زیبایی شناسی

Abu Mohammad Khazen was one of the Iranian poets of the Dilmian era and the librarian of Sahib bin Ebad, who wrote poetry in Arabic. Diwan of this poet was unknown for centuries and was discovered in recent years and Ahmad Mahdavi Damghani brought him out of obscurity by correcting Khazan's Diwan. This anonymity and acceptable quality of his poetry made the writers to conduct a research on his poetry. With the initial reading of Divan, it was observed that his poetry is full of norm deviation. Norm deviation is a general deviation from the rules governing the language, and this is done with different methods such as defamiliarization, accentuation, rule-increasing, and rule-making. English theorist Geoffrey Leach has the most consistent theory in the field of deviance, who summarized deviance in eight topics. Therefore, in this essay, it was decided to discuss and examine the examples of non-normativeness in his poetry. It is natural that a suitable research approach for this thesis requires that a descriptive, analytical and at the same time a library method is used in the research. The question of the present research is proposed in this format: How did Abu Mohammad Khazen manage not to disrupt the process of aesthetics and conveying meaning in his normative approach? The general result of the research is that Abu Mohammad Khazen has engaged in norm avoidance in the conventional frameworks of language, therefore, he has not endangered the two principles of aesthetics and the medium of meaning.

This article seeks to examine the illustrated editions of Shakespeare's plays, whose images were printed by the use of metal engraving, in order to find the most determining factors that affect the way of understanding the female characters in the play, and to answer the question, "What is the Victorian portrayal of women’s main features in Shakespeare's editions?" Since advanced types of engraving such as steel engraving, outline engraving, stipple, daguerreotype and photogravure were among the main techniques for reproducing images in the Victorian period, representing Shakespeare's women as aesthetic paratexts of 19th century printed editions was an artistic selection which added a layer of non-textual appeal to the plays and enhanced the reading quality and hermeneutic understanding of the characters. In other words, artists and editors sought to emphasise their beauty, strength, and complexity by depicting Shakespeare's heroines in visually appealing ways. Therefore, the illustrations in these editions provided the readers with a richer interpretation of the characters and potentially influenced their understanding of the characters in the play. Moreover, in this era, the images went from emphasising the conceptual and semantic connection of the images of women with the text, which was common in the eighteenth century, to simply representing the beauty of women. It is worth mentioning that to fully describe this process, William John Thomas Mitchell's ideas about the importance of visual presentation of literary texts will be relied upon.

The problem of soul and body in the history of Western thought with Christian Platonism support had led to the creation of a special kind of understanding of the concept of knowledge and truth. Nietzsche reintroduced what had led to the removal of the body from the philosophical fields under Christian Platonism authority for centuries. Nietzsche refers to the body as the "Great Reason" and consciousness as the "Small Reason" and in this way he introduces pathos as a prerequisite for any ethos and with the idea of returning to nature and the body, he supports the components of life in order to preserve and maintain the consistency of life by reviving metaphor as a medium and body language. In Nietzsche's physiological aesthetics, the body is presented as a perspective for understanding the world, and the basis of the new interpretation of the world is based on new values to overcome metaphysical nihilism and renaming it based on the body and with metaphor language.

Paying attention to the negative effects of the culture industry is among the principles of critical aesthetics of Frankfurt School. Culture industry eliminates one's creativity and individualism through their assimilation. In this documentary research that was conducted using a descriptive-analytical approach, the first five books of Simin Behbahani, including Jay-e Pa (Footprints), Chelcheraq (Chandelier), Mar Mar (Marble), Rastakhiz (Resurrection), and Khatee ze Sorat va az Atash (A Trajectory of Speed and Fire), were analyzed from the critical aesthetics perspective. The results of this research showed that besides depicting the life narration of the persons such as the dancer, the prostitute, the employee, and the rich man as some manifestations of the culture industry like beauty industry and entertainment industry in her poems, Simin Behbahani has represented reification as the consequence of the culture industry in the form of gender reification and administrative reification. Regarding the form area, Behbahani is, at first, an imitator by following the literary tradition, but she has liberated her art from imitation and entered the creative art area by bringing a manifesto in Khatee ze Sorat va az Atash manuscript and using the unprecedented and rare weights in Persian poetry. It can be said that her poem is an authentic one and complies with the principles of Frankfurt School. This way, Behbahani has, in fact, criticized the consequences of the culture industry by negating the status quo and presenting an indictment against the established rhyme.

