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Showing 3 results for Bakhtiarian
Mahdieh Sadat Sajadian, Maryam Bakhtiarian, Hadi Samadi, Volume 8, Issue 31 (Summer 2019)
Abstract
Monroe Beardsley describes the features of artwork that provokes the aesthetic experience which include: unity, complexity and intensity. These features can be pursued in deadpan photography as the value of art, because the photographer’s feeling, when taking a photo, is not the key to understanding the meaning of the image. The deadpan genre in photography is a kind of unconventional photography that photographer has an interested view in it, but at the same time they are very smart and intelligent. Gursky’s pictures are a prototype of this genre. These photos in criticism can be interpreted as a good example of this criticism model of Beardsley’s view. The purpose of this research is to introduce a trend of new criticism and to analyze it with the art of photography that most audiences expect to be informed and represented with specific intentions and goals. The method of research is to collect data from the way library study and the internet search, then describe and analyze them in accordance with Gursky’s the selected works as a case study.
Navid Barzanji, Maryam Bakhtiarian, Firoozeh Sheibani, Volume 10, Issue 41 (3-2022)
Abstract
Merleau-Ponty borrows “being-in-the-world” from Heidegger but is not passive in the face Heideger’s thoughts. He uses the subject of being-in-the-world to explain perception and embodiment. Heidegger’s Dasein and the embodiment subject of Merleau-Ponty are thrown into the world. This means that the world is not equal to the object of human thought, and man is thrown into the world before contemplation and reason, and understands the world directly. Artists reveal the world through being-in-the-world and physical action. To Cézanne’s paintings, the intersection of Heidegger and Merleau-Ponty’s thought is for pre-rational thought, because painting is not separate from the world. In this article, an attempt has been made to consider the similarities and differences in the world-existence of Heidegger and Merleau-Ponty through attention to Cézanne’s paintings. The results of this study shows that Merleau-Ponty has a conception of being-in-the-world and, consequently, a bodily being, which in some cases it contradicts Heidegger’s understanding, but both philosophers confirm Cezanne’s the role of works in the phenomenon of the world.
Maryam Bakhtiarian, Volume 11, Issue 45 (3-2023)
Abstract
Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.
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