دکتر محمد هاشمی

This research uses the theory of Joseph Hillis Miller, a contemporary theorist of narrative, to study several theories about the functions of the beginning in the cinematic narrative in the movie Passengers, made by Bahram Beizai. The questions of this research are as follows: firstly, with the centrality of the three functions that Miller provides for the narrative, how can the beginning be made in the film Passengers based on the views of the cinematic narration of Michael Tierno, Laura Schellhart, Charlie Moritz and Edward Forster analyzed? And secondly, the three functions of the narrative in the view of Joseph Hillis Miller, about the beginning in the narration of the film Passengers, can be explained in what detail? The aim of this research is to show how conflicting functions of narration in movies start their narrative and move them forward. The result of this article shows that the film Passengers reveals the critical function in opposition to the creative function of the narrative from Hillis Miller's point of view. That is, it opposes the dominant culture that regards death and the end as superior to life and continuation and guards this culture and insists on a culture based on the preservation of life to the extent that either all the movie characters and audience firmly believe in the authenticity of this alternative culture, which emphasizes the superior intrinsic aspect of life against the apparent inferior aspect of death.

According to Aristotle, the character of tragedy must be morally good, that is, virtuous, and in order to be on the path to happiness, it must observe the rule of moral moderation through selective and conscious action. Accordingly, this study raises the question of how to explain the link between action and moral character. To ponder and explain the answer to this question, the Poetics is read and interpreted alongside Nicomachean ethics. The aim is to show the various aspects of action and its relation with character and morality, both positively and negatively, by relying on the relationship between action and moral character in the Poetics. The importance and necessity of this research is that it will help to clarify important parts of the Poetics, relying on its place in the system of Aristotle's moral philosophy. The conclusion to be drawn from this research is that the Poetics should be read in the context of Aristotle's philosophy - especially the Ethics - and also the action, in the thought that governs the Poetics, while it is related to moral character but also takes precedence on it.

Since theorists began to study art as an independent subject, there have been many opinions about the relationship between art and real life, which includes a wide range of the autonomy of art and its subsumption. This relationship is the relationship between the sensible and the reasonable. According to Rancière's theories, it is not possible to access the realm of meaning and convey a message through the work of art. Meaning is constructed in the minds of individuals by interpreting sensory stimuli received through their senses. The function of this system is to assign identities, roles, and positions to people. The action of opposing this system leading to redistribution of the sensible, is called politics. The aesthetic regime is a specific way of thinking and formulation of art that considers artistic sensible as a means of thought. From Rancière's point of view, this regime is related to politics through the redistribution of the senses, and in this way, it leads to the emancipation of the audience.In the current research, the ethical, representational, and aesthetic regimes of art will be defined from Rancière's point of view. Then, the relationship between aesthetics and politics is explained specifically with theater. Finally, a descriptive-analytical approach is utilized to ascertain, based on library data, the artistic regime within which "The Blacks" by Jean Genet can be categorized. As the results of the research show, in this play, Genet deals with politics and redistribution of roles and identities by creating a gap in consensus, breaking conventional dichotomies, breaking the principles of representation, and presenting unusual objects, and in this way, this play can be considered as belonging to the aesthetic regime.The current research is a descriptive-analytical study of the play "The Blacks" by Jean Genet and by referring to library data, examines which of Rancière's artistic regimes this play can be placed in. As the results of the research show, in this play, by breaking the principles of drama, presenting unusual objects, going beyond the framework of representational logic, and breaking conventional dichotomies, Genet deals with politics and redistribution of roles and identities, and in this way, this play can be considered as belonging to the aesthetic regime of art.

