Defamiliarization and Dedramatization of History
Bahram
Jalalipour
Assistant Professor, Faculty of Cinema and Theater, University of Art, Tehran, Iran
author
text
article
2020
per
Art in general, and theater works in particular, is a venue for the manifestation of human life and related branches of knowledge, that provide a suitable material for interdisciplinary studies. On this basis, studying the relationship between these branches of science and art as well as their manifestation in art needs interdisciplinary studies. Tracing history in the works of art and the theatrical works by Bahram Beyzaei, as a good case in point, provides a suitable material for that purpose. This paper seeks to classify Beyzaei''s works in terms of concentration on history in a bid to shed light on his views vis-à-vis this issue. Yet more significantly, it will try to explain how this special view would contribute to the development of Beyzaei''s performing art.To that end, through a library study and following an analytical-descriptive method, Beyzaei''s works are classified under three categories in terms of focus on history. Then, fake and doctored history on one side and traditional and genuine history on the other are studied in his works. That would aim to show the former serves an ideological tool in the hands of the strong to make subordinates submit. The findings of this study indicate that Beyzaei''s characters are all critical of the authenticity and accuracy of historical references and from this standpoint his views are close to ‘neohistoricists''. Therefore, Beyzaei may be described as a fully post-modernist playwright.In response to the second question, we can see that although a sort of philosophy of history may be detected in Beyzaei''s works, he goes beyond philosophical analysis and concentrates his views on the creation of drama. In other words, the essence of drama creation in Beyzaei''s works raises doubts about the historical discourse and gives rise to controversy in distinguishing genuine history from fake history.Therefore, Beyzaei''s works are all a kind of attempt to uncover the reality. By referring to the findings of the first question and the post-modernist fact that there is no ultimate reality, or at least it is not accessible, we are headed towards the tragic aspect of such challenge in Beyzaei''s works.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_942_79086e12d5e79385958293f0625cac97.pdf
dx.doi.org//mmh.2020.7
Conceptual examination of the presence of the name of "Prophet Muhammad (PBUH)" along with the name "Allah" in Islamic Culture
Somayeh
Mohamadpour
Mazandaran University
author
Reza
Bayramazdeh
Urmia University, West Azerbaijan, Iran
author
Saeed
Ahmadi Oliaei
Urmia University, West Azerbaijan, Iran
author
text
article
2020
per
Theorists believe that Jesus Christ is the "Logos" in the Christian world. Perhaps this is the most important reason for the massive and continuous presence of Christ in the art of Christianity. Because he was the embodiment of God on earth, and his iconography promoted the spirit of Christianity. This article aims to analyze the reason for the presence of the Prophet's name along with the name of Allah in a spiritual and conceptual sense. Certainly, because of the sacredness of Islamic art, most of the names and images that came in the artwork were based on religious reasons and had a divine origin. The research hypothesis emphasizes the difference in the reason for the manifestation of the name of the Prophet in Islamic art and the reason for the manifestation of Christ's icon in Christian art. The results of the findings and analyzes showed: According to verses which explicitly refer to the Prophet's humanity, he cannot be regarded as the Son of God or the Logos. But on the one hand, he is the most complete and high man, according to the Koran, possesses divine attributes; Traits such as Rahim, Noor and Shahid, which are divine names. By examining some of the works of Islamic art, and observing the name of the Prophet (PBUH) alongside the name "Allah", which dates from the very first century to the present day, one can conclude: the spiritual reason for this is the manifestation of divine attributes in the blessed existence of the Prophet. In fact, if the Christians' intention of bringing the image of Christ is the understanding of God in the physical dimension, the presence of the name of the Prophet beside the divine names is due to the reverence to the supreme position of a perfect man, which is part of the divine attributes.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_943_ce5916aa9776f187a88493f141a9ed09.pdf
dx.doi.org//mmh.2020.8
Changing taste with even of harmonious flavors, Case Study: Morteza Hannaneh's Attempts to Multiplex Iranian Orchestral Music
nourani
nourani
ART Universuty
author
text
article
2020
per
Since the first generation of Iranian music, in the twentieth century, went to European countries to learn music, they have sought to change the structure of music. One of these changes was the theory of adjusting the Iranian distances by Ali-Naqi Vaziri and harmonizing it. This approach was so welcomed that other composers, such as Morteza Hannaneh, also attempted to incorporate Iranian music into Western classical orchestral structures and to consider the harmony of interest of it. Thus, by studying Western music and various harmonies, he concluded that Iranian music could benefit from paired harmonies such as second and fourth harmonics because of the special structures. And in this approach Iranian music will be able to preserve its identity and be seen and heard in global structures.Therefore, he presented his couple's theory of harmony with a functional representation in his works and then in