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Showing 7 results for Semiotics

Dr Alireza Mehdizadeh,
year 6, Issue 12 (1-2017)
Abstract

Although registering of the real-world elements has forged in the essence of photography, a photograph doesn’t provide a similar and as much as identical to the real world, and it has, besides of the openness character, an expressionistic capability as well. In fact, a photograph could be seen as a symbolic text which implies variably subject to an addressee’s interpretation and hermeneutics.Hence, Analyzing and reading a photograph on the basis of the analytical instruments of the semiotics approach and that is, extend the studies regarding criticism of photograph are purposes of this paper. Thus, in this paper, some of the analytical instruments of the semiotics approach, such as the principle of substitution and accompanying, transaction and conflict of symbols, implicit and explicit meaning, context or background and contextually, have been trialed in analysis and reading a photograph. The raised questions are: 1. what is the mechanism and factor of the analytical instruments in reading a photograph?

2. What is the significance of these instruments in analyzing-reading and criticism of a photogtaph? The methodology of research is descriptive-analytical.

The results indicate that by applying the instruments of the semiotics approach, in addition to systemic analyzing and reading of photos, various conceptual, visual and aesthetic manifestations would be revealed and a framework would be provided for aesthetic and qualitative evaluation. So that, according to the semiotics analytical tools, photographs is categorized in three general groups in respect of their importance: 1. Photographer-oriented, 2.


Elaheh Shams, ,
year 7, Issue 13 (9-2017)
Abstract

Cinematic superheroes can be considered as modern cultural and mythic phenomena whose multilayered characters enjoy various philosophical meanings like ancient myths. Diverse forms of superhero genre constitute a significant part of media culture and environment. The aim of this study is to answer how modern cinematic myths fulfill various ideological goals from the perspective of cultural studies. Cultural studies tries to analyze the conditions which lead to the production and determination of the role of social, economic and political forces as well as the power structures. Within cultural studies, the cultural semiotics of Roland Barthes has been used in this study due to his innovative definitions of myth. The results of this study show that the superhero, as a metaphor of real life, can simply embody countless metaphorical meanings since s/he turns the film into an arena of conflict between paradoxes, cultural meanings, social customs and political suppositions. More than consumerism, the aim of modern mythologization is to achieve a homogenous society in line with liberalist life style. Moreover, the hero-making narrative of cinema, especially Hollywood, is at the service of creating the central signifier of the American capitalist ideology which transfers the cultural concepts in accordance with current norms and regards some goals like national security, the Cold War, changing the racial and sexual stereotypes as well as environmental issues.


Ms Pouya Zamanian,
year 9, Issue 18 (2-2020)
Abstract

The Islamic revolution, has remaining very influential on the way people lived, changed the path of art and especially the photography of Iran. There are many photographs of the Revolution. By examining the visual cues, the changes in the cultural and artistic trends of that period can be better understood. Are there any shared signs between the images in the photograph and do they share certain meanings in the mind and if so, what meanings? These are main questions of the research. this research has done by descriptive analytical method and collected data by using library resources and databases, In addition to the study of semiotics and the views of the great activists in this branch, it was specifically devoted to Pierce's ideas. To conduct this research, 60 photographs were randomly selected from 6 Iranian photographers and the image cues in these photographs were analyzed based on the distribution of Pierce signs. Findings of the research show. The remaining images share a lot of things, and most of the signs have a symbolic character, and while showing the revolutionary and fighting spirit of the people, they transfer the humanitarian concepts to the minds of the viewer with Islamic tendencies
Fariba Yavary, Arezoo Taghipour, Mohsen Marasi,,
year 10, Issue 20 (1-2021)
Abstract

In the last decade, with the advent of the Persian carpet in the world of fashion, whether carpet designs in clothing or its woven parts in clothing, bags and shoes, the related vocabulary of carpets has expanded from the floor covering filed to the body covering field. As a result, domestic fashion has created new experiences in this fieldThe global fashion is dominated by brands, which reproduces each value of its semantic system. Therefore, carpet fashion will not have the same discourse in internal and global fashion. Therefore, the questions arise that with what codes does the semantic system of Iranian and world carpet fashion create meaning? And how are Iranian carpets in particular and carpets in general used in the paradigms governing domestic and foreign fashion to intensify the function of clothing media? Therefore, this paper is based on the semiotic approach and in a descriptive-analytical manner, with an emphasis on global fashion in order to answer research questions. The purpose of the research is to discuss the dominant discourse of carpet in contemporary fashion in Iran and in the world. Research findings indicate that the global fashion system is an open and dynamic system and the governing paradigm is fashion which is the creator of content; conceptual, artistic, qualitative, or moral content. In the world fashion, the carpet forms the artistic discourse, and beyond that, a avant-garde fashion, postmodernism, is an art work that expresses and reflects the spirit of the era. The essence of the carpet (Design, texture, and structure) has become a code in the semantic system, according to the type of discourse; hence the visual form of the carpet is dependent on the content in question. However, the paradigm governing Iranian fashion is fashionism, and the prevalence of carpet in Iran has been the dominance of branding and commercialization, rather than a postmodernist movement to revive and redefine the traditional arts, and the Iranian fashion discourse is the discourse of welfare and wealth.


