, ,
year 9, Issue 18 (2-2020)
Abstract
One of problems of today’s society is the fact that the artist is away from the profession of other arts and various social groups, as well as disregard of art and artist by the above groups and the consequent weakness of art in the community. The importance of establishing social interactions and Face- To- Face of different social groups with the arts and artists, as well as artist with other social strata, and the subsequent recognition and understanding of the importance of these interactions in the advancement of society makes necessary the research about establish a suitable bed for the presence of a wide range of different social groups, and consequently, confrontation with artistic issues. In direction fulfill of the goal the article, wich is the appropriate design method for an effective social bed for make come true this social need, produced hypotheses in response to the question of what manners can be in the optimal design of the social center of artists through the adaption of visual and beauty arts architecture whit the philosophy of Emmanuel levinas. Levinas philosophy is a kind of moral phenomenology in the direction of the person’s Face- To- Face to one another or others, and the formation of the justice and the desired policy of a society that ultimately leads to the emergence of the transcendence of that society. In this research, the results of the study of visual arts and architecture as the architectural framework and the results are from Emmanuel Levinas’s Face- To- Face philosophy studies as a theoretical approach adapted together and finally considering the use of each of these new achievements in design of the social center of artists, hypotheses were created as the results of this study which can be used to establish an appropriate and effective way for promotion and development of art, and consequently, the growth and progress of a community.
, ,
year 14, Issue 27 (4-2024)
Abstract
The literary elements in Iranian visual arts have had a complex and alluring history from ancient times to the present. The aim of this paper, however, is to draw attention to aspects of this history shaped by elements on the fields of discursively, which have led to the emergence of different types of literary elements in contemporary visual arts. Even a cursory review indicates that the use of letters in visual arts has undergone such transformations that it challenges the fixed beliefs and deterministic propositions of traditional approaches such as calligraphy in the cultural discourse since Iran’s’ revolution in 1979. This research, relying on the discourse analysis method of Laclau and Mouffe, intends to analyze artistic flows to show the conflicts over the definition and stabilization of meaning in this field. Conflicts whose social effects lead to different formulations of the presence of written elements in visual arts. The special prominence of the upcoming research is to reveal the marginalized elements that appear in the moments of unrest and instability of the discourse and challenge the hegemony of the central discourse. The discourse analysis provides us with the opportunity of examining the differing positions of actors within a discursive space and to explore the contexts of text production. Such artworks meaningfully diverge from collective identities such as religion, revolution, war, and social contradictions and discuss them in a personal and critical manner. Before sending any messages, such artworks include a kind of over-connotation that could be summarized in this phrase: The subject’s effort to position signs within a new chain of equivalence for creating a novel semantic system. These artists play the role of agents in the reproduction and transformation of the power circumstances, with their distinctive creativity. This research endeavors to reflect on how and under what discursive conditions the artist, by creating a new semantic system, emphasizes the agency of the subject in such a way that it generates a new discourse. The methodology of investigation in the present research is discourse analysis, and the method of information collection is library-based, including the review of archival documents and observational
Dr Firoozeh Sheibani Rezvani,
year 14, Issue 27 (4-2024)
Abstract
Derrida’s main strategy is the fundamental analysis of the discourse of thinkers like Plato, whose metaphysics of presence was the main foundation of their theories, or thinkers like Husserl, who tried to go beyond the metaphysics of presence. In this research, a part of Husserl’s advanced phenomenology, which was the focus of Derrida’s deconstruction program, is presented. First, Derrida’s critical viewpoints of the concepts of consciousness and meaning in Husserl’s thought is evaluated, and then, in the second part, based on Derrida’s deconstruction of the concepts of consciousness and meaning in phenomenology and the application of concepts like the trace and postponement of two selected works of painting from the works of Alireza Espahbod and Nikzad Nodjoomi are analyzed. The aim of this research is to evaluate the distinction between the two approaches of phenomenology and deconstruction in order to achieve new meanings and in general a new critical method for analyzing text/visual arts. The method of collecting information is derived from library research and internet data, and the writing method is qualitative and descriptive-analytical based on the use of deconstruction strategy. Here, the connection of philosophical theories with the analysis of visual works brings up a new encounter. By deconstructing the two concepts of consciousness and meaning in the phenomenological approach and analyzing two selected works of contemporary Iranian painters, we find out that the meaning of the elements in the work of art is not based on the general and inclusive awareness and definite implications that reach the essences and essences in the phenomena, but based on new meanings that are obtained from the transformation of certain hierarchies into indeterminate meanings in the form of chain traces in the repeated reading of a visual work with postponement, and through this passage a new window becomes available for the review of visual arts. .
