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Showing 2 results for Hessami
Maryam Yazdanpanah, Fatemeh Kateb, Abolghasem Dadvar, Mansour Hessami Kermani, Volume 7, Issue 29 (3-2019)
Abstract
Gérard Genette named any relationship between one text and other texts “Transtextuality” and divided it into five categories; including intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. We have conducted a case study of four paintings of the Iranian contemporary painter, Aydin Aghdashloo by using the theory of “transtextuality”. These four artworks belong to “the Orientals” series and they depict the Qajar king, Fath Ali Shah. The completion of subject matter and data used in this essay is extracted from library, record and thesis materials and the conduction of the theme is comparative and analytical. The aim of the essay is to evaluate the reasons, which made the theory of “transtextuality” an appropriate critical method for artworks of Aghdashloo. The other aim is to study the five categories of “transtextual” relationship in these four paintings, by focusing on “hypertextuality”. The findings show that the artworks of Aghdashloo are a perfect example of transtextual relations.
Aysan Shiva, Mansour Hessami, Zahra Shakeri, Volume 9, Issue 36 (11-2020)
Abstract
It is often thought that appropriation art doesn’t give rise to its traditional concept and place. Because there are secondary works in the world of visual arts that are taken from the original works. From a legal point of view despite their uniqueness, definite and certain material existence of these works, the situation of the author is not very clear. “How can be explained the authorship relations between the artist and his work in a work that a part of it (sometimes the whole work) has appropriated from another artist?” It is assumed that in all appropriation works the viewer and author are aware about the presence of the first creator in that artwork. This study is descriptive-comparative and interdisciplinary analysis. The research data are taken from the fields of contemporary arts, structuralism, intertextuality, and intellectual rights, and have been extracted and collected in the form of libraries and documents, and through the tools of taking notes and observing relevant sources and references. In this regard, exceptions of international legal systems and Intellectual property rights in Iran. At the end, some suggestions including preparing an art certificate has made to evaluate these types of works.
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