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سال چهاردهم شماره 52 (مهر 1396)

Since the 20th century and following the experience of two world wars and other human catastrophes, the concept of trauma, as an individual and collective phenomenon, has been widely discussed in both scientific and public spheres. Although it is difficult to determine clear boundaries for the categorization of factors causing individual and collective trauma, war can be regarded as a traumatic phenomenon and the concept of trauma resulting from war trauma can be thus advanced.
Problem Statement and Key Questions The present research focuses on the representation of individual and collective war trauma in works of art with a look at the paintings of two German artists in the years following World War I and World War II. This study aims to trace and study the interactional relationship of these works with individual and collective trauma in the cultural and social context of the post-war society in the defeated country. In fact, this study tries to answer these questions: how does the representation of individual war trauma in these paintings interact with collective trauma in the setting of the post-war society? How can the representation of collective trauma in works of art by different post-war generations be explained by Freudian and post-Freudian psychoanalytical theories?
Research Methodology To answer the research questions, first psychoanalytical theories about trauma (especially war trauma), with an emphasis on the ideas of Freud, will be discussed. In the course of the content analysis of the works of art, this psychoanalytical approach will serve as a departure point in relation to which the assessment of cultural and social conditions and the biography of the artists will be undertaken. Thus, this study shows that works of art can serve as a means of representation of the memories of individual and collective trauma. For a better understanding of the different individual and collective aspects of war trauma, two German artists from two different generations have been selected for the case study. The fact that one of them belongs to a generation that has experienced war and the other is from a generation that inherited the consequences of war from the generation of their parents, provides us with a better opportunity to study the representation of trauma as an individual or collective experience.
Research Objective The present study tries to identify the signs and features determined in psychoanalysis to diagnose trauma in the works of two German painters from the era following the two world wars as a representation of individual and collective war trauma and explain the content of these works through a psychoanalytic reading. This study provides for a better understanding of the analyzed works and develops a model for the study of the representation of war trauma in similar works in other societies and historical eras following different wars.

Todays, the emergence and continuity of place meaning is significant in response to identity crisis. Additionally, it is clear that when a breakup occurred in the continuous flow of identity, a crisis appears, which is the focus point of this article. For this, the authors presented a conceptual framework for place meaning and indexes for its continuity, which could be a helpful guide in determining the priorities and continuity of place meaning. Considering this topic is really important as there is a large amount of literature on the meaning of place and its elements but there is not much on the continuity. On the other hand, regarding vast changes taken place in the Central part of Mashhad city, searching for the perception of continuity is essential. So, first of all, literature of place, place meaning and continuity as one of its major principles have been reviewed. Then our position in this amount of literature has been modified in the form of conceptual framework. In the conceptual framework a new conceptual triple model has been presented for place, which consisted of three components of space, time and human. In the proposed model, the meaning of place is considered as relations between these components. In addition, the concept of continuity as a principle governing place meaning is placed at the middle of the model. The primary criteria of continuity have also been described in this part. The concept of continuity has dynamics and stability in itself, simultaneously. These two are major dimensions of this concept. Stability in component’s relation and dynamic in the components themselves are different aspects of these two dimensions. Indeed, relations expected to be series of psychological generalities perceived through mental process, which are usually called the invisible theme, connecting meaning and material. In this article authors try to define and complete detailed indexes of these two major major dimensions of concept of continuity through case studies. Memory has a significant role in studying place meanings. It is the function of memory, which connects time and space and results in reforming the straight time axis to a curved line through placing meanings. This is why here, authors choose qualitative method and studied lived experiences of people. Therefore, next part explains the approach and methodology of the article. Overall approach here in the study of meaning is phenomenological semiotics. The techniques used in gathering data is qualitative interview around lived experiences of people and the techniques in analyzing data is interpretative phenomenology. Finally, considering the goal of this paper, which is a modification of criteria for continuity of place meaning, results were discussed. Results explained that stability of relations between different components of place seems to be more important than the stability of components themselves. Moreover, detailed analysis of interviews and implicated meanings revealed that the relation between space and human was more regarded. The focused indexes of this relation were vitality and content richness of activities.

