نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 42 (پاییز و زمستان 1389)

Subject, the ‘I’ who experiences and interacts with the world, constructs fantasies for him(her)self in order to show his(her) imaginary position in social structure. These fantasies have been reproduced in movies narration. Furthermore, cinema apparatus sutures audience by ideology within a movie narration. This article attempts to interprete fantasy and ideology in the narration of Aghaye- Halu. According to Lacan Fantasy is an answer that subject presents for him(her)self in the symbolic order. Subject is given a place in the intersubjective network of symbolic relations but he or she does not know why he is occupying this place. Therefore subject asks ‘Why am I what Im supposed to be, why have I this mandate? Why am I [a teacher,a master, a king. .. ]? Briefly: Why! am I what you [the big other] are saying that I am?’ the answer of these questions is a scenario in which subject follows his or her desire and object(a). But this fantasy decieves him(her) and the subject does not know his(her) deire belongs to big other actualy. Furthermore, according to Laclau and Mouffe the multitude of floating signifiers, of protoideological elements, is structured into a unified field through the intervention of a certain nodal point which quilts them, stops their sliding and fixes their meaning. State modernization is a nodal point in 1960s in Iran which quilted the urbanism ideology. In one hand, this article interprets this ideology in the movie Aghaye- Halu. On the other hand, this study was to address these questions about fantasy:Who is the subject? Who is the big other the subject confronted with in the movie narration? What desire does the subject have?What actions and events was the fantasy of the subject made of? Analysis of data was done within the framework of narrative analysis and it was founded on David Bordwell’s (1995) conception of narration; Mike Cormack’s (1992) narrative analysis of ideology; and Slavoj Zizek’s (2008) notion of ideological ‘gaze’. The qualitative analysis of the data reveales that there is a specific fantasy in the movie Aghaye- Halu that firs character makes for himself and the big other in the movie is village.The subject, that is the character of Halu, makes a fantasy in which he goes to a city in order to find a woman to marriage, but the big other wants him to get married to a girl whim is the mother’s preferance. In the end of narration not only does Halu lose city woman but also he comes back to his village.Therefor his fantasy is not his own but it belongs to the big other and the subject of movie has to accept the order of big other and dismiss from his ambition which is getting marry with city woman. The ideology of movies is a anti urbanism ideology.This ideology occupies the status of big other in the subject’s fantasy.It shows subject’s fantasy is a kind of ideological fantasy by which cinema apparatus sutures audience.

The present article is a comparative research between Zār ceremony in south of Iran (Hormozgan Province) and east Africa (Sudan). This research has been accomplished, based on the descriptive/exploratory methods, using library techniques and domain studies. People in these regions believe that human illnesses are caused by Jins or satanic winds which penetrate in human body causing physical and mental disorders. Thus by performing certain ceremonies these winds or whispers could be destroyed, curing the illness. The belief in these monsters among indigenous people is so strong that no one can make a crack on it. They are extremely firm in their beliefs so that they seek cure for illnesses only from the healing hands of old magicians and not from modern medical experts. The healers of these diseases, in Iran are called “Baba” and “Mama”. In Sudan, they are called “Sheikh” or “Sheikha”. Belief in jinni or conquering soul by jinni exists among different Muslim society cultures throughout the world with different names, but most researchers believe that the source and root of these beliefs lie in African communities. The Winds, as flow down from Africa to the Iranian coasts are combined with culture and myths and different stories so that even they change their former content and embrace an Islamic form. Among these changes are poems and prayers, traditions and manners, sacred and prohibited. Nonetheless they have not lost the sharp colorful African ceremonies.The people who are captured by these winds and then released are called “Ahl-E Hava“. After getting released from the jinni, Ahl-E Hava enter a new community and similar to their healer set up a new identity. In this new identity, they do not feel weakness and undertake new responsibilities. The masters of Ahl-E Hava are all Negro or black colored and have one or several Winds in the head, in other words they have been captured by the Winds several times. Zār is a ceremony which is remained from primitive tribes in western Africa and is performed as a healing ritual among women and earlier slaves. The study of Zār helps to understand the rituals and beliefs of this region. Zār is one of the spiritual rituals in this area which focuses on the fact that God is the only and the absolute power in the universe. Zār ceremony contains a rhythmic music based on Percussion instruments. An ecstasy music which accompanied by performing some other ceremonies such as dancing and sacrificing, causes the treatment of the illness. According to anthropology, the roots of Zār ceremony lies in east African traditions and by passage of time had spread through some regions in the Middle East and the Red Sea. This research is intended to investigate and study similarities and differences of this tradition in Africa (Sudan) and the path it has passed over the years to reach south of Iran (Hormozgan province). We try to investigate the process of the changes of this tradition from two different aspects, structure (form and content) as well as musical aspect.

