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Showing 7 results for Other
Azin Haghayegh, Mahnaz Shayestehfar,
Volume 3, Issue 12 (11-2014)
Abstract
The image of “the other” can be traced
back in the history of every culture
and the oppositional binary of the self/
the other(ego-alter) have always been
regarded as part of cultural studies.
Problems such as the relationship between
cultures (one specific culture and “the
other” one/s) or reason of governments’
denial of the other/s are among important
questions of this field. In the present
article, the cultural semiotics method has
been chosen to investigate the way “the
Other” is represented in two paintings
belonging to two illustrated versions of
Shahnameh, both from Safavid period.
Based on the comparison of equall binary
of the self and the other with that of human
and demon in those picture, this article
would try to analyse how the rejecting
function of culture works in semiotic
realm of image. Eventually, the results of
this study indicates in oppositional binary
of “the self” and “the other”, the other
or demon is represented as something
unnatural or uncultural and this process
was used for rejecting other cultures and
avoiding mixing with them.
Hossein Azimi, Masoud Olia,
Volume 3, Issue 13 (1-2015)
Abstract
The question of otherness is one of
Bakhtin’s main concerns in his work, but the
distinguished feature of his contribution to this
subject is the inquiry into textual appearane
of the Other. In this article, whilst the authors
try to reassert Bakhtin’s philosophical view
on the Other and his relation to self in the
world, various dimensions of the appearance
of the Other in texts are investigated. The
main statement of the article is that while
Bakhtin considers some texts to be dialogical
and others to be monological, drawing on all
his ideas on the subject, he believes that there
exists a certain degree of conflict between
dialogue and monologue within every text.
In other words, neither the dialogical texts
are devoid of any monological features, nor
the monological texts are deprived of any
dialogical features. Therefore, the domination
of the dialogical or monological features over
other extreme in the texts, determines a text
to be generally dialogical or monological, and
the absolute appearance of monological or
dialogical features in a single text is proved to
be of no credit.
Fares Bagheri,
Volume 6, Issue 22 (5-2017)
Abstract
In this article, the question is about in what forms an Iranian character encounter - Consciously or unconsciously- with “self” and “other”, in the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam”? The “self” and “other” are metaphors which refer to the most important subject of modern Iranian literature. This relation involves a relationship. The relationship which creates a space so that social and communicative forms could appear and be reproduced as social characters as well as their different kinds of encounters – “self” and the “other”. Here, the focus is on concepts such as language and outfit as well as the metaphorical and semiotic system of “self” and “other”. This system will be examined within the interaction of characters and constitute the above discourse. Here by discourse, I mean a certain attitude and point of view in any historical period by which the Iranian “self” tends to experience something and it is the “other’s” experience constituted in the play. In this article, I attempt to show how the characters in the play as a kind of subjectivity and “self”, stand against subjectivity of “other”.
Seyyed Ali Rouhani, Mohamad Mahdi Fayyazikia,
Volume 7, Issue 26 (5-2018)
Abstract
Through the confrontation between the two traditions of phenomenology and structuralism in the film critique, this study adopts Emanuel Levinas’ ideas to investigate the realization of ‘the Saying’ in Abbas Kiarostami’s cinema. Having examined Levinas’ approach to the concepts of Otherness and language, this study also demonstrates the ways through which the Cinematic Phenomenology seeks the notion of the irreducibility of the Individual to the Total through certain attitudes towards the film form and insistence on realism that also happens to be the main feature of Levinas’ philosophy. Such irreducibility, however, includes the irreducibility of the very subject too, in terms of its being appeared to be the Other’s Other. In the meantime, the struggle for realism in the phenomenological tradition of film has opened up the potentiality for the subject to be in crisis. As this study shows, the notion of ‘the Said’ has overwhelmed ‘the Saying’ in the first stage of Kiarostami’s carrier as a filmmaker while the latter Kiarostami reveals such strong elements
of ‘the Saying’ that the subject now may let the Other interpret independently and loom out as a collocutor to the degree that the existence of such subject faces crisis. This crisis in the latest stage of the Kiarostami Cinema could be read as the crisis of the Real as confused with the Unreal.
