دانشگاه هنرمیدان مشق هنر2717-26781320201121Community gardens against urban parks; Two different views on the status of society in urban green spacesباغ های اجتماعی در برابر پارک های شهری؛ دو نگاه متفاوت به جایگاه جامعه در فضاهای سبز شهری954/mmh.2020.21FAنداعرب سلغاردانشجوی دکتری معماری، دانشگاه هنر، تهران، ایراننادیهایمانیدانشیار دانشکده معماری و شهرسازی دانشگاه هنر، تهران، ایرانJournal Article20211117Urban green spaces as an essential component of contemporary cities are an important source of qualitative (aesthetic) and quantitative (per capita) features. Public parks and Community gardens, as two important areas of urban green spaces, have different opportunities and challenges in providing ecosystem services to the community. The most important difference is the position of society in the "space production process", which has led to the distinction between the two urban spheres. The emphasis on expanding the "social action" in the process of product and design of green spaces offers a new perspective on this urban space. In this regard, Community gardens1 can be described as a different spatial experience versus urban parks that are shaped by the actions of citizens and their active participation. "Community gardens with public access" refers to green spaces that are accessible to all at any time of the day; collectively managed by various interest groups in civil society, and in which formal obstacles for immediate participation by the public are absent to low. Official barriers are written regulations such as a contract, license, or ordering system. Studying Community gardens is essential for three reasons: First, these gardens are not only a source of natural value, but also a place to foster "social interaction". Where individuals have the opportunity to provide for their spiritual (stress, concentration and meditation) and physical (gardening and other physical) needs. Second, with proper organization, they will have the potential to be adopted by all different social groups and classes, where they are referred to as the "Cosmopolitan canopies". A diverse and heterogeneous space that not only provides the opportunity for daily rest, but also the opportunity to look and learn from other differences. Third, individuals from different groups and backgrounds work together on a piece of community garden land, thereby creating information networks and voluntary social activities that enhancing participation, as well as provide neighborhood control and security. In this article, after reviewing the concept of Community gardens, its features as a different spatial experience compared to urban parks are analyzed. This article is a type of descriptive-analytical articles; the information is collected through library method and then its conceptual dimensions are analyzed. The results show that community gardens have created a variety of public green spaces outside of formal planning structures formed by local residents and reflecting community needs for green spaces. In a holistic sense, it can be described as an illustration of the forms of sustainable urban development that "spring from below" which the active and empirical participation of citizens plays a key role.فضاهای سبز شهری یکی از اجزای ضروری شهرهای معاصر میباشند. با اشراف بر این موضوع که پارکها منبع مهمی از ویژگیهای کیفی (زیباییشناسی) و کمی (افزایش سرانه) هستند؛ با این حال دیدگاه جدیدی نسبت به فضاهای سبز شهری فراتر از این مفاهیم در حال ظهور است. در این دیدگاه بر افزایش "فعل اجتماعی" در روند تولید و طراحی فضاهای سبز تأکید میشود. باغهای اجتماعی1، یک تجربه فضایی متفاوت در برابر پارکهای شهری است که بر مبنای اقدامات شهروندان و مشارکت فعال آن-ها شکل میگیرند. در این مقاله باغهای اجتماعی به عنوان یک تجربه فضایی متفاوت مورد تحلیل قرارگرفته است و میزان اثربخشی فعل اجتماعی در آن در مقایسه با پارکهای شهری مورد پرسش قرار گرفته است. این مقاله از انواع مقالات توصیفیـ تحلیلی است؛ اطلاعات با روش کتابخانهای جمعآوری شده و سپس ابعاد مفهومی آن تحلیل شده است. نتایج نشان میدهد باغ-های اجتماعی گونهای از فضاهای سبز عمومی، خارج از ساختارهای برنامهریزی رسمی ایجاد کرده است که توسط ساکنین محلی شکل گرفته و منعکسکننده نیازهای جامعه به فضاهای سبز است. در یک مفهوم جامع میتوان از آن به عنوان تمثیلی از صورت-های رشد پایدار شهری که از "سطوح پایین سرچشمه"2 میگیرد و مشارکت فعال و تجربی شهروندان در آن نقش اصلی دارد، نام برد.