Searching about Nationalism in dramatic literature of Iran, cause us to consider two special eras in the one hundred and fifty year old dramatic history of Iran: First Pahlavi and the time of war between Iran and Iraq which has allocated a lot of artistic works under the name of Defa’e Moghadas to itself. But the main aspect of this research is introducing and surveying Sho’bie Movement – the first Iranian Nationalism movement – as the historical prelude of nationalism in First Pahlavi era in which has been represented the effects of the first movement. Sho’bie was formed against the Arabic cultural invasion. When Sassanian army had been broken down by Arabs who had been newly Muslims, they lost their independence, their kingdom and also government. But Arab Muslims started to dominate Iran by establishing a tyrannical government in Iran. Iranians who were disgusted with this new religion, Islam -which was supposed to bring them equity and brotherhood but it didn’t- were forced to fight against it. So Sho’bie Movement was born to stop Arabs destroying their history, culture and customs. There were three different wings in this movement; political wing, literary wing and cultural- scientific one. While Sho’bie is the first organized nationalist movement in this country and also effective in the dramatic literature of First Pahlavi, it is so significant for this research. Also both of them have many things in common. At the last years of Qajar dynasty, there were a lot of domestic riots in different parts of Iran. Also, Russian forces were in north of Iran and British ones in south. Constitutions who wanted to set up a limited monarchy couldn’t succeed after sixteen years struggling. Finally Reza Shah became the king of Iran by a coup. The conditions of society motivated intellectuals to be interested in nationalism. The government also supported these kinds of nationalist thoughts and activities, because they could have benefited by them. Reza Shah was also interested in founding a modern nationalist society and his points of view were somehow similar to the opinions of Earnest Gleaner- a theoretician of modern nationalism. Returning to brilliant historical time of Iran and encouraging national emotions of nation was two most important things that Reza Shah used them to reach his desire. Writers who were motivated and supported by the government, started to write plays in which nationalism were represented as well as the brilliant history of Acheamenian and Sassanidae Emperorship. In a comparison with Sho’bie movement, it seems that nationalism in dramatic literature of First pahlavi has mostly followed the patterns of literary and cultural- scientific wings of Sho’bie movement. Obviously there are some differences between these two movements because there is a long distance - more than one thousand years - between them but there are many considerable similarities between the patterns of thought and campaign in Sho’bie and the patterns of thought and campaign in First Pahlavi era which are detectable and have been represented in this research as the main purpose.

