نشریه جامعه شناسی هنر و ادبیات
سال هفتم شماره 1 (بهار و تابستان 1394)

Influence of Shiite Mysticism in Iran Society between of thirteen to seventeen centuries has affected directly on peoples mind and behavior and it has led that significant practical results in various fields like art. Some recent studies have investigated marginal aspects of formation of these evolutions factors. But the extensive concepts and depth of mystical teachings in Iran society, increases necessity accurate attentionto kind and style of the Shiite intellectual foundations effect in Iranians routine and materials performance that provide practical outcomes from this discussion for use in the present. The importance of scientific research on the formation of an Islamic art, could resolve the ambiguities and find the truth and ritual and historical meaning of art. The "How does the square inlay created?" and "Why this art used the specific motif (Moord) in his first appearance?" among the questions to be answered in this paper. How the rise of the wood square inlaid art, could be a sign of achieving practical results of mental principles of Shiite mysticism. In this study, try to using library and historical research methods and enjoying from objective observation and reasoning, should be evaluated the validity of this hypothesis. Hypothesis is related to maturity and the spread of Shiite gnosis manner with the formation and rise of the art of square inlaid. In other words, it seems that: One of the ethics methods, entitled "Mysticism La (No)", impact on wood decorations, and may give rise to Square Inlay method. Until Fourteenth Century AD., very simple pattern was used in wooden art. This pattern was like a little chess board with nine black and white squares in three rows and three columns. The word "LA" it means NO and in the Islamic and Shiite gnosis means that a man leave all the worldly and material affairs and only attentive to the divine. The art of wood square inlaid, shape of this word is used in the creation of "Moord". Enter the word "La" is a great upgrade to the wooden art and it is founder of the Square Inlay Art. In this context, the main objective of this paper is to answer the questions. The questions such as "How square wood inlay was created?" And "Why is this art in his first appearance used of the specific motif?" Situation of Religious and political in the seventh and eighth centuries AH are causes underlying changes in the social conditions of IRAN. These changes are affects people's art and culture and strengthen spirituality in this country. After that, spiritual beliefs are manifested in some branches of traditional art such as square wood inlay and etc. Finally, it seems that Formation of certain currents of thought centered Spirituality in the fourteenth century, has penetrated the lives of artists which urged him to representation of these teachings in his art. About of wood square inlaid art, and appearance a deep and sacred pattern in this art, historical landmarks supports this possibility and makes consideration the results of this study.

Base on Cultural Studies’ presuppositions, this article presumes human being’s Time perception to be constructed and cultural rather than inherent and universal; since every specific culture reconstructs its own unique forms of Time and offers them to the belonging individuals as a natural reality. Referring to theories and prior researches, there are three types of Time conception: First, Cyclical Time which belongs to earlier stages of human being’s life integrated with natural cycles and mythical believes. Second, Religious Linear Time ending with resurrection and afterlife and the third is Modern Linear Time which is associated with the notion of death, Modernity and instrumental rationality. Considering three types above, this article is set up for discovering and tracking differed kinds of Time representation through the Iranian novels, hopping to locate the most prominent way of time perception in the context of Iranian culture. Accordingly, by applying thematic analysis, this research intends to study probable Iranian cultural forms of time in the context of 80’s (A.H.S) Iranian novels; which are: The Nocturnal Harmony of Wood Orchestra by Reza Ghasemi, I Turn off theLights by Zoya Pirzad, Don’t You Worry by Mahsa Mohebali and My Bird written by Fariba Vafi.. The results demonstrate two differed time themes. The first theme includes two distinct but intertwined cyclical time forms which are “Returning Past” and “Repetitive Present”; while the second invokes future-oriented and linear concept of time which through, the present and the future dominate the past. The Returning Past represents characters’ experience of floating in the memories and nostalgia which paradoxically tends to be considered a torture as much as a bless. The Repetitive Present is a term for characters’ encounter everyday life boredom and devastating repetition of it. In the context of stories the two mentioned Time moods belong to the protagonists who frequently move between the moods but never manage to find peace neither in the past nor in the present. Unlike the mentioned characters, the deuteragonists (second characters) represent the linear notion of time. They are rather ambitious and self-centered types who are able to enjoy the every moment of present and furthermore plan for the future. The notable point in the all considered novels is the protagonists indicate mixed feelings about the deuteragonists. Mixed feelings of hatred and adoration, criticism and envy. Accordingly, the paper can claim two types of time models, which are Cyclical Time and Modern Linear Time are findable in the texts of Iranian novels, while the role of Religious Linear Time is almost nothing. The Cyclical Time is the main and dominant model, since it is attached to the main characters who are also the narrator of the stories. Although The Modern Linear Time is also distributed throughout the texts, it is represented as an alien Time perception rather than legitimate and acceptable way of reaction to Time. Therefore, the two themes appeared in the four studied novels, present an antithetical binary which through the cyclical theme occupies the superior place and offers repetition and stability rather than change and proceeding, while the Linear image of Time is placed in an inferior position and represented as foreign Time perception, as “The Other”.

By ethnographic experience of weavings called Varni, I want to say somethings about northwest nomads of Iran and Tehran society. Movement of Varni by motivation of market cause to rethink about nature of objects and processes of landscape-making anthropologically. Exploring biography of cultural elements and forms became fascinating works among anthropologists. Social biography of objects like Varni shows how beeing and entrance of objects to different places contextualize them in different value systems. Varni market in recent decades relife plastic art traditions in Lumah-Darah which demonstrated itself in works such as carpets, jajim, rugs and farmash. Varni market make Tehrani people in multi-sensory relation with Lumah-Darah and open multi-sensory landscapes of mind in buyers through place imaginations emerges. Exploring Varni market anthropologically shows that how enacted meaning replace coded meaning in objects. Analysing Varni market shows differents between actions in Luma-Darah and Tehran people and how these societies think and act to each other. Message of this essay to art and craft researchers in Iran is to free themselves from meaning- center discurses and library and museum base situations and experience art works in moments of action.

