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Showing 4 results for Power
Sahereh Gholami, Volume 2, Issue 8 (11-2013)
Abstract
Michel Foucault’s discourse analysis focuses
on power relationships in society as
expressed through language and practices.
Heterotopia is also a concept in human geography
elaborated by him to describe
places and spaces that function in non-hegemonic
conditions. These are spaces of
otherness, which are neither here nor there,
that are simultaneously physical and mental.
According to him, heterotopias are
places which have connections with ordinary
spaces and social structures. While
introducing heterotopian characteristics
and functions, Foucault claims that the
places are after all institutions of the power.
Parallel to this, Foucault believes that
since the globalized web and the formation
of different types of heterotpoias, the power
is no more restricted to one center only
but develops through a rhizomatic web of
multiple relations. Now, regarding this approach
to places and knowing that Foucault
considers cinema as a kind of heterotopia,
one can find so many films that,
while following the logic of power, visualize
utopias suspended between reality and
hyper-reality. The common characteristics
of these works, is their stylistic and semantic properties. This article would analyze
the common Foucauldian elements that
can be found in these cinematic works, especially
“One Flew over the Cuckoo's
Nest” and “Fahrenheit 451” to further
reach an intertextual reading and provide a
philosophical analysis of them.
Azadeh Bahmanipor, Effatsadat Afzal Tusi, Volume 5, Issue 19 (8-2016)
Abstract
The Saqqakhaneh School of painting was central in the historical artistic transition to Modernism after the Constitutional Revolution in Iran. This school of art emerged under the Pahlavi regime and was extensively supported by Iranian nation-state. The modernizing state used this school of art as a unique form of propaganda to represent Iranian cultural heritage in its desire for modernization and its aesthetic orientation towards the West in the global stage.
The Saqqakhaneh School continued to influence postrevolutionary visual arts exposing a plurality of artistic tastes as well as an ambivalent and contradictory artistic practice. Using Pierre Bourdieu’s sociological approach to the study of art, this article offers a critical and impartial assessment of this school by locating it within the Iranian artistic field of power while valuing the social character of the artists in the production, circulation and
consumption of this school of art.
Sepideh Abdollahi, Mohsen Karami, Volume 7, Issue 28 (12-2018)
Abstract
The relation between ethics and art is a problem drawn artists and philosophers’ attention to itself from a long time ago. Since ancient era, philosophers such as Plato and Aristotle paid much attention to possibility of ethical criticism of art and its influence on aesthetic aspect of artworks;and then in the latter periods, other philosophers and artists, such as Tolstoy, Hume and Kant, expressed different views. The most famous views has known as Aestheticism, Moralism, Autonomism, Value Pluralism and Immoralism. The aim of this essay is to survey Immoralism, as proposed by Mathew Kieran, contemporary English philosopher. Daniel Jacobson helped him in it too. The view argues that sometimes artistic/aesthetic value of an artwork arises from its immoral nature, or a moral demerit in it. Kieran has alleged two sets of reasons, may called respectively reasons of emotional-cognitive responses and reasons of the power of art to provide knowledge. In this article, we have attempt, first, to make an exact expression of this view, and second, to support some of its reasons, and at last, to criticize and evaluate all the view.
Mohammad Ali Abdolmohammadi, Nader Shayeganfar, Volume 11, Issue 44 (12-2022)
Abstract
Royal Portraiture is one of the last Iranian miniature styles which more or less can be considered a Synthesis Style of Iranian and European elements. This style was inspired by Westernization, but underwent important changes during the Qajar era. In this research, one tries to analyze and interpret one of its ruptures that occurred in the era of Mohammad Shah. The main issue of the present project is to study the ways this rupture and its consequences were occurred in Qajar visual culture. For this purpose, first, the main features of Royal Portraiture before and after the Fath-Ali Shah era were identified and then, the ways of the occurrence of this rupture were described. After that, based on Michel Foucault’s thoughts on the concept of the technique of power, the consequences of this rupture were examined. In this project, which was based on qualitative and analytical research method, after conducting studies, the result obtained from this study shows that the rupture of the Royal Portraiture was taken place in representation of body figure and in the discourse of chronology. The consequence was that, this rupture as a technique of power-record, in addition to reproducing this discourse, replaced metaphorical logic with realistic language in visual culture.
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