the structure of scientific texts such as writing a book with themes like missing steps, believing that, according to his experiences, the harmonies used by him meet the needs of Iranian harmonic music. And he was trying to make this theory universal. In this way he even criticized the theories of the acoustic and underlying sciences of Iranian music that were in the works of Farabi and others, and believed that all these theories should be criticized in the scientific and practical structures of Western music so that Iranian music could be modeled on the Western and Symphonic orchestra to adapt. Of course, Hannaneh embarked on this difficult and challenging path initially with the likes of Parviz Mahmoud and Rubik Gregorian. But in the middle of this way, with the separation and departure overseas, the responsibility was left to Hannanah’s, who also struggled with the sense of responsibility and somehow the mission of this great change, with great opposition. Whether it was criticized at the time or until his ideas and practices were criticized.Whatever the case, this is so important that it is occasionally dealt with. Of course, he was also aware that this was accompanied by some kind of historical and religious determinism, which did not allow his approaches to the field of music to operate. But upon reading this research and pondering within the story, the reader realizes that the theories of humanness are possible in some parts. However, in some cases they have gone astray. In keeping with the movements of Hannaneh in Iranian music and the thinking of other Iranian music theorists such as Barksheli, Masoudieh, Mansouri, Pourtorab, Hormoz Farhat on the one hand, and practical measures in the field of musicianship and performance such as Waziri, Khaleghi, Boroumand and Musa Maroufi on the other hand, we note that others have done research in this field, and everyone has tried to advance the science of Iranian music, but he has been persuaded to do so by creating innovative theories in a Western scientific sense.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_944_d9f79ca964095034e893783bac936a07.pdf
dx.doi.org//mmh.2020.10
The correlation between Music Performance Anxiety and self-esteem in Western classical music performance students
Iman
Fakhr
Art University of Tehran
author
text
article
2020
per
The students of Western classical music performance encounter different kinds of anxiety pressures. One of the most prevalent ones is music performance anxiety. Performance anxiety-the exaggerated and incapacitating fear of performing in public-is a widespread problem among musicians. It occurs frequently and can cause considerable distress. This fear afflicts individuals who are generally prone to anxiety, particularly in the situation of high public exposure or evaluation. Hence, with a cognitive over view, performance anxiety is like Test-anxiety and social phobia. Performance anxiety probably is as old as artistic performance itself, but psychological researches on it was started only about some decades ago. Studies have shown that high percentages of anxiety disorders are common among musicians during performance activities. Irrationality, perfectionism and catastrophic cognitions, are the main characteristic of musicians. Unfortunately, these are the main cognitive reasons of increasing fear which reduces success-ratio of performance. Fear of the negative evaluations, pessimistic self-talk, irrational beliefs and feeling of panic can seriously affect performance quality.Conquering stress needs normal personal characteristics such as self positive evaluation. Self-esteem is a durable and stable evaluation of one's self and has been the subject of many researches of the recent decades. Research showed that the high level of this evaluation is an effective factor in the case of curing anxiety disorders. This study investigates the correlation between performance anxiety and self-esteem in Western classical music instrumental performance students of University of Art. In this correlational-descriptive study, 120 performance students enrolled in second to eighth semester were selected in December 2016. The sample includes 59 female and 61 male (mean age = 21.6 years, SD=4) students. They had musical instruction for mean (SD) time of 9.29 (3.9) years. Demographic data were collected via self-reported component questionnaires. Furthermore, validated Osborne-Kenny music performance anxiety inventory questionnaires (15 questions) were used in order to assess the quantity of student’s performance anxiety. Then, the data were supported by validated Spielberg state-trait anxiety inventory (40 questions). Calculated Cronbach’s alpha showed high internal consistency reliability of both inventories (α= 0.9). Finally, the quantity of self-esteem was assessed by validate Cooper Smith Self-esteem inventory (58 questions) with high internal consistency (α= 0.8). The data were analyzed by SPSS-22 software, using descriptive statistical methods and Pearson correlation coefficient with significance level 0.05.The results showed, the mean (SD) of student’s performance anxiety scores were assessed 47.8 (15.09) and state and trait anxiety scores were calculated in order 44.07 (14.4) and 43.2 (11.8). The mean (SD) of self-esteem scores was 31/5 (1.7). There was statically significant negative relationship between performance anxiety and self-esteem. In addition, the statically significant negative relationship between self-esteem and state-trait anxiety was found. With a deductive overview, results showed students’ self-esteem were considerably effective on performance anxiety. It means that the high levels of self-esteem can reduce the performance anxiety disorders. According the above mentioned, learning techniques of increasing self-esteem may be beneficial. Hence, it was recommended, a rehabilitation courses with the purpose of instructing these techniques in the educational period of Western classical music performance’s students to be hold.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_945_7704f4b5b0b589dc77202f2af37c4c12.pdf
