Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
Aesthetic Dimension and Golden Rule: Interaction between Art and Ethic in Herbert Marcuse’s Thoughts
7
24
FA
Ali Reza
Aram
alireza.5988@yahoo.com
Y
If we consider Marcuse’s theory of Art, which is called here Aesthetic Dimension, we find that his Artistic thoughts have an effective role in expanding the Golden Rule, and can appear as a connection point for social relationship. If the Golden Rule invites the people to set themselves as another one (in an imaginary world), Marcuse’s philosophy and theory of Art motivate middle and low class people towards image, and, after that, take their natural and citizen rights (in the real world).
While the common sphere of these theory/ rule is Imagination, there is a determining difference which has some alarm sounds for human culture: Marcuse’s Aesthetic Dimension tends to replace political challenge with moral sense.
Aesthetic Dimension, Liberal Art, Golden Rule, Global Ethics
http://kimiahonar.ir/article-1-276-en.html
http://kimiahonar.ir/article-1-276-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
The Concept of Art’s Autonomy in Benjamin and Adorno
25
32
FA
Saber
Dashtara
Sab.dasht@gmail.com
Y
Art’s autonomy and its independence
from any sort of external aim, is one of the
most important concepts rising from the
modern art and in a sense, what constitutes
the very border between modern and
traditional arts. While the Philosophy of
art has shown many different positive
or negative reactions to the autonomy
of art, the present article tries to study
and compare two exemplary reactions
which belong to Theodor Adorno and
Walter Benjamin. Scholars usually tend
to categorize these two thinkers under the
rather vague term “the Frankfurt School”
and then put the stress on the convergences
between their ideas but in the case of art,
as we shall see, Benjamin and Adorno
seem somehow divergent. This divergence
can on the one hand, help us comprehend
the different aspects of modern art and on
the other, it can pave the way for a deeper
understanding regarding each of these two
figures.
Modern art, Autonomy, Semblance, Disenchantment
http://kimiahonar.ir/article-1-277-en.html
http://kimiahonar.ir/article-1-277-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
Iconographic Interpretation of Hunting Scenes in Sasanian Metalwork
33
50
FA
Neda
Akhavan Aghdam
n.akhavanaghdam@gmail.com
Y
Sasanian art works, due to important
political, religious and economic events
of this period, have a considerable
significance and their interpretation help
us to know this era much better. These
can be considered as the pinnacle of the
pre-Islamic art in Iran and one of the most
improved branches of them is metalwork
with hunting scenes. The article tries
to interpret these art works using
iconographic approach and for this purpose
first the meaning of symbols should be
defined. Following, and to achieve the
iconographic interpretation of them some
of these metalwork with hunting scenes
are surveyed and the symbols which are
represented are interpreted.
Sasanian art, Sasanian metalwork, plates with hunting scene, iconography, symbology
http://kimiahonar.ir/article-1-278-en.html
http://kimiahonar.ir/article-1-278-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
Oppositional Binary of “the self” and “the other” in Two Illustrated Versions of Shahnameh, Shahnameh of Shah Tahmasb and Shahname of shah Ismaeel II: An Analysis of the Cultural Semiotic Model
51
66
FA
Azin
Haghayegh
a.haghayegh@modares.ac.ir
Y
Mahnaz
Shayestehfar
shayesteh@modares.ac.ir
N
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.
cultural semiotics, illustrated Shahnameh, the other, demon painting, Safavid Dynasty
http://kimiahonar.ir/article-1-279-en.html
http://kimiahonar.ir/article-1-279-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
A Brief on the Interrelations of Illustrations in Gilgamesh Emphasizing Monomyth-Transtextual Studies
67
86
FA
Bahman
NamvarMotlagh
bnmotlagh@yahoo.fr
Y
Nasim
Fakharizadeh
nasimfakhar2adeh@gmail.com
N
The quest for eternal life and
immortality and seeking to escape death
are one of the most important intellectuall
concern in history that can be traced back
to early human life. Human being ,in the
way of finding a solution for immortality
and realization of his dream , has done
narration and manifested this dream in
religious and national and mythological
characters who are in literary and art works
of various human civilization and cultures.
The most clear Mesopotamia mythological
character is Gillgamesh who did travel
to discover mystery of immortality and
finally got. This narration has manifested
in different formats because of specific
features in various human culturs.
At this text we pay more attension to
illustration as one of the important media
in order to investigate the narration in two
diffrent culture based on new approaches
including monomyth theory and with
analytical – comparative method . We
have chosen two pictures from the first
and latest illustrated versions in order
to find the status of pictures according to
Campbell hero - s pattern and finally to
study the reason of their status and get the
view of those illustrators about death. Our
findings show the influence of social and
cultural context on artists.
Monomyth,Transtextuality, Gillgamesh, Illustration, Morteza Momayyez, Arving Amen
http://kimiahonar.ir/article-1-280-en.html
http://kimiahonar.ir/article-1-280-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
History of Stylistic Studies in the Historiography of Art in the West
87
98
FA
Mahdi
Sahragard
sahragard_mn@yahoo.com
Y
Ali Asqar
Shirazi
N
“Style” can be generally considered as
patterns or recognizable characteristics
of an object or set of objects. The
advantage of style in comparison to the
other classification methods is that the
most knowledge can be acquired by the
least historical records. “Style” has been
applied in the history of literature from
ancient era, but it has been used in the
history of arts from eighteen century.
For the first time, “style” was applied to
interpret classical arts by Winckelmann.
Later, other historians paid attention to
the other aspects of style: empiricists
have only emphasized on visual studies
Hegelians have attempted to establish a
relation between style and zeigeist recent
Historians have emphasized on the artists
and mechanism of producing of works
of art. Generally, evolution of concept
and theory of style in the west shows that
the importance of works of arts and the
artist's willingness have been increased to
historians of art.
In this article we try to explain the concept of style and stylistic principles in the west.
style, Stylistic studies, history of art, classification of art history
http://kimiahonar.ir/article-1-281-en.html
http://kimiahonar.ir/article-1-281-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
3
12
2014
11
1
The Impact of German Expressionism on the Acting Style of Eisenstein’s Cinema
99
109
FA
Ahmad
Alasti
a.alasti@yahoo.com
N
Naser
Aghaei
aghai@ut.ac.ir
N
Reza
Khanlari
reza_khanlari2000@yahoo.com
Y
The world of cinema has put more
emphasis on Sergei M. Eisenstein’s
theories about montage, and that’s
why his approaches in acting were
ignored. Experienced set designing and
directing under the direct supervision
of Meyerhold’s Biomechanics theory in
Moscow’s theater, Eisenstein observed
many structural and administrative
similarities between acting in German
cinema and the works of his contemporary
Constructivists in the Soviet. Similarities
such as a set of theatrical techniques
encompassing exaggeration, actor’s
muscular violence, separation of body
movements and movement around the
vimineous body organs which lacked play
value suntil then, and on the other hand,
a series of choreographic and spectacular
movements as gymnastic style,fitness
show-off and aggressive capers which
were belonged to sport fields and were
brought on the theater stage. By concentrating on Eisenstein’s works,
this research deals with the process of
Russifying German Expressionist acting
and cinematizing Russian theater acting
as a preliminary of such acting which was
considered as realistic models of acting
in Hollywood. Also, this paper deduces
that Eisenstein’s inspiration from German
acting established an integrated approach
which is less considered in cinematic
studies.
Eisenstein, Acting, Expressionism, Constructivism
http://kimiahonar.ir/article-1-282-en.html
http://kimiahonar.ir/article-1-282-en.pdf