دانشگاه هنرمیدان مشق هنر2717-26781320201121Neoformalist analysis of Iranian feature Safirتحلیل نئوفرمالیستی فیلم سینمایی سفیر955/mmh.2020.20FAجلیلمهروزکارشناس ارشد سینما، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایرانامیرحسننداییاستادیار دانشکده هنر و معماری دانشگاه تربیت مدرس، تهران، ایرانمحمدعلیصفورااستادیار دانشکده هنر و معماری دانشگاه تربیت مدرس، تهران، ایرانJournal Article20211117In the world of communications, the influential Film media has an important role to play in changing societies and people’s attitudes and their life style. Therefore, successful cinematic representation of events and lives of the influential characters of a nation, has an important role in the self-assessment and evaluation of the society and finding the way to achieve human perfection. In the view of the aforementioned cases and the obvious weakness and inadequacy in film production and theoretical academic research in the field of cinema related to the “Ashura”, in order to examine the strengths and weaknesses of feature films based on this epic event, the movies Ambassador and Mukhtarnameh: The Road to Love are analyzed using a neoformalistic approach. The findings of this study indicates that the film Ambassador and to some extent Mukhtarnameh: The Way of Love have major problems in terms of narrative form and visual style. As a result, some of the types of meanings created in these films are in contrary to the historical facts or the influential figures in the history of Ashura. <br />Considering the importance of the narrative form and its associated visual style in creating affective meanings and defamiliarization from existing concepts, it is suggested that following topics get more attention: cinematizing of religious themes and events, harmony in mise-en-scenes, coherence and integration among narrative form system, visual style and semantic layers. Also, in this regard, extensive and in-depth sociological, psychological, anthropological studies on the land where the events and happenings of the film story world took place, are necessary. This way, a rich and detailed texture is created in the film’s formal system via designing subplots in the film narrative of the lives of ordinary people at the time of film events. Sociological studies and the design of subplots on the lives of indigenous peoples of the period related to the world of film story, lead to the formation of a good dramatical situation and visual diversity. The three main elements of the formation of the dramatic situation, namely place, time and character, in relation to the data inside the frame and the data outside the frame, must be well represented cinematically so that the dramatic situation, with which a narrative begins, should be properly and effectively created. One of the important points in the field of historical cinematic works about the events and lives of influential religious figures, is that the results and types of meanings derived from the concepts of dramatical situations that arise in the viewer’s mind should not be in contrast to the results and types of meaning derived from real historical situations. It should be noted that great care should be taken in designing cinematic narrative forms to avoid any superficiality, conceptual errors, excessive deviation from the real world life realities. <br />In the field of religious cinema, cinematic narratives from the contemporary world with religious themes can undeniably, and more cost-effectively, renew the viewers' perception of religious attitudes.بازنمایی سینمایی موفق رویدادها و زندگی شخصیتهای تأثیرگذار در سرنوشت ملتها میتواند در خودشناسی و ارزیابی جامعه انسانی از خود و رسیدن به کمال انسانی راهگشا باشد. با توجه به کم کاری مشهود در حوزه تولید فیلم و پژوهشهای نظری دانشگاهی در زمینه آثار سینمایی مربوط به قیام عاشورا، به منظور بررسی نقاط قوت و ضعف فیلمهای سینمایی داستانی بلند ایران با محوریت مضمونی این قیام حماسی، فیلم سفیر با رویکرد نئوفرمالیسم مورد تجزیه و تحلیل قرار گرفت. <br />یافتههای این پژوهش نشان میدهد که فیلم سفیر از نظر ساختار فرم روایی و سبک بصری با مشکلاتی اساسی مواجه است، به نحوی که برخی از انواع معانی خلق شده در این فیلمها با واقعیتهای تاریخی، زندگی شخصیتهای تأثیرگذار عاشورا و نیز با معانی قابل استنباط از منابع تاریخی مورد استناد در این پژوهش، تفاوتهای آشکار دارد. پیشنهاد میشود در حوزه پژوهشهای نظری و بازنمایی سینمایی رویدادهای تاریخ دین و زندگی شخصیتهای تأثیرگذار دینی، موضوعاتی چون واقعیت گرایی تاریخی، تناسب میزانسنها با خط روایی، انسجام و یکپارچگی بین سیستم فرم روایی، سبک بصری و لایههای معناشناختی در هر اثر سینمایی، و سینمایی شدن مواد و مصالح برگرفته از زندگی واقعی مورد توجه بیشتری قرار گیرد.