The aim of this study was a sociological analysis of Nima’s Barf poem, based on Shariati’s viewpoints in art by emphasise on Sorrow concept. Shariati has a critical-utopian approach bout art-Society relation. He believes that this approach is available in modern art. His definition of modern art, like to Adorno, has an allusion to harbinger art movement in 20 century beginning. Although Shariati’s viewpoints was influenced by thinkers such as Hegel, Sartre, Camus, Adorno and others, but we can find unique aspects in his thinking. Sorrow was prominent concept in his analysis. He believes the sorrow concept is quality of modern art. Modern art unlike classic types, transfers a kind of grief in audience. This grief takes root in the modern experience of failure that the artist feels it and wants to transfer it. Result of such situation in audience mind is a self-awareness that cautions him of social shortage; shortages that indicate of a situation that must be exist but it isnt. Sorrow results from difference between social facts and ideal social condition. Based on his view, modern art do not reduce to realism, also this is not an amusing art too, but by negation the available conditions, bridging to its utopia. Therefore, utopia in shariati’s viewpoint is the product of art sorrow experience. Barf is an excellent example of this kind of art. The critical- utopian relations of art with the society are visible in this poem. The poem that overall is covered by experience of sorrow and failure, negate the present situation and then by a mythic image, bridging to utopia.

An artwork, in addition to its association with the community in which it is created stable states, and such action is accepted by society, society is trying to refine it. The "film", story, characters, social events, places, and coverage can be drawn from the community and at the same time, arrange the parts together, it can be a tool for the representation of what the artist wants to say, a means of protection, or cash and denial of society. You can power relations, gender relations, social change, social values that brings together community members, making economic and social rights and other social phenomena in the atmosphere detailed search of a film. "The aim of the sociology of art, the effect of implicit and explicit meanings for it, and then linking these meanings in contemporary society was to build. In this approach, understanding the meaning of a work of art can recognize social content (at the macro-level, intermediate and longer) in the community. The film "A Separation" is a film about the universal lie in the community. All truth not told, to cover part of it, and lie to get out of a situation in which they are incurred, or to achieve personal interests. The community is represented in the film, rather than the truth, morality and get stressed, lies in the structural transformation and liberation mechanisms and forms of community relations. Hence, this film traces that can be viewed and to examine the sociological concern the recognition of this community acquired social gaps. In this article, we used narrative analysis and semiotics, also we checked capitals (to position the character class) and qualitative content analysis based on skill categories Lasswell (to clarify capital and social status of the characters) are used, and in the end we have tried to provide conclusions with regard to the gender of the characters and their relationship be. This article attempts to film "A Separation" and through reference to narrative theory, semiotics, various categories of capital and skills to explore the underlying Lasswell provided sociological film. According to the narrative, especially the theory of Vladimir Propp, the narrative of the film "A Separation" is the lack of balance, and increase the height of the crisis, balance. The film "A Separation" by invoking the issue of divorce, which initially appears to be a private affair because of family turmoil, the film refers to the social gaps. The question of separation, at the same time ignoring the question of Assistant separation is possible at any price. the breakdown of the family, the cornerstone of society. Analysis of narrative, character analysis, and evaluation of semiotic film image of class and dignity of the characters are lost. Separation question, a question that has been raised against each of the viewers and they accordingly find themselves in the position to respond to it. On that, at least for the middle class, Iran, Simin and Nader as a family, the gender gap, the difference between women and men, their place in the political divide, "Citizenship / Farmhouse", ie the difference between the Republican and totalitarianism. The analysis of these families may not be possible to reach the sexual propositions. However, Raziyeh and Hojjat and his family, and later, his sister, as well as gender power relations can be seen.

Among the various aspects of cultural consumption, consumption of cinema is one of the most pristine areas of research in the sociology of art. The present study aims to review the status of cinematic taste of citizens. Research have been done using survey method, questionnaires and multi-stage cluster sampling method among 410 citizens of Mashhad. Findings show that average of watching movies among citizens is five hours and nine minutes per week. Artistic values of cinematic tastes average for 69/5% of people are in intermediate level or lower. The results indicate: First, the high interest of viewers from a movie or a director is not necessarily indicative of its high artistic value. Second, audit and banned for some films should not cause high interest of viewers. Third, other factors except artistic value are effective on high interest of viewers from a movie or sell it at the cinema box office.

Popular music has various functions in social intreactions. This study tries to answer the questions, “what are the roles of popular music in creating and developing social capital?” and through what mechanisms it leads to the generation of social capital?” The research method used in this study was qualitative including grounded theory strategy. The research data were collected through in-depth interviews. The population of the study consisted of 18 students from Payame Noor University of Piranshahr through theoretical and purposive sampling. After the interviews were conducted with this sample size, theoretical saturation was reached. The results showed that individual concepts of the universe and their social interactions as a result of the consumption of popular music has a significant role and positive functions in social interactions. Also, popular music has a unique role in creating and developing social capital by creating and preserving family relations calming family environment, creating and developing social reconciliation, promoting social tolerance and patience and creating trust.