One of the most important issues raised about art is its relationship with the real world. Plato condemned art. In his opinion, art was a mere imitation of the elements of the world, and because of this, it distanced the audience from the truth. In confronting this opinion, Aristotle considered art to be a spontaneous and compensated imitation which possesses the unique capacity to convey meaning through its structure, influencing the perception and emotions of its audience. Rancière criticizes these two ways of thinking about art, which he calls the Ethical and the Representational regime respectively, as he believes that they endorse the establishment and upholding of a hierarchical system in society that subordinates individuals according to their function and position, and thereby perpetuates the existing social order. He calls this system the distribution of the sensible. In his theory, he argues that conveying the message through artwork is not achievable, and that the effectiveness of art can only be achieved through a revolution in the sensible and redistribution of it which happens in the Aesthetic regime.The current research studies the play Pardeh-khaneh by Bahram Beyzaie as an example of a work that can not cannot be included in the framework of the aesthetic regime in a descriptive-analytical way and by referring to library data. Through the logic of consensus, this play divides its world into two separate and opposite groups, which can be seen as corresponding to the dualities of dominant/subjugated and good/bad. The members of each group are similar to each other, and are under the influence and control of a transcendental component in a pyramidal form. This play advances a single action based on a coherent plot and finally reaches a certain conclusion through which the playwright wants to convey a certain knowledge to his audience. Therefore, by refering to Rancière’s theory, this play is placed in the realm of representational regime.

In this article, the moral aspects of the concept of tragic catharsis from Aristotle's point of view are studied. This study is based on the connections between moral aspects in the concept of tragic catharsis with the same aspects in musical catharsis from the viewpoint of Aristotle.In “Poetics”, it is stated that tragedy causes catharsis in the audience by arousing the emotions of fear and pity. Aristotle mentioned the term catharsis only once in “Poetics”. Apart from this, in the eighth chapter of his treatise on “politics”, he discussed the types of catharsis resulting from music. In the eighth chapter of his “Politics”, Aristotle believes that some types of music are more effective in the moral education of the audience. These more effective types arouse the audience's emotions with processes far from extremes, and the result of this arousal of emotions is the balancing of those emotions in the audience. As in “Nicomachean Ethics”, the main condition for virtuous action ensuring happiness is the observance of the rule of moderation, and for tragedy in “Poetics”, which is the imitation of actions and life, such a condition is given for the virtuous action of tragic character. In “Politics” also is pointed out that works of good imitation (including music and tragedy) must be produced through moral simulation with the objective objects of their representation in reality that are influenced by emotions. Thus, tragic catharsis under certain conditions, with mechanisms similar to musical catharsis, provides the moral moderation of human emotions. The questions of this research are as follows: First, what are the connections between the moral aspect of tragic catharsis and musical catharsis? And secondly, what is the connection between the feelings of pleasure and pain resulting from musical catharsis with these feelings in tragedy from a moral point of view? This is a qualitative research and it has been done in a descriptive-analytical way based on library data (mainly Aristotle's original works). Also, due to the large number of complex technical terms in Aristotle's work, a specialized method of confrontation between translated texts and the authentic English version has been performed as part of the research method.

In Rhetorics, Aristotle introduced fear and pity as selfish and altruistic emotions that resulted in the unfortunate suffering caused by the unexpected occurrence of devastating calamities in the past or future for a good human being like us and better. These emotions occur in tragedy, which is the imitation of actions and life, in the same circumstances as described for life in Rhetorics. In tragedy, according to Aristotle, in Poetics, the arousal of fear and pity in the audience moderates these emotions and thus purifies them. This arousal of emotions is the result of the ignorance of the average virtuous character of the tragedy about the nature of his voluntary action during the plot of the tragedy, which is the result of the urgency of depriving the external goods and leads him to behavior in which the moral middle ground is not observed. This research seeks to answer the questions that Aristotle considers in the Poetics: First, how does moderating the selfish and altruistic aspects of the emotions of fear and pity satisfy the moral aspect of tragedy? Second, how do these emotions find a moral aspect by linking the arousal of fear and pity in the audience of tragedy and the character's ignorance of the nature of his actions? And thirdly, what is the relationship between the special character traits and the plot and the moral aspects of the emotions of fear and pity in tragedy?