دانشگاه هنرمیدان مشق هنر2717-26781320201121The Creation Process in The "Manzoomeh Zaman" Music album: Applying Composition Techniques in Iranian Classical Music Contextفرآیند خلق در آلبوم موسیقی «منظومه زمان»: بهکارگیری فنون آهنگسازی در بستر موسیقی ایرانی956/mmh.2020.22FAسپهرسراجیمدرس مدعو دانشگاه تهرانJournal Article20211117Compositional repertoire in Iranian classical music tradition has been more and more important throughout the century. Since Ali-Naghi Vaziri and his caliph R.Khaleghi has begun to new experiences on composition in Iranian classical music, great number of works has composed and performed in context of Iranian music composition tradition. The second generation of Vaziri followers is A.Saba, M.Mahjoobi, F.payvar, H.Khorram, P.Yahaghi which have numerous mount of works in Iranian classical music genres like Tasnif. Although the third generation of Iranian classical musicians had a new ideology and approach about musical terms like Radif and its subordinates but seeking to modernizing Iranian music through development of composed repertoire. These works try to apply polyphony methods like counterpoint in case of Iranian modes and expressions. Most outstanding musicians in this generation are Hossein Alizadeh, Parviz Meshkatian, M.R Lotfi. Now, here is such a case report which is formed based on an idea to apply composition techniques through Iranian music named “Manzoomeh Zaman” (which means the poem of time). It is an instrumental suite for Iranian instruments ensemble include these in order of partiture manuscript: Santoor, Ghanoon, Tar, Oud, Tarbass, Nay, Kamancheh, Gheychak alto and accompaniment of cello in lack of string bass instruments in Iranian musical tradition. The text is a representation of creation procedure according to how could employ composition knowledge in creation of an Iranian classical music piece by analyzing “Manzoomeh Zaman”. In this report four aspects of musical composition is been focused in relation with the suite. The first one is Form, explaining the plan of Manzoomeh Zaman movements and relations with Form in classical meaning. The second aspect is texture, containing approaches to polyphony in the piece. There are many different hypothesizes among musicians about “how would Iranian music be polyphonic” and Manzoomeh Zaman tries not to be affected by just one opinion but contain everything that could help to sound Iranian music modes more pure. Both homophonic and polyphonic textures applied along movements. In addition all over the suite there is use of either harmony of thirds, fourths and some other clusters which composer feels tuned. The third aspect is orchestration. There is not any practical instruction about how to orchestrate iranian instruments, so there is an experimental attempt in the piece, to reach attractive and new combinations of instruments. The last aspect is musical language which is the most serious part of innovation in Manzoomeh Zaman. If suppose that iranian classical music has own language and structures for expression, so the suite tries to propel borders of this language. One of the most important evidences is trying to express totally without words which is such strange in Iranian compositional tradition. The other one is to applying Iranian modal system so freely than traditional repertoire. It means that modes here have more similar behavior to tonality concept. The last point is about modulation. The movement of modes in the piece from Chahargah to Homayoun and next one to Abu-ata and then move to Shour and at last modulation to Segah is not likely modulation in a traditional context.متن حاضر، چگونگی بهکارگیری فنون آهنگسازی را در یک آلبوم موسیقی کلاسیک ایرانی با عنوان منظومه زمان بررسی کرده و فرآیند خلق و شکلگیری قطعات مجموعه را مطالعه میکند. از آنجه که هدف و محور اصلی شکلگیری این آلبوم، تلاش برای غنیسازی فن آهنگسازی در بستر موسیقی کلاسیک ایرانی بوده است، این مطالعه با نگاهی گذرا به جایگاه آهنگسازی در موسیقی ایرانی آغاز میشود و در ادامه به یادداشتهای نگاشته شده توسط متخصصان دربارۀ منظومه زمان میپردازد. سپس شاکلۀ اثر از چهار منظر تحلیل میشود تا در نهایت به توصیفی از تجربیات حاصل از خلق و اجرای این مجموعه دستیابد. این چهار منظر عبارت اند از: فرم، بافت، سازآرایی و زبان موسیقایی. در بخش اول، فرم پویههای اثر تحلیل و معرفی شدهاست. سپس در بخش بافت نحوۀ طراحی بافت چندصدایی قطعات بررسی میشود. در قسمت سوم دیدگاه و فنون سازآراییِ بهکار گرفته شده در اثر بررسی شده و در نهایت ویژگیهای مربوط زبان موسیقاییِ آلبوم منظومه زمان، پیرامون خودبسندگیِ زبان موسیقایی معرفی شدهاست.