dx.doi.org//mmh.2020.11
THE BEAUTY OF BUILDING 20, Written by: Rita Risser
Haleh
Haj Yasini
Art University of Tehran
author
Fatemeh
Tavanaei Marvi
University of Shahid Behshti, Tehran, Iran
author
Nazafarin
Tavakkoli
University of Shahid Behshti, Tehran, Iran
author
Azin
Saeedi
University of Queensland, Brisbane, Australia
author
text
article
2020
per
Vitruvius’ statement that architecture is the confluence of venustas, utilitas and firmitas (beauty, utility, and soundness of structure) is bedrock in architectural theory. It is a statement on the nature of architecture itself. I will accept Vitruvius’ specification of architectural works, and then ask if there is an appropriate way to judge such works as beautiful. Often it is assumed that beauty in architecture is a matter of formal visual style, and not at all related to utilitas and firmitas.Itis customary to declare a stylish building beautiful, even though it is impractical and illfunctioning. The building may not be deemed a particularly good building, but beautiful nevertheless. Conversely, it is not customary to deem a visually unremarkable building beautiful, even though it is an exceptionally useful building. My position veers from these norms. I think it is possible to find visually unremarkable, frankly utilitarian buildings, such as MIT’s Building 20, beautiful. Moreover, I think it is possible to withhold a positive judgment of beauty from a building that, despite being visually remarkable, fails in its utility. In what follows I will draw on Immanuel Kant’s theory of ‘adherent beauty’ as a model for judging as beautiful visually unremarkable, but exemplary utilitarian buildings. Kant’s theory is useful in this regard as it allows considerations of both utilitas and firmitas to bear on judgments of beauty. Not only does Kant’s theory provide a model for judging utilitarian buildings beautiful, it also sheds light on why one might withhold a positive judgment of beauty from a visually remarkable, but ill-functioning, building.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_946_16ca926b3b7f8f583ff2a132eb2675a7.pdf
dx.doi.org//mmh.2020.12
Iran Bastan Museum; the Graft of Past, Present and Future
Nushin
Ziashahabi
Art University of Tehran
author
Nadieh
Imani
Associate Professor, University of Art, Tehran, Iran
author
text
article
2020
per
The Iranian nation has experienced a variety of changes in socio- economic-cultural aspects of his life during the reign of Reza-Khan (1925–1941). In this period, a system of government was established that attempted to gather the modernization of the country with the desire to return to the glory of ancient Iran. The appearance of the nationalistic-modernist attitude is manifested in the architecture of the governmental buildings of that time. During this period, because of the relatively slow economy and the necessities of post-war reconstruction in Iran, only token architectural and city planning gestures could be afforded. The results of this were a great collection of buildings and edifices in Tehran and other cities that indicated the government’s attention to useful exploitation of them. Nationalism and modernism bound the past to future. Some designers created works that were reminiscent of Iran''s historical architectural heritage. Among these buildings, the Iran Bastan Museum is a notorious outstanding one.In 1935, the French archaeologist and architect Andre Godard (1881-1965), designed the Iran Bastan Museum in Tehran. He carved out a grand parabolic entrance gateway reminiscent of the historic Sassanian Ctesiphon Vault, with brick detailing of robust elegance. The museum has two floors as showrooms contain artifacts from the lower, middle, and upper Paleolithic, as well as the Neolithic, Chalcolithic, early and late Bronze Age, and Iron Ages I-III, through the Median, Achaemenid, Seleucid, Parthian, and Sassanid periods. Moreover, the museum has a basement for storing and preserving archeological objects. This museum also has a lecture room, auditorium, and library. The museum building designed by Godard began in 1935 and completed within two years by Haj Abbas Me’mar and Ostad Morad Tabrizi, officially it was inaugurated in 1937. Being a masterwork of the architectural art the building is distinguished through following characteristics: First as the first museum built in Iran, Iran Bastan museum manifests the governmental inclination to gather the modernistic attitude with the nationalistic nostalgia like a symbol of growing national identity. Second because of the pattern of the building, that is inspired from the original Iranian architecture e.g. the main entrance of the building is built in the style of Sassanid vault, particularly the Iwan of Ctesiphon. Moreover, the last is because of the importance of the building consists in the collected archeological relics and include some rare medieval textiles and rug pieces.Today this genuine historical building demands preservation. Iran Bastan Museum stands as one of the most original contemporary interpretations of the architectural heritage of Iran. In addition, it could be said that the architectural design approach and buildings of Andre Godard, had a pivotal impact on Iranian architectural thinking.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
1
no.
2020
http://mmh.journal.art.ac.ir/article_947_1b34df7814235560f9aa4ca366205003.pdf
dx.doi.org//mmh.2020.13