فصلنامه کیمیای هنر
پیاپی 28 (پاییز 1397)

Both the ancient Greeks and the moderns, Friedrich Nietzsche notes in his first published work The Birth of Tragedy out of the Spirit of Music (1872), held Homer’s objective art of epics and Archilochus’s subjective art of lyric poetry in equally high esteem. However, if a work of art, according to the modern aesthetics of such figures as Kant, Schelling, Hegel and Schopenhauer, must be “objective,” how should the subjective artist, who, like Archilochus, creates his art form his own subjective experience, be understood? Guided by a clue from one of Schiller’s letters to Goethe in 1796, Nietzsche utilizes Schopenhauer’s theory of music in his consideration of the subjective artist, modifying it to meet the requirements of a modern aesthetics for the lyric poetry. In this article, after explicating the nature of the problem in details and introducing the poet Archilochus, I will attempt to clarify Nietzsche’s take on the matter, and, using some early unpublished notes, to explain some of the ambiguities of his position in The Birth of Tragedy, so that his late description of inspiration makes sense in this regard.

The relation between ethics and art is a problem drawn artists and philosophers’ attention to itself from a long time ago. Since ancient era, philosophers such as Plato and Aristotle paid much attention to possibility of ethical criticism of art and its influence on aesthetic aspect of artworks;and then in the latter periods, other philosophers and artists, such as Tolstoy, Hume and Kant, expressed different views. The most famous views has known as Aestheticism, Moralism, Autonomism, Value Pluralism and Immoralism. The aim of this essay is to survey Immoralism, as proposed by Mathew Kieran, contemporary English philosopher. Daniel Jacobson helped him in it too. The view argues that sometimes artistic/aesthetic value of an artwork arises from its immoral nature, or a moral demerit in it. Kieran has alleged two sets of reasons, may called respectively reasons of emotional-cognitive responses and reasons of the power of art to provide knowledge. In this article, we have attempt, first, to make an exact expression of this view, and second, to support some of its reasons, and at last, to criticize and evaluate all the view.

The cinematographic frame is a boundary which separates the image from the external world. From an ontological viewpoint which dates back to Greek philosophy, the boundary of a thing separates it from other things, thus leading to its ontological independence from other things. But, according to this point of view, the being of things as external objects is considered to be free from the impact of subjective interference and the experience of the viewer. This idea was radically changed with Kant’s Copernican revolution. By separating the Thing in Itself from the Phenomena, Kant, on the one hand, announced that the object of human cognition is only the Phenomena, and on the other hand, that they are knowable only to the extent that they are known under the a priori subjective factors, i.e. the forms of intuition and the categories of understanding. The first purpose of this paper is to show the limitations of the traditional concepts of the cinematographic frame according to the subjective perception of the viewer. The second objective is to ask how it is possible not to regard this perception as just a mental perception, but a corporeal one. Finally, the results of this investigation are considered in the analysis of the corporeal perception of the cinematographic frame.

Landscape and building-painting as a genre is one of the many features of Iranian painting in the last years of the Qajar and the first years of the Pahlavi era. This paper explains the relation between these painting as the particular, following the domination of the discourse of nationalism as the general. To reason this idea and to explain the relationship between these two, Georg Lukács theoretical method is used to link the “totality” and  mediations”. Hypothesis of the article is based on the texts of two books, Nameh Khosravan by Jalal-o-Din Mirza and Asar-e-Ajam, by Forsat Shirazi, in addition to publication of a large number of “travelogues” of western travelers who visited Iran in Qajar period. These works in terms of their subject as “Recognition and Exploration of Iran” which was based on the compilation of new archaeological documents can be assumed as “mediations” inside a general discourse called nationalism which attracted the attention of painters to the issue of their homeland and its landscapes. The purpose is to clarify the social historical context of the topographical paintings during this period and to illustrate the transition path from nationalism to topographical paintings by utilization of these mediations.

This paper examines the question that from what aspects Avicenna has discussed color and painting in his philosophy. In this research, Avicenna’s dispersed remarks on this subject have been reviewed, categorized, and analyzed. The result of this research shows that Avicenna’s greatest attention to this discussion, is found in his “Poetics” which is a part of the science of logic, and “Natural Science”, especially Psychology and Medicine. He also  speaks differently in “The Science of Music” and “Theology”. Avicenna’s attention to painting in the context of Natural Science is largely related to discussions on the way it is perceived and its effects on the soul. The attention to the color, shape and their changes in the sensible organisms, especially the human body, are also studied in Natural Sciences. By contrast, painting as art is mainly discussed in the context of “Poetics” and “Science of Music”. In the context of Theology, sometimes painting applies metaphorically, and sometimes it is considered as a sensible medium for expressing rational realities.

The way architects think about different issues from developing plans, perspectives, and views to cross-sections and structure of a building is a common and general one. Regardless of its merits and efficiency, this way of thinking indicates a degradation in architectural thinking. Indeed, architectures today are caught in a specific architecture language where the boundaries of language create boundaries in the architecture’s world. To step beyond the normal language in architecture, the narration techniques of meta-story text can be used to break the elements of architecture and rebuilt them along new axes.The study is an attempt to change the normal language in architecture design and achieve a new way of facing architectural issues based on the concepts of meta-story. The architecture that we try to achieve is the one that motivates users to explore, move, interact, think, or play. A sort of architecture the spatial narration of which is completed by and whose wider narration is formed by the users. Moreover, each user may have his own interpretation. 
The study was carried out as a content analysis study based on a comparative and innovative study where a combination of deduction and induction was used. The researcher tried to survey the concepts of meta-story and the relationship between story and the spatial narration of architecture. Throughout the study, different types of structure of narration using the similarities between the two ,fields were examined and a new structure for architecture design was achieved. 
The surveys uncovered a mutual bond between architecture and narration. The  structure of post-modern stories featured with parallel and interactive narrations was compared with the structure of designing method in architecture. Through this, the techniques and structure of narration in meta-story text can be used to achieve creativity in designing method.