the research, the critique method of Gilbert Dorna’s mythoanalysis was used, which was based on the study of the similarity between the repeated themes in today artists’ works with ancient myths. The findings show that some of recurring themes in Tress’s works are rooted in his individual unconscious mind which is related to his personal life and memories. In addition, as these themes are perfectly aligned with the themes of ancient myths, it can be concluded that human collective unconscious mind has an important role in forming this photograph’s works.

Discursive constructs of Velázquez’s Las Meninas and Abd-ol-Khalegh Khan’s photograph of Zell-e Soltan as seen through Gillian Rose’s discourse analysis
Mr Alireza Vaez, Dr Mohammad Khodadadi Motarjemzadeh, Dr Sayyed Mahdi Moghimnejad,
year 11, Issue 21 (9-2021)
Abstract
It has become a reality in the world of contemporary visual media that some of images and visual texts attract viewers and researchers to their similarities with other images - in a real or imagined way - while furthermore, constantly encouraging them to discover and examine an intra-textual relationship and interaction. Conducted as comparative and descriptive-analytical research, this intra-disciplinary study compared two works of fine art: Velázquez’s Las Meninas and Abd-ol-Khalegh Khan’s photograph of Zell-e Soltan. As part of this comparison, it employed the qualitative method of Gillian Rose’s post-constructionist discourse analysis to explore the intercultural interactions as well as the constructed discourses in the two images and to investigate the influence — or lack thereof — of apparatuses of power on the development of those discourses. The research questions were: “In the studying the artworks, what discourses are constructed and how are they constructed?” and “In what way are they similar in this regard?” The findings indicated that Velázquez and Abd-ol-Khalegh Khan have constructed, as both the artist and the subject of their piece, a different and dominant body of themselves without any influence from institutional systems and by sidelining power holders. In both images, the discourse of art and that of politics are in conflict with each other, and both artists, by adopting the same representation approach, implicitly point to and highlight the overpowering of politics by art. It seems that in this historical intercultural interaction between the East and the West, Abd-ol-Khalegh Khan was influenced, as an artist, by Velázquez’s critical approach in Las Meninas in the creation of his photograph.

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