In his Poetics, Aristotle considered drama as an imitation of human lives. It can be concluded that cinema as an important dramatic art is not exempt from this rule. Therefore, since cinema is in the position of imitating human lives, it narrates stories that are similar to these lives. On the other hand, philosophy raises fundamental and great questions about life. Therefore, cinema, which as a dramatic art is similar to life in its unique ways and tools, takes a path similar to philosophy in presenting fundamental questions of life and finding answers to them. So, one of the proper ways to understand movies is to study the philosophical questions that are raised in these movies and the unique answers that the movies give to these philosophical questions. The present research has shown how in the movie Everybody Knows by Asghar Farhadi, something similar to the answer to the fundamental philosophical questions on the subject of friendship has been provided. For this purpose, the theoretical foundations of Aristotelian ethics (mainly in Nicomachean ethics and partly also in Eudemean ethics) have been used, which has specifically addressed the issue of friendship in important chapters. The problem of this article is to first examine the place of friendship and its types within the system of Aristotelian ethics in the theoretical foundations section and then to study the Aristotelian philosophy of friendship in the movie Everybody Knows by Asghar Farhadi based on mentioned theoretical foundations. The questions of this research are that first of all, in the film, Everyone Knows how all kinds of friendships are drawn from Aristotle's point of view. Secondly, in the film, Everybody Knows what is the relationship between Aristotle’s view of kinds of friendship and the concept of happiness? And thirdly, in the film, Everybody Knows what is the relationship between Aristotle's view of friendship and the concept of external good. The aim of this research is to be able to gain a better understanding of one of the most important discussions of Aristotle in his ethics, namely friendship, and to make this better philosophical understanding by relying on the study of an important film which one of the main topics of it is friendship. In this way, through a valid philosophical reading, a better understanding of the film is obtained. This research is a qualitative research and has been obtained by descriptive-analytical method and by studying library resources. The result of this research shows that although the movie Everybody Knows can be studied with Aristotle's view of friendship in its ethics, at the same time, it is not completely compatible with the Aristotelian view and even has its independent opinion about friendship in the view of ethics.The approach of this research, in its philosophical foundations, is to explain the concepts of happiness and the relationship between happiness and the moral middle ground from Aristotle's point of view, and then to define the moral aspect of the selfish and altruistic aspects of pity in Aristotelian friendship, and finally to explain the types of Aristotelian friendship with the above principles. Also, in the study of the film, the approach of the current article is to explore the friendship relationships of the characters in the context of the narrative plot of the film in order to show to what extent the theme of friendship in this film is consistent with the Aristotelian view of friendship. and where does it separate from this Aristotelian point of view.

This article compares Aristotle's classical view of Hamartia in the tragic narrative with that of the contemporary theorist of Narrative theory, Joseph Hillis Miller. Considering that both of these theorists have chosen the tragedy of Sophocles's Oedipus the King as a model tragedy for their study, so the case study of the present article is dedicated to the same play. In order to answer its comparative questions, this study first examines the function of narrative in general from Miller's point of view and then examines this function in the subject of Hamartia in the narrative of Oedipus the King. Second, it explores Hamartia in connection with Aristotle's broader philosophical theory,and especially his moral theory. Third, as a result of the above two studies, it studies the similarities and differences between Aristotle and Miller's views on Hamartia in the tragic narrative.Finally, considering the results of the above studies, the question has been answered that from the different point of view of these two ancient and contemporary theorists, What is the use of narrations?The main achievement of this article is that it shows that according to the classical theory, narratives can provide clear and definite answers to the fundamental human questions about how to solve problems in life to present the work of the world, while in poststructuralist theory, narratives can not give such clear and definite answers, and they always owe human beings the repetition of narratives in the course of these answers.

Boredom in Heidegger's philosophy is known as a mood, which is attuned in “Da Sein” and becomes an attunement (State of Mind). A kind of attunement is the one constantly trying to escape it by using banality and everydayness. A kind of attunement, which has a deep capacity to reveal being to the one as a whole, like anxiety mood. Heidegger introduces three types of boredom and unlike the third type; the first two forms are superficial and can be created in the human’s attunement. But the third type of boredom is the profound one which can not be created in one’s attunement because the third type of boredom does not depend on other beings. Heidegger also explains that all three types of boredom are fluid in each other and one type can lead our “Da Sein” to other types of boredom. In this research, we assumed that Béla Tarr creates the first two forms of boredom in his audience’s attunement by using cinematic visual possibilities such as framing, camera movements, etc which are based on Heidegger’s boredom patterns to eliminate the banality and everydayness of audiences and put them into the deep boredom (the third type) in his films to reveal the concept of Being to them and make them face their Being especially in these two films: The Satan Tango and The Turin Horse. In this research we analyzed Heidegger's boredom patterns of “Da Sein” and as a result, we established cinematic boredom patterns to analyze Béla Tarr’s films. Among Béla Tarr’s movies, two films, The Satan Tango and The Turin Horse were chosen because of their obvious boredom patterns. by analyzing these two films, it became clear that forasmuch as " expectation " is the main characteristic of structural moments of boredom and this expectation is not being met, an absence can be formed which creates existential emptiness in the situation emptiness. This existential emptiness causes existential boredom and to overcome this boredom Tarr’s audience is forced to encounter their being.

