Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
A Conceptual Analysis of Beauty According to Its Ontological Truth: Based on Mulla Sadra’s Views
7
23
FA
Mahdi
Amini
matd1363@gmail.comٍٍ
Y
Mohammad
Fanaei Eshkevari
eshkevari@qabas.net
N
Abdollah
Fathy
abdollahfathy@yahoo.com
N
In this paper I would discuss that if providing an essential definition of beauty is impossible then why and how we may describe various types of possible
existences and God as beautiful. Drawing on the idea of “conceptual analysis” of Sheikh Ishraq and based on Mulla Sadra’s ontological views I would try to arrive at a different approach with which I will provide a general definition of beauty that includes both God and possible existences. Accordingly, while refuting the essential mode of beauty I would argue for an existential mode of it. I would further analyze and extract philosophical concepts from Mulla Sadra’s philosophical views to express the relation between being and beauty. I would conclude the paper by providing this definition of beauty: beauty,
if based on a particular understanding of existence as univocity, is “the realization of the perfect existence in the form,” and if based on the personal unity of existence, it is “the mode of manifestation of perfections of absolute existence in the form.”
beauty, manifestation, form, conceptual analysis, gradation
http://kimiahonar.ir/article-1-1092-en.html
http://kimiahonar.ir/article-1-1092-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
Lyotard’s Aesthetic Confrontation with Political Modernity
25
39
FA
Ali
Salehi Farsani
Ali_Salehi62@ut.ac.ir
Y
This paper would evaluate this hypothesis that Lyotard, while admitting the subjugating aspects of political modernity, still sees the aesthetic transgression of its dysfunctions and shortages possible. To better proceed with such evaluation, I need first to find components in his thought that are in harmony with political modernity and then to compare such components with his aesthetic approach. Lyotard does not perspicuously speak about political modernity; therefore, I should commence the argumentative process of this article by developing a model in the framework of which I can better illuminate his conception of the components of political modernity as well as his understanding of its shortcomings and subjugating aspects. This should be done by finding and sorting out of those components in his thought that are in harmony with political modernity. The hypothesis of this article is not tautological and is clearly against the prevailing interpretations that believe in the cultural transformation of aesthetics in the thought of Lyotard. Elaboration on Lyotard`s writings, along with the application of Lovejoy’s method of “history of ideas” in a conceptual framework that regards political modernity as the supremacy of right and self-determination to subjugation, leads us to the finding that Lyotard, believing in the supremacy of subjugation to right and self-determination in political modernity, is a critic of this situation. On the one hand, he regards political modernity and its extreme and totalitarian subjugation as an obstacle to the creation of avant-garde art, and on the other hand, he establishes a two-way correlation between this art and radical democracy, as an alternative to political modernity.
avant-garde art, political modernity, subjugation instrumentalism, radical democracy
http://kimiahonar.ir/article-1-1093-en.html
http://kimiahonar.ir/article-1-1093-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
A Review of the Concept of the Subject and Self-destruction: A Case Study of “A Clockwork Orange” and “Apocalypse Now”
41
56
FA
Sepideh
Sami
SepideSami@yahoo.com
Y
Behrooz
Mahmoodi Bakhtiari
Mbahktiari@ut.ac.ir
N
The significance of the concept of the subject and the belief in the superiority of human reason have been called into question during various historical periods. For example, in the late 1960s and 1970s in the United States with the advent of power relations and theories by such individuals as Michel Foucault, who reduced the central role of the subject in the interest of discourse, we observe the rise of civil movements that call for the freedom of minorities and the elimination of powerbased relations. At the same time, the cinema also witnessed the production of films criticizing the violent consequences of structures, including the violent effects of cinema itself on the elimination of the concept of the subject. In this paper, we explore the reaction of the subject to this structural violence in two American films of the 1970s, “A Clockwork Orange” (1971) and “Apocalypse Now” (1979), using a descriptive-analytical method. The hypothesis that the self-destruction of the main characters of both films is a reaction intended to regain the concept of the subject and its effective and central power is confirmed as a result of this research.