Iranian garden is one of the frequent and popular subject matters in Iranian paintings and carpets. The various types of Iranian art in Islamic period widely focused on displaying gardens. The present study aimed at examining Iranian garden and the process of building gardens in Safavid period in two visual fields of painting and scarpets. Therefore, this researchtries to study the composition and viewing angles of on garden carpets and Iranian paintings of the Safavid period and their mutual relationship. soSo that it could reach a comprehensive structure of designing gardens and spectator’s visual imagination in this two visual fields.
The study was in a type of descriptive analytic approach and data analysis was carried out inductively. The study was a qualitative research with a comparative approach. The main part of this study is based on library obtained data. The purpose was to investigate the main structure of garden in carpets and Iranian paintings of the Safavid period, to find out existing similarities and differences between these two visual fields. The main research question here is that what kind of the structural linkage is there between the form of garden in paintings and carpets of Safavid period?
The hypothesis is that the two artistic forms of garden carpets and paintings have mutual effects and intertextual linkage.Therefore, and based on carried out investigations in Safavid period, we selected 20 carpets and 46 paintings,and finally we randomly selected 5 samples out of each group for analysis then we tried to confirm the hypothesis having structuralistic and intertextuasl orientation. . The results showed that the composition of Persian gardens in the Safavid paintings and garden carpets was derived from the Chahar Bagh pattern with the emphasis on the centrality of dock, water distribution network, symmetry, naturalism, harmony of elements of the garden and the separation of spaces. existingExisting viewing angels varied according to the spectator’s position.

Vartoun village is located 35 km North East of Isfahan County and is an administrative unit of Sagzi County. Karkas mountain range with a height of over 3000 meters covers North and West of Sagzi County as well as Vartoun village and a relatively flat plain covers other areas of this country. Villages and springs emerged in the margin of these mountains, which are considered the origin of contemporary nomadic people in these areas. During visits to villages and springs in this region, man-made caves were discovered in the margin of Vartoun hot spring. As far as we know, the man-made architecture has been developed in different periods and situations with various functions such as residence, refuge, warehouse and animal shelter. In this study, we first attempt to introduce spatial archaeology, architecture plan analysis, Annales school historiography approach and the collection of man-made caves of Vartoun hot spring in its historical-cultural context and analyze its application and creation time. Spatial and building material analysis as well as survey results of man-made caves in the historic-cultural context of Vartoun hot spring, given the therapeutic importance of hot spring and its long distance from nearby cities and villages, indicates a temporary residential use of man-made spaces before the Seljuks.

Resilience in urbanization is a novel concept that has been globally concerned since the early 1990s. At the beginning, this concept had merely an ecological viewpoint; however, over time it has gradually been developed, and the other aspects and issues in terms of urban societies such as social, economical and so on has been considered. One of the important aspects of resiliency is spatial resiliency that is the continuing of the existence of urban spaces while preserving their identity during different variations. In the historical study of urban spaces, their different degrees of life, in other words, the difference degree in their resiliency is concerned. Therefore, this question rises that what factors influence the resiliency of an urban space? On the other hand, one of the types of urban spaces that despite its various environmental changes and crises throughout its history has desirably continued its life is the traditional bazaar. So this question is posed that what factors have led to the resiliency of traditional bazaars over a long period of time?. In this regard, the present study aiming to answer the proposed questions, especially in the case study of the Qeisariye bazaar of Isfahan, attempts to address the factors that have caused this urban space being resilient. The methodology is qualitative based on considering case study and content analysis and descriptive-analytical approach. First, by using deductive reasoning method and referring to authentic resources, two social and physical factors are introduced as indicators of the conceptual model of spatial resilience. Then, the indicators of the spatial resilience model related to the Isfahan’s Qeisariye Bazaar were extracted by examining the case study of research and content analysis of the interviews concerning the reasons for using this place in order to scrutinize the effective factors in constant use of the case study. The brief results of this research indicate that the flexible and robust construction of the bazaar, with its constant protection and restoration along with diverse uses, unique identity of space, environmental comfort and beauty in the space, access to the various spaces and uses of this space, and belonging to the place in the Qeisariye Bazaar of Isfahan has led to the spatial evolution of this historical urban space.

Urban spatial structure and organization, as the appearance of the interaction of factors which affecting them, is a characteristic that judgment on the urban space specifications is conducted about it. Although with the advancement of human knowledge, impressive titles and modern sciences have been involved in the formation of urban spatial structure and organization, however, the resultant effect of these factors can be identified as forming skeletal structures. The aim of this study is the recovery and classification of techniques or process-centric approaches that urban concept has been created over time by them. In this regard, using the descriptive method and also comparison and analysis of specialized text contents, after recovery of the same concepts in architecture, visual arts and philosophy, the result of research led to the development of the new concept entitles as Urbanism machine. By definition of this new concept, the ability of thinking advantage addition and machinery production to urban planning and designing at different scales has been studied. Introducing the technological synthesis as a contemporary urban machine is another result of this study.