Farideh Afarin; Sajedeh Nikian
Abstract
The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political ...
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The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political discourses. The differences of emblems as a part of the discourse or the visual effect of a discourse may return to the specific way of that visual effect or be interpreted as a certain political tendency. Discourses consistent with the symbol of the lion and sun are patrimonial, royal, and national identity discourses based on historical past and religious identity. This emblem is indicative of the ideals of ideological traditionalists, as an attractive visual aspect of religious discourse. In this way, any emblem that represents the visual dimension of the discourse of Sunnis or other religious minorities is removed, or rejected by displaying this symbol in the ministries, press, publications, etc. The discourse of the Islamic Revolution is a reaction to the absolute modernism of the Pahlavi period. The discourses that arose in the Islamic revolution included strategies and conflicts such as class struggle, exploitation, and struggle against imperialism and colonialism. This discourse resists the field of power that the Orientalist and Middle Eastern discourse that Westerners create. The comparison of the Qajar and Islamic Republic emblems shows the difference in their attitude in choosing the type of governance. The Qajar rule wants to dominate the empire and the other wants to spread Islamic rule all over the world.
Farideh afarin
Abstract
The study is based on the assumption that the painting "Entry of Christ into Brussels" by "James Ensor" despite its title & theme of religious narration related to the holy book, unlike the orthodox Christian iconography, especially is a break or a kind of refusal. There is a revolution in the painting ...
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The study is based on the assumption that the painting "Entry of Christ into Brussels" by "James Ensor" despite its title & theme of religious narration related to the holy book, unlike the orthodox Christian iconography, especially is a break or a kind of refusal. There is a revolution in the painting by which we translate it into a kind of modern icons. This research seeks to answer the question, despite the religious elements, whether we categorize it as a modern icon? The purpose of the research is to analyze the process of semananlysis according to kristeva`s ideas. The visual elements and their relations is required for highlighting the exchange of the semiotic and the symbolic? Types of Lines, colors, the degree of darkness/brightness or tonality, shapes, texture, and space will lead us to the threshold of semananalysis. The description of the visual components proceeds up to modal, representational & compositional functions. This focus leads to associative & successional and differential intertextual relationships. An outline of the relations governing the components leads to the levels of principles, that is, the implicit and explicit, cultural and social ones. The analysis of the visual characteristics and the relations between them will concentrate our attention to the exchange of the semiotic and the symbolic. The focus on the types of intertextual relationship will show "Entry of Christ into Brussels" does not follow the religious iconographical traditions. secondly, with regard to the aesthetic properties like forces of colors, artist leads the audience's mind to a deeper sociological interpretation. Ultimately, considering other artist`s artworks and studying para textual relationships all directly highlight the relationship between political issues associated with new governmentality and new branch of Christianity.
Farideh afarin
Abstract
Most of the resources are unanimous in the formal changes of the haft-orange collection of Ibrahim Mirza in the Safavid era which is reserved in the Freire complex (Washington). this research is based on the analytical-descriptive way of reading a painting that called visiting Majnoon and Lilly and relying ...
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Most of the resources are unanimous in the formal changes of the haft-orange collection of Ibrahim Mirza in the Safavid era which is reserved in the Freire complex (Washington). this research is based on the analytical-descriptive way of reading a painting that called visiting Majnoon and Lilly and relying on the method of aesthetic sociology. applying the ideas of R. Whitkin we try to answer to this question: how can we able to provide the perceptual background of artists in the Safavid era? For this purpose, first we concentrate on the binary oppositions of the painting like humans and nature, cold and warm colors, writing (calligraphy) and image, center and margin, and so on. The result of such a focus is the highlighting the formal characteristics and style of this painting. at last, We will relate the formalistic level to the level of social context, along with the introduction of the perception system of the first period of the Safavid era. Some effective reasons stem from Artistic conventions, safavid historical imagination toward nature, Ibrahim mirza`s taste and shah tahmasb convertion. The result of the examination of a variety of binary oppositions and some social factors suggest that artists' perception was moving towards visual-tactile one.