دانشگاه هنرمیدان مشق هنر2717-26781320201121An overview of Parthian coins and their symbols based on documentary of Parthian coins of the Dark Ages from Goodarz I to Farhad IIIمروری بر سکّههای اشکانی و نمادهای آنها براساس مستندنگاری سکّههای اشکانی دوران عصر تاریکی از گودرز اول تا فرهاد سوم957/mmh.2020.23FAخدیجهباصریدانشجوی دکتری فرهنگ و زبانهای باستان، دانشگاه علوم و تحقیقات، تهران، ایرانمجتبیمنشی زادهدانشیار دانشکده ادبیات فارسی و زبان های خارجی، دانشگاه علامه طباطبایی، تهران، ایرانآمنهظاهریدانشگاه آزاد اسلامیJournal Article20211117Dark Age which was from the time of Goodarz I to Farhad III According to the sources obtained, the Parthians were racially divided the "Dahe" tribe is one of the migrant tribes of the region Transoxiana and the southern plains of Siberia return. Due to the pressure of yellow-relative tribes on other tribes in the region, it caused the tribes of the region turn to the west the "Yucci" tribes due to pressure Hōnha They put pressure on other tribes in the area and these tribes to the south and southwest That is, Iran and India migrated. Among these tribes are the Dāhe people. The Dāhe tribes migrated with the yellow tribes They mixed the area This people are one of the white people "Sakai" was Sakāī who collided Influenced by the yellow tribes of the region Their customs and beliefs were established. There is a comparison of coins with each other, which is also related to the historical part and the numismatics section of this period has been considered. The Dark Ages of the Parthian period Goodarz I to Farhad III between the years 95-57 BC is considered. This period is after the reign of Mehrdad II The period when the Parthian government reached stability and strength Which lasted for more than three centuries until the fall of the Parthians in the year 226 AD Ups and downs and external and internal threats, He could not get rid of it. However, the fall of Mehrdad II Who was one of the greatest kings of Parthia It coincided with the emergence of a phenomenon in Parthian history Throughout the history of this dynasty to weaken it against Internal and external risks helped Of course, it was not a permanent phenomenon Parthian Empire He has gone through some glorious times, but this is a potential danger for It was considered government proof. This phenomenon was the emergence of usurpers That large Iranian families with Private armies They supported them independently Explain this phenomenon, which is illustrated History of the Parthian state It is closely related Without rebuilding the military foundation the economic aristocracy of Parthia is not possible, which in turn are old ideas about existence Slavery system and its role in Iran Rejects. Moreover, due to the lack of Greek sources of vlatin and failures These meager resources are the details of this process It will not be clear to us. Unless new information from Discoveries inside Iran Be available to us. An example of related problems to the sources, perhaps the story of Goodarz I. (98/81.80 p.m.). His name, along with the title Shahrab Shahraban Satrap Satrapiya Or Shetropan Shetroie. This is the same title the title of emperor is the king of kings Which is written in Bistoon inscription Mehrdad was the king in 92/91 BC, but if we judge by coins, we see that in 90/91 P.M. Goodarz the king was also part of Iran.دوران عصر تاریکیDark Age)) که از زمان گودرز اول تا فرهاد سوم بوده است با توجه به منابع بدست آمده، اشکانیان از لحاظ نژادى به قبیله" داهه" Dāhe یکى از اقوام کو چ رو منطقه ماورا ءالنهر و دشتهاى جنوب سبیرى باز میگردد. بر اثر فشار اقوام زرد پوست به سایر اقوام منطقه باعث شد اقوام منطقه به طرف غرب روى بیاورنداقوام "یوئوچى" Yūùčì به سبب فشار" هونها" Hōnha به سایر اقوام منطقه فشار وارد کردند و این اقوام را به سوى جنوب و جنوب غربى یعنى ایران و هند کوچ دادند. از جمله این اقوام، قوم "داهه" Dāhe هستند. اقوام "داهه" Dāhe در اثر کوچ با قبایل زرد پوست منطقه اختلاط پیدا کردنداین قوم یکى از اقوام سفید پوست "سکایى" Sakāī بوده که در اثر برخورد با قبایل زرد پوست مهاجر منطقه تحت تأثیر آداب و رسوم و اعتقادات آنها قرار گرفتند. مقایسه سکه ها با یکدیگر هست که هم به بخش تاریخى و هم بخش سکه شناسى این دوره توجه شده است..عصر تاریکی دوره پارتیان دوره زمانی گودرز اول تا فرهاد سوم بین سالهای 95-57 پیش از میلاد محسوب می شود.دانشگاه هنرمیدان مشق هنر2717-26781320201121Introducing the Analytical Approach to Identifying Themes in Fiction Filmsمعرفی رهیافت تحلیلی درونمایهشناسی فرهنگی در فیلمهای عامهپسند؛ مطالعة موردی فیلم اخراجیها958/mmh.2020.24FAحسینیزدانشناسدانشجوی دکتری پژوهش هنر، دانشگاه هنر، تهران، ایرانسیدمحسنهاشمیدانشیار دانشکده سینما و تئاتر، دانشگاه هنر، تهران، ایرانJournal Article20211117Studying films to obtain and discuss their themes, often within the framework of qualitative methodology, always faces the problem that extracting what is in the film depends more on the accuracy of the researcher's tastes, and changes in viewing conditions can change the results. Having a framework for studying the content of the films, in addition to giving them the necessary consistency on the basis of theoretical backgrounds, makes the results of the study more consistent and thus the data are more reliable.