self-destruction, foucault’s subject, cinematic structure, “A Clockwork Orange”, Apocalypse Now”
http://kimiahonar.ir/article-1-1094-en.html
http://kimiahonar.ir/article-1-1094-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
Reading Michel Foucault’s Theory on Death and Function of Author and its Relation to Plagiarism
57
68
FA
Mojtaba
Golestani
golestanimojtaba@gmail.com
Y
This essay deals with a question concerning the relation between plagiarism and the author function in the discourse of literature. Author function is a term used by French philosopher, Michel Foucault (1926-1984) to analyze the notion of author and its formation within the discourse of literature. This paper would consider plagiarism according to the author function, maintaining this assumption that a discourse named literature belongs to modern age and is formed in the framework of modernity. Plagiarism, in this sense, is an economic category and we can study archaeology of plagiarism and its relation to ownership of property. As a result, whenever there is ownership it is meaningful to be plagiarized. Therefore, we investigate notions of plagiarism, discourse of literature and author function respectively in order to study archaeology of the function of plagiarism as an economic metaphor within episteme of modernity, regardless to any value judgment.
plagiarism, author, discourse of Literature, ownership of property, modernity
http://kimiahonar.ir/article-1-1095-en.html
http://kimiahonar.ir/article-1-1095-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
Supremacy of the Subject in the Renaissance Perspective System and the Reaction of Cubism Painting to it
69
84
FA
Ali Akbar
Jahangard
ali.jahangard@gmail.com
Y
In many cases, the invented perspective of Renaissance and its related texts from the era could be read as a claim on representing reality. Yet, they can also be considered as a unitying system in the realm of the image which is more in favor with subjective characteristics. According to the available evidences, it seems that the Renaissance perspective is not only a reflection of objective reality, but also it is incompatible with human vision. If one considers Renaissance perspective a subjective system as Kant and Panofsky did, then perspective would be a showing of the unquestioning supremacy of the subject in the realm of the image. Hence, the claim of the realism of Cubist painters would be in favor with a kind of objectivity, which criticizes the domination of the subject. The most important proof in this regard is deletion of the subject’s perspective from Cubism painting.
perspective, subjectivity, objectivity, cubism painting
http://kimiahonar.ir/article-1-1096-en.html
http://kimiahonar.ir/article-1-1096-en.pdf
Advanced Research Institute of Arts
Kimiya-ye-Honar
2251-8630
6
23
2017
9
1
A Postmodernist Reading of Art Works Based on Fredric Jameson’s Ideas: Focusing on Parviz Tanavoli’s Hich Collection (1960s-2000s)
85
98
FA
Zahra
Rahbarnia
z.rahbarnia@alzahra.ac.ir
Y
Maryam
Keshmiri
Maryam_Keshmirey@yahoo.com
N
As a theorist of postmodern art, Fredrik Jameson believes that historicism in modern works of art is a tendency towards history: a tendency that undermines history as well. Jameson has a different attitude towards the function of the historical object in the context of the worka of art. He shed a new light on reading the new works of art by emphasizing an ironic function in postmodern productions. It seems that the same approach can be used to read Iranian neo-traditional works. The research in hand has focused on Tanavoli’s Hich collection due to its general appreciation by the audience in last decades and tries to provide an answer to the following question: can the approach in hand, alongside the formalistic and semantic interpretations (which are not adequate enough) lead to a new understanding of these works? Is this popularity indebted to a relation between the form of the work and its historical associations? This research aims to examine Jameson’s ideas in reading Tanavoli’s works as well as finding new layers of meaning in these works. Using history as a consumable object and its nostalgic representations are the reasons behind appreciation of Hich collection. Therefore, the formalistic and semantic interpretations become less important. Other postmodern aspects of Tanavoli’s works can be realized based on Jameson’s ideas as well.
Fredric Jameson, Parviz Tanavoli’s Hich collection, postmodern art, Iran’s contemporary art, historicism
http://kimiahonar.ir/article-1-1097-en.html
http://kimiahonar.ir/article-1-1097-en.pdf