In Iran and many other countries of the world, varieties of religious theaters have been created based on numinous and spiritual principles and beliefs, and believe in Eternity which have inveterate origins and bases and even some of them are ritual; Theater Ritual Origin has emphasized on religious roots and bases of theater, which have been called social, cultural, communicational, and artistic institutions. These relations and correlations are numerous and complicated and have been reflected in “Theory of Ritual Origin of Theater Art”; some contemporary heater theoreticians, including Anton Artho, have considered maintenance of ritual nature of theater art to be important and necessary in order to preserve theater in the contemporary time. On the other hand, by passage of time and passing (following) Renaissance, modernism to post-modernism periods, like religious cinema, religious theater has played an important and effective role in different levels of society too and has found many spectators; parameters and dimensions of modernism and post-modernism ages in the society have challenged its entity. One of the significant backgrounds of new theories of theater art has been formed around tendency to “theme” of theatre art and or tendency to “system”. This issue has become more important in the twentieth century and caused some new and current movements in theater art…. Knowing two concepts and issues of “theme” and “system” respectively, “authenticity (originality) and content “and “authenticity of shape or form” and quality and quantity of their counter-fight in the twentieth century and also knowing the characteristics and specifications of each of these two counter-fight movements, are two most significant and major areas of investigation, research, and criticizing new theories in the art of theater. In the present research, based on various written sources-while noticing the status of religious theater in contemporary (modern) times- necessity of re-thinking and criticism in formic (technical) and thematic aspects and elements have been emphasized; and also, it has been considered necessary to transform and create its formic elements by “Modernization” and to analyze and review its thematic elements based on “Hermeneutic approach”. Not only modernization is a beneficial concept to criticize both form and content of theater, but also it relates to what have been called social determinism of art by sociologists. Some sociologists believe that art and literature, shape of form of an artistic work are connected to modern necessities. In other words, social determinism affects creative modernization of artistic work. It should be noted that selected hermeneutical approach, means perception, theory and practice of interpretation-explication and introducing with it is very necessary for producers of religious theaters. Without this introduction, it might that a deep distance be created between content of the theater and spectators’ perception, understanding, interpretation, and explication. This study is based on six new definitions of hermeneutic science which have been stated by the celebrated master of this discourse, Richard, A. Palmer (1968) and “Modernization” concept of Yan Kat 4 (1964) has been used to criticize form (shape).

This paper intends to study attraction theory which it has been published in a book entitled new method of music performance principles. It should note that mentioned book has been selected as the best book in 21 festival for year book in Islamic republic of Iran. At first some these drawbacks will be considered regarding to scientific rules then we find that the frequency ratio of sounds in this book is not correct in comparing other books. so modified theory shall be presented to estimate musical interval which its origin includes medium and complete distances such as octave, perfect fifth and perfect fourth which are the best sound of musical intervals. Propounding drawbacks: 1-In sound attraction systems. All of estimations belong to ‘William Holder’ have been used but no reference and including drawbacks.2- Attraction system is resulted from hypoionian mode no Major scale.3- If we put altered notes in attraction circle, sounds are included in their circles. Draw back no 1:We find that the aim of book writer is presenting new method of musical performance principle belong to Holder’s comma but there is no difference between (si and do) and (mi and fa) and their frequency ratios which are considered as diatonic semitone and equals 4 commas of Holder while in Lotfi’s theory the semitone interval of (si and do). has frequency rate equals 4 commas of Holder. Draw back no 2: In new method of musical performance principle book, writing scale, includes C Major and consist of two tetra chord and resulted from sun and planets of solar system. This kind of writing is resulted from hypoionian and Ionian modes but the central sound in hypoionian and Ionian is called finalis note tonic note. Also it should be noted that the introduction of Māhur (Do) which is Iranian musical instrument is written like this. Draw back no 3:Now with considering this subject that in musical tuning system of Holder, the ratios of chromatic semitone equals 5 comma and the ratio of diatonic semitone equals 4 comma and we see that most of sounds will put in their orbit which this differs from what author of sound attraction theory book has been noted. Modified theory based on scientific principles: In this order mentioned theory has two ascendant and descendant tetra cords. Ascending tetra chord sound have ratios such as 10/9, 9/8, 16/10 and descendant tetra chord sounds have ratios such as 21/20, 10/9, 9/8 in this theory exist 3kinds of tone and the semitones respectively. Kinds of tone: 1- Super tone, has ratio 8/7 (58 savart, 231.1 cent) 2-Major tone has ratio as 9/8 (51 savart, 203.9 cent) 3- minor tone to has ratio as 10/9 (46 savart, 182.4 cent) Kinds of semitone: 1-Ascending diatonic half tone has ratio as 16/15 (28 savart, 111.7 cent) 2- Descending diatonic semitone has ratio as 21/20 (21 savart, 84.4 cent) 3-Chromatic semitone has ratio as 15/14 (30 savart, 119.4 cent).Figures in this paper can be useful to understand this scientific estimations and theory.