Based on the views of some of the most important researchers and historians who have studied in the historical period of Reza Shahi, such as Homayoun Katozian or Mashaallah Ajoudan, during the first Pahlavi regime in Iran tendency to pre-Islamic era of Iran was promoted by the regime as an important indicator of nationalism in order to culturally pave the way for Reza Shahi's modernization. Attention to ancient Iran could provide a basis for people to realize their ancient glory, and Reza Shahi's modernization promised that a return to that glorious past would be possible. Historical drama from the Reza Shahi romantic era flourishes in the history of Iranian dramatic literature. The main approach of historical playwriting in this period is romantic attention to the glorious periods of the past and especially, ancient Iran.Writing in the same period, Mirzadeh Eshqi, in plays such as Rastakhiz-e Shahriaran-e Iran and Ideal-e Dehgani, emphasized a kind of romantic nationalism that relied on the glory of the past but was very different from that of Reza Khan and the prevailing discourse of the time and as a form of discursive resistance challenged the dominant nationalism supported by Reza Khan. Revolving around the key proposition that Mirzadeh Eshqi’s nationalism is of a romantic type, the present study seeks to understand, first, the characteristics of Eshqi’s nationalism in his plays and, then, the ways in which his romantic nationalism acts as a discursive discourse against Reza Shah’s nationalism. Reza Khan expects the intellectuals of his time to follow his view and therefore urges them to write in the Shafaq-e-Sorkh newspaper to confirm this. Mirzadeh Eshghi is one of these thinkers, but in response, he writes a poetic play called Ideal-e Dehgani (1924), during which he claims a kind of literary-political revolution that contradicts Reza Khan's views. Instead of endorsing that view, he proposes Blood Feast, a type of carnival that can be analyzed with Bakhtin's theory of carnival. By proposing the Blood Feast carnival, Eshghi proposes a kind of revolutionary and utopian resistance to the discourse in Rezakhan's power from the dictatorship of the center-oriented. A second kind of dissimilar and antagonistic culture opposes the official culture of Rezakhan, which stands against the perfection, integrity and eternity of that established order and creates a rupture in it. Eshghi, before this, in the Rastakhiz-e Shahriaran-e Iran (1916) with the discourse of ancient nationalism-revolutionary romantic-utopian nationalism that he presents, creates another resistance in the uniform discourse of Reza Shahi's future nationalism and disrupts it. In the mournful carnival that Mirzadeh Eshghi launches in the form of an imaginary dream with the content of a trip to the ruins of ancient Iran, the predecessors of Iran in its ancient splendor, the lack of this greatness and pride in the present era They mourn and finally, the promise of the return of this greatness is given in the future. The present study is a historical-descriptive study, with analyses conducted in the new historicist theoretical framework and data collected through the documentary research method.

Sacred defense refers to a Genre of Iranian films which is the localized of war films. This kind of films show bravery and valor of soldiers during 8 years Iran – Iraq war. This genre has evolved over the years and various species have emerged around the Iran - Iraq war. This diversity of species has led to different point of views on the category of war, which makes this genre worthy of studying typology scientifically. Frye’s Mythos Theory, provides a new method of Classification in literature. Each literary work is placed on one of four mythos which is compare to four seasons of a year. Comedy is placed in spring, Romance in summer, Tragedy in fall and Irony/ satire in winter. Beside Frye States specific classification for the characters of each of the mythos, and introduces six Phases for each mythos which causes a more accurate classification of literary works. Frye also assumes the cinema as a literature work and deems it worthy of a separate study, thus establishing a connection between the theory of mythos and cinema. In this research the Script of “Days of life” from Sacred Defense Cinema was selected as case study. After analyzing It was classified in mythos of summer, so the film's characters were classified based on a summer mythos analysis, and it was finally determined that the film classified to the fourth phase of romance.

