1 2251-8630 Advanced Research Institute of Arts 276 Special Aesthetic Dimension and Golden Rule: Interaction between Art and Ethic in Herbert Marcuse’s Thoughts Aram Ali Reza 1 11 2014 3 12 7 24 03 05 2015 03 05 2015 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.
277 Special The Concept of Art’s Autonomy in Benjamin and Adorno Dashtara Saber 1 11 2014 3 12 25 32 03 05 2015 03 05 2015 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. 278 Special Iconographic Interpretation of Hunting Scenes in Sasanian Metalwork Akhavan Aghdam Neda 1 11 2014 3 12 33 50 03 05 2015 03 05 2015 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. 279 Special 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 Haghayegh Azin Shayestehfar Mahnaz 1 11 2014 3 12 51 66 03 05 2015 03 05 2015 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. 280 Special A Brief on the Interrelations of Illustrations in Gilgamesh Emphasizing Monomyth-Transtextual Studies NamvarMotlagh Bahman Fakharizadeh Nasim 1 11 2014 3 12 67 86 03 05 2015 03 05 2015 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. 281 Special History of Stylistic Studies in the Historiography of Art in the West Sahragard Mahdi Shirazi Ali Asqar 1 11 2014 3 12 87 98 03 05 2015 03 05 2015 “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. 282 Special The Impact of German Expressionism on the Acting Style of Eisenstein’s Cinema Alasti Ahmad Aghaei Naser Khanlari Reza 1 11 2014 3 12 99 109 03 05 2015 03 05 2015 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.