<br />The theme is a concept in literary criticism that has hundreds of years’ history in dramatic literature and was redefined in the works of Russian formalists at the beginning of the 20th century and found new uses. The theme can be understood as the semantic aspect of a fictional work that is represented in it by its formal elements. Stuart Hall categorizes existing approaches to representation and choosing constructionist representation as the preferred approach. He applies this critique to Saussure's semiotics, which made a theoretical approach to explain how words act as sign language, while in cultures, meaning is often linked to larger units such as narratives, collections of images and discourses. Laclau's and Moff's discourse theory is one of the existing approaches to social constructionism. In this research, we have adopted a constructivist representation approach and, with the help of concepts provided by Laclau's and Moff's theory of discourse, we propose a method to help extract the themes of the films from their narrative.<br />The narrative of the film is the source of its themes, but since filmmakers often try to express what is on their minds circuitously, understanding the themes of the narrative is not an easy task. In this study, by introducing the concepts of objective and narrative constructs, we seek to separate and classify the data extracted from the film. Objective constructs, as the name implies, are the result of the audience's perception of film sounds and images, and narrative constructs are abstract constructs that are formed in the mind of the audience on the basis of objectively received structures, that is, the film's character and plot. In this way, first, by relying on characterization as the result of the combination of the film's multiple sign systems, in the light of Laclau's and Moff's discourse theory, we consider the character as a nodal point that articulates the information that the film provides about him. Therefore, revealing the personality traits will be like revealing how to articulate his identity, and in the next step, after identifying the common features of the film's characters, we come to group identities. By applying this method in Deportees (Ekhrajiha by Mass’oud Dehnamaki, 2007) we come to two contrasting group identities: the true religious represented by clergyman and Mirza, and the religious claimed by Haj Saleh and Abbas. On the other hand, by exploring the main events of the narrative and how they relate to each other, one can find other thematic propositions in the films; in this film, true religious tolerance leads to collective redemption of misguided people.درونمایهشناسی فرهنگی به معنای مطالعة تطبیقی درونمایهها در آثار ادبی-هنری یک پیکرة فرهنگی از روشهای جدید برای مطالعة فیلمهای سینمایی است. مطالعة فیلمهای سینمایی برای به دست آوردن و بحث دربارة درونمایههای آنها که اغلب در چارچوب روششناسی کیفی به انجام میرسد، همواره با این مشکل مواجه است که استخراج آنچه در فیلم آمده بیشتر به دقّت و سلیقة پژوهشگر وابسته است و با تغییر شرایط مشاهده، نتایج آن میتواند تغییرات بسیاری داشته باشد. داشتن چارچوبی برای مطالعة محتوای فیلمها علاوه بر اینکه بر اساس پشتوانههای نظری به مطالعة آنها نظم و انسجام لازم را میدهد، باعث میشود با تغییر شرایط مشاهده نتایج آن کمتر تغییر کند و از اینرو دادههای حاصل دارای اعتبار و پایایی بیشتری باشند.<br />درونمایه، مفهومی در نقد ادبی است که سابقة چندصد ساله در ادبیات نمایشی دارد و در آغاز قرن بیستم در آثار فرمالیستهای روس بازتعریف شد و کاربردهای تازهای پیدا کرد. روایت فیلم، سرچشمة درونمایههای آن است؛ ولی از آنجا که فیلمسازان اغلب میکوشند آنچه را در پس ذهنشان قرار دارد، در لفافه بیان کنند، فهم درونمایه از روایت چندان کار سادهای نیست. در این پژوهش روشی برای تحلیل درونمایة فیلمهای داستانی براساس سازههای روایی آنها شامل پیرنگ و شخصیتپردازی معرفی شده است. نتیجه اینکه با بهکارگیری این روش، استخراج درونمایهها و دستیافتن به معانی ضمنی و نمادین آنها به صورتی روشمند و سازمانیافته ممکن میشود.دانشگاه هنرمیدان مشق هنر2717-26781320201121Music and Everyday Life, The Cultural Study of Musicموسیقی و زندگی روزانه، نوشته: سایمون فریث959/mmh.2020.25FAمحسننورانیدانشگاه هنرJournal Article20211117