Natural light is one kind of light which its main resources are sun and starts. Philosophers and researchers believe that spiritual and holy light not only includes material and quantified aspect, but also because of its non-physical properties always treats as a spiritual connector between god and man. Light is the main part of existing which not only contacts to the surface of objects, but it also helps them to form. Light is the key of finding space which affect directly on the quality of it. Light is one of the main parts for making holy places meaningful. Architecture and Cinema are two kind of arts which depend on time and space. The material of architecture are usually real and quantified and the material of cinema are fiction and unreal. But there is only one material which is common between cinema and architecture. It is named natural light which has really special role in making the spaces of cinema and architecture specially sacred spaces of them meaningful. Research methodology of this article is based on descriptive, analytic and comparative method which it is separated in two part: the meaning of light and holy places in architecture and cinema in the first part. Light will be described as an effective aspect in architecture of films in this part. The main aim of second part is study on the role of natural lighting in two films named “Pari” by Daryoush Mehrjouei and “Winter light” by Bergman. Pari which is an Iranian film and about east intuition, is the story of a student girl who studies literature at university and wants to pass a religious way. Her three brothers have done it. But no one is Completely successful in the way. So there is no reliable guider for her to continue his way.The other film is “Winter Light” which its manager is “Bergman”. It is about a priest whose wife is death. So he has been hesitated about his believes. Beside it, he has to guide others through worshiping god. Because of his weak believing, his words does not have their real effect on men. Marta is a woman who has main role to guide him in this film. Combination of light and architecture and creation of spiritual spaces are completely clear in these two films. Bergman describes static, silence and human transition in quantified and qualified meaning with combination of christian elements and composing them with main characters morals. In other side, Daryoush Mehrjouei designs architecture spaces with light and human which finally describes combination of man, light and meaning in the holy concept in order to make them more clear. In fact, Mehrjouei and Bergman know human, space and light as main concepts of spiritual and holy existence. The main aim of this article, is study on the role of natural light as a spiritual aspect for making the architectural spaces meaningful cinema specially in these two films. Human will be meaningful with various king of creations and unclear elements.

The present research considers the role of play statement in Children and Teenagers Theater, with a special approach to drama-therapy. Chapter one studies the theater history to the present time; then explains the play statement's elements. Since the Children and Teenagers Theater has specific addressees, it may be considered in many respects. Chapter two has been devoted to recognition of this age-group's characteristics. Chapter three views the Children and Teenagers Theater as its main subject; also it provides the history of Children and Teenagers Theater, concepts, characteristics, methods, structure and pathology. Chapter four focuses on drama-therapy which is some kind of art-therapy, its formation process, definitions, elements and pattern. Also the factors of play statement in Children and Teenagers Theater have been studied from the view point of the drama-therapy. Since the researcher assumes this kind of treatment as the most effective way of overcoming the children and teen's problems and difficulties, in this chapter you may find out some play techniques in drama-therapy of the children and teens. Among the conducted studies concerning to appropriate behavior toward children and teenagers’ activities, who have some special emotional and behavioral problems, dramatic methods have drawn attention of researchers as a necessity for correction of behavior in rehabilitation centers, schools for exceptional children, foundling hospitals, and house of corrections for delinquent children and teenagers. Given those problems, one may find that no one can come to the satisfactory results only by training some words or by speech. Thus, a kind of technique should be taken that not only to overcome elimination of improper performances in this age group, but also to lead to more favorable and sustainable learning techniques among them. One of such points is adaption of a technique that is followed by repetition and exercise. In this regard, employing dramatic strategies may be one of the effective techniques. Thus, drama (exhibitive technique) may permanently play role in treatment and enhancement of children and teenagers’ abilities and for optimization of children’s behavior. The main objective of the present study is to examine effectiveness of dramatic speech elements as drama-therapy for children and teenagers. With respect to this fact that the conducted studies in Iran have paid no attention to this field so the researcher tends to know if dramatic elements have any positive impacts on process of application of drama by therapeutic approach toward children and teenagers or not. The central question of the research is about the effect of the statement factors in Children and Teenagers Theater, upon which we based the assumption of efficiency of the play factors in this kind of theater and with therapy approach. Also it is a basis for concluding that the play elements have a crucial role in Children and Teenagers Drama Therapy. This treatment is considered as an appropriate method for curing this age-group. So the researcher offers some suggestions about the applying this method in Iran relying on the effect of the play elements.