Mahdi Ghadyani, Mohammad Shokri, Minoo Khani,
year 14, Issue 28 (6-2024)
Abstract

Umberto Eco's semiotics in cinema is based on the elements of expression and content, culture, and interpretation. In this context, codes, which are the relationships between expression and content, are of particular importance. On the other hand, Iranian postmodern cinema is a critique of tradition, society, family, identity, and truth in the context of culture. The representation of these expressions in postmodern cinema leads to interpretations by the audience, in which cultural aspects play a significant role. According to Eco's semiotics, codes are formed by events, associations, representations, conventions, correlations, implications, interpretations, descriptions, narratives, and conceptual codes. These codes reflect Eco's contribution to semiotics in cinema and provide a more precise understanding of Iranian postmodern cinema.Despite all of this, it is clear that there is currently no complete system for the semiotics of postmodern cinema. This means that we are still learning and discovering how signs and meanings function in films. However, there are general rules for codes that also apply to cinema and film. These rules refer to how signs relate to meanings and how those meanings are interpreted by audiences. In Iranian postmodern cinema, signs, symbols, and codes play a key role in the representation and interpretation of a new reality. This is consistent with Eco's view of signs and events.The meaning of Iranian postmodern films is constantly changing and evolving. This is due to the intertextuality of this type of cinema. In this type of cinema, filmmakers use numerous references to other cinematic, literary, and artistic works. This adds new layers of meaning to the film and allows informed audiences to interpret the work in multiple ways.Overall, Iranian postmodern cinema, from the perspective of Eco's semiotics, deals with the representation and interpretation of a new reality. This is done through the use of signs, symbols, and codes, as well as intertextuality. This research is theoretical-applied in terms of its purpose and descriptive-analytical in terms of its method. The statistical population of some works of world and Iranian postmodern cinema and also a case study of Mohammadreza Aslani's film "Chess of the Wind" have been considered.

Elham Keshavari, Mehrdad Rayani Makhsous, Mohammad Aref,
year 14, Issue 28 (6-2024)
Abstract

In this article, an attempt is made to make use of the "center-margin" category in Lutman's cultural semiotics to read the films "How many cubic meters of love", "Going", "Breaking twenty bones at the same time" jointly produced by the brothers Mahmoudi (Navid and Jamshid) should take place. Many researches have been done in connection with the presence of Afghan immigrants and their settling in the outskirts of Iranian cities, but what is tangible after the passage of about forty years of their presence in Iran is their progress and the change of their cultural position and the increase of interactions with Iranian activists. An issue that has not been paid much attention to in the current research. Therefore, this article tries to improve their position in Iran's geography by using the concept of residence. In fact, the purpose of this research is to show this path with an emphasis on the settlements of the immigrants. Therefore, the research question can be posed as follows: in what order has the process of changing the cultural position of Afghan immigrants from the periphery to the center been carried out? This research indicates that the Afghan immigrants adopted the approach of "center and periphery" at the beginning of their arrival, but over time, with increasing interactions with Iran, they progressed from the periphery to the center. In this situation, the duo abandoned the "center-periphery" and occupied transcultural, countercultural and marginal cultural spaces. The signs indicate that they have not yet entered the central cultural space. The selection of these spaces and the forward movement of immigrants can be investigated through spatial signs, i.e. changes in the structure of their residences, as well as non-spatial signs such as the speech and actions of Iranians and Afghans. It should be noted that this qualitative research was conducted in the form of documents, relying on visual and written sources and written in a descriptive-analytical way.

Majid Kianian,
year 15, Issue 29 (6-2025)
Abstract

This research by studying spatial codes in Iranian Ta'zieh, aims to analyze the functional transformation of them in order to form and transmit the content, as well as to strengthen the two-way interaction with the audience in Iranian culture. Based on this, it will explain the characteristics of the place of performance in the process of producing the meaning of this type of performance, from closed places (such as takayas and hosseiniyehs) to social relations and daily life in recent years. Theoretical approach based on the studies by Edward T. Hall and related to semiotics of location as well as Richard Schechner in field of performance theory, will provide the possibility of analyzing how and the quality of the influence of spatial signifiers in the process of performing contemporary Ta'ziyeh (in different ecosystems of Iran).The research method is descriptive-analytical in which it describes spatial communication systems about the study of performance semiotics and the characteristics of the mentioned study samples will be analyzed too. The findings of the research are indicative of the fact that in the forms of traditional (Ortodox) execution of Ta'ziyeh as a ritual-religious art, fixed and semi-fixed place has been effective as the dominant syntactic system of spatial signifiers. With the entry of Ta'zieh into urban life, the element of place in this form of Iranian performing arts no longer has its past function in the sense of space. In fact, the contemporary Ta'zieh with its interactive performance capacities due to delocalization and movement from a fixed architecture to a public space, It has caused the change of the function of the performance space from the space as a passive organic to an active inorganic entity, i.e. alive and tangible, in the sense of an environment or bio-performance space, and it has led to the expansion of the audience's participation and freedom in the performance process.‌


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