Golnar Alibabaei, Khashayar Ghazizadeh,
Volume 8, Issue 32 (12-2019)
Abstract
One of the most important aspects of an artistic expression in a work of art is the hidden form of its infrastructure. This item is especially noteworthy in Iranian painting. Symbolic and artistic expression in the works of the Safavid period are manifested in a well-organized manner in many paintings. Among the paintings depicted in the school of Tabriz II, the painting of Worldly and Otherworldly Drunkenness by Sultan Mohammad has many hidden semantic and symbolic layers. The aim of this study is to explain the mystical meanings in the form and structure of this painting and its relationship with the whole collection in order to answer this question: How are mystical aspects reflected in the structure and composition of the painting? The available findings are descriptive-analytical and the method for collecting data is library-based. The results indicate that the process of miniature formation follows an organized structure and contains a spiritual attitude with various mystical manifestations which in turn reveals the principle of “plurality in unity”.
Jalal Nasiri Hanis, Nader Shayganfar ,
Volume 11, Issue 42 (5-2022)
Abstract
Mainstream cinema seeks to naturalize and project as real what comes from an ideological and imaginative framework. Met-films, on the contrary, are meant to highlight their own artificiality and imaginative nature through their particular focus on the movie production process. Meta films are a category of films whose subjects are about the nature of cinema and film making. Film makers of this Sub Genre have a critical view to the production of meaning confront the current illusion in the conventional and realistic films. Modeled on the stylistic properties of self-reflective cinema, the meta-film “When We Are All Asleep” depicts the production process of the movie itself. Differences of opinion existing between the producer-investor on the one hand, and the filmmaker on the other, represent two opposing views toward cinema in “When We Are All Asleep”. Employing Norman Fairclough Critical Discourse Analysis (CDA), the present research seeks to reveal the association between those hailing from either group of the spectrum — representing “the self” — and production team and the audience, representing “the other”. To identify the discursive order dominating the film in question, the paper analyzes the plot, characterization, the interaction among characters and the arrangements made for self-reflectivity toward the closure of the movie. The study found that the production team is treated with objectification, neutralization and distancing at the hands of those who fall in the business-oriented category. The same category regards cinema as a commodity and is in a constant push to neutralize its artistic and critical functions. They do consider the audience as consumers with no subjective attitude. The director, on the contrary, is in pursuit of solidarity, sympathy and a sense of responsibility toward the production team and maintains the view that cinema is art, and creativity remains the key concern. From this viewpoint, the movie’s success lies in its plausibility for the audience. In other words, the two dominant discourses of “business” and “art and creativity” shape the discursive order in the movie. In the former, a tendency toward “the other” backs up and reproduces the discourse, while in the latter, efforts are being made toward a restructuring of the discourse that has overwhelmed the Iranian society.
Nasrin Esmaeil, Ali Moradkhani, Amir Nasri,
Volume 12, Issue 46 (5-2023)
Abstract
In the present article, the application of Lacanian meanings in the field of philosophical thought and their comparison with examples of contemporary art has been studied. In this context, theories such as "split subject", "gaze", "Other" and "desire" are applied to the works of visual artist Marlene Dumas. In fact, this research seeks to answer the question of how the philosophical concepts of Lacan thought are reflected in works of art, especially paintings? And can the representation of the status of the contemporary subject in art be explained by Lacanian psychoanalysis ?In order to answer the questions of this research, we first propose psychoanalytic theories about the human subject based on Lacan's views in this field and then adapt them to Duma's portrait paintings. This approach will be in the process of analyzing and interpreting the works as a mainstay against which the paradigm of time in art is evaluated.
The research method in this article is descriptive-analytical and the data are analyzed inductively using written and library sources. Based on the research findings, it will be determined that the contemporary subject is a split subject with lacking, doubting, being prepared and divided.
And by following contemporary works of art, this can be find by reading works of art with Lacanian thought, a new way can be opened to understand the contemporary subject, especially in art.
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