Man thinks with language, symbols and myths and interacts with his surroundings. Myth and art have a common theme because they both speak of the unconscious. The reproduction of ancient myths in contemporary paintings also shows this connection and interest. Prominent anthropologist and mythologist Claude Levi-Strauss, one of the pioneers of structuralist theory, considers human thinking to be dialectical. In other words, man resolves the conflicts of his life through double confrontations. Thus, from the point of view of Levi-Strauss, the distinctive feature of mythology is the elimination or, in a more precise sense, the modification of the contrasts it expresses. Complex and unsolvable confrontations such as the confrontation between culture and nature as well as the confrontation of life and death. And myths help man to solve his problems by creating similar but solvable contradictions and putting them next to unsolvable contradictions. Thus, for Strauss, myth is the search to find the immutable among superficial differences. In this way, myth according to Levi-Strauss can have different functions such as moral function, social function, cultural function and psychological function. Iranian painters, along with artists around the world, have paid special attention to the function of myth in art. Based on their individual and social experiences, they have addressed their concerns in their own way through the creation of works of art.The aim of this study was to investigate the dual structural contrasts with the sociological function of myth based on the views of Levi-Strauss and how it is reflected in contemporary Iranian painting.The main research questions are: 1. What are the effective factors in the formation of the sociological function of myth in contemporary Iranian painting? 2. How has myth, based on the views of Levi-Strauss, found a sociological function in Iranian painting? This research has been completed by descriptive-analytical method based on library studies and observation of works.The studied works have been selected from the works of contemporary Iranian painters by judgmental sampling method. Each of the contemporary artists studied, in terms of individual and social experiences, has addressed their concerns in their own way through the creation of works of art; Therefore, the factors influencing the formation of the sociological function of myth in the works of art are different.The results of the research show that contemporary Iranian artists, relying on Iranian myths, have resorted to research and search to find a way to their ideal world. This reliance on Iranian myths has been to such an extent that these artists, in their quest to achieve human values and criticize inhuman temperament, have also given Iranian aspects to Western myths, using symbolic methods of variety in their works. Their painting has emerged, which can be explained by the views of Levi-Strauss.

In a number of plays by Mohammad Yaghoubi, </span>discussed in this article, </span>he tries to display a kind of awareness leap in a series of human and social relationships through his signature dramatic elements. </span>These leaps in social relations are also in line with parallel historical leaps traceable in all his dramatic elements. </span>For instance, </span>in The Winter 66 </span>the historical leap arises from war conditions: conditions that cause uncertainties about the death and life of characters. </span>These uncertainties do not just emanate from offenses suffered outside the characters’ </span>household, </span>but also affected by their domestic uncertainties. </span>Yaghoubi depicts these internal disruptions in connection with external disruptions in a variety of forms. </span>For example, </span>with successive wobbles that is brought upon the fervent atmosphere of the household, </span>or interrupted, </span>recurring dialogues or with parallel narratives crossing each other from point to point.</span>
The theories adopted here are taken from concepts such as the configuration of knowledge or episteme, </span>archaeology, </span>genealogy, </span>discourse, </span>power and resistance, </span>offered by Michel Foucault, </span>the French philosopher, </span>historiologist and semiotician. </span>The questions raised in this study are first, </span>why Yaghoubi depicts awareness leaps in the everyday lives of the characters’ </span>social, </span>historical context? </span>Second, </span>how Yaghoubi depicts the awareness leaps in the various elements of his plays? </span>The purpose of this study is to reflect on the relation between drama, </span>history, </span>society, </span>and politics based on a well-</span>known theory. </span>On this basis, </span>the selected Yaghoubi works studied here are Drought and Lies, </span>The Only Possible Way, </span>One Minute of Silence, </span>and The Winter 66. </span></div>