Farabi did not deal with art and beauty in a special and separate way, and he has no other writings in this field, except for a work entitled "Great Music", which has a scientific and mathematical perspectives. Therefore, his principal fame is due to his extraordinary opinions in the field of politics and political philosophy. He considers the goal of individual and collective human life to be reaching happiness. But he considers life in a perfect and virtuous society to be necessary for a person to achieve happiness. Man should be raised and educated in such a society to reach happiness, which is a political goal and of course otherworldly. The teacher and guide must be able to use his imagination to reach the useful mind. It is from this channel that artists play a key role in Farabi's utopia and are ranked next to the head of Medina. The two concepts of imagination and simulation, on the one hand, in the education of citizens, and on the other hand, in the creation of works of art, highlight the dignity and social-political position of artists. Farabi's definition of beauty is based on the concept of perfection. In fact, perfection is beauty, even though perfection is happiness. With such an attitude, it can be concluded that the whole of Farabi's political philosophy has an aesthetic aspect, and in this way, the elements of his political aesthetics can be compiled. In this article, by using the collection of library information and the descriptive-analytical method, elements such as happiness, imagination and similes have been examined and addressed the definition of beauty that Farabi has based on perfection.

Aesthetic architectural reading refers to the interpretation and analysis of an architectural work or architectural concepts. This process involves understanding and interpreting the multiple elements of architecture such as form, space, material, light, and structure. Architectural reading is not limited to describing and interpreting the physical characteristics of structures and buildings; it also encompasses an understanding of their role in social, cultural, historical processes, and even their relationship with the natural environment. Contemporary architecture based on object-oriented ontology pays special attention to the human experience of the environment and space. In this approach, environments and structures are considered as central objects in architecture and have a profound impact on human experience and behavior. Contemporary architects strive to design environments and structures in a way that influences human interaction with them and enhances the architectural experience. In this approach, architecture is introduced as a means to create sustainable interaction between humans and the environment. The importance of this perspective lies in making the relationship between humans and the environment more experiential and emotional in architecture. Environments are designed in a way that allows humans to establish a close connection with them, and in interactive environments, they can experience engaging and unique experiences.

Beauty and aesthetics have a thought-provoking course of evolution and development in the history of the world, in such a way that the known cultures before written history such as China, Egypt, Iran, Africa and Europe considered its examples to be human characters, behaviors and virtues, and on the other hand, beauty was constructions, functions, skills, creatures and natural objects; Animals, trees and rock shapes were described. But the history of beauty in the West is full of ups and downs, and from the ancient Greeks, who considered beauty to be the product of the artist's thinking, to Augustine, the western philosopher in the Middle Ages, who described beauty from the innovative doctrine of "Afaza" of absolute existence, the theory of beauty in The aesthetics of the Middle Ages, in a relatively artificial way, served as a substitute for the useful aesthetic interests and the origin of the work.In 1790, the important book of Immanuel Kant, a German philosopher and a leading figure in the modern philosophy of the 18th century, called Critique of the Power of Judgment, was published, which is known as one of the most important sources of aesthetics today. In the pre-critical period of his thinking, he wrote a small treatise entitled Considerations on the Beautiful and the Noble (1764), in which he mainly focused on social and anthropological reflections. Kant denied the principles of taste and believed that the judgments we issue about beauty are only based on pleasure and are completely subjective and only work for empirical studies (anthropology or history). Kant made extensive changes in the subject of aesthetics and made it It became a theory related to art and beauty. (Masika, 2011: 3) In Kant's criticism, sense is lower than knowledge and understanding, and taste is not based on moral foundation, and the judgment of the beauty of something is a judgment of taste, and taste is the power of judgment. knows about beauty. Until the end of the 19th century, as a result of Kant's theories, in Western culture and studies, art and works of art were examples of aesthetics, and the understanding of beauty also depended on the values ​​with the sensory experience of objects or events. At the end of the century, with the spread of the study of anthropology of art, the topics of aesthetics were also raised at the same time, and a new perspective appeared in the topics of aesthetics. Kant's aesthetic theory was systematic and comprehensive, he related experience and judgments about natural beauty and art to the basic concepts of epistemology, metaphysics and ethics. The continuation of this legacy in aesthetics after him is clearly visible, the purpose of this thesis is to analyze the evolution of the philosophy of beauty to the anthropology of aesthetics, and the question is based on what historical developments have occurred in the thought and philosophy of beauty from the ancient period to the anthropology of aesthetics?

The research method of this study is analytical-descriptive with a qualitative approach centered on historical developments based on written sources.

The findings show that the most important developments in the 19th century of anthropology are related to the two attitudes of evolutionism and diffusion (expansion) in the years 1930-1880, so that the evolutionism approach focuses on the growth of the (intrinsic) aesthetic power in humans, and its growth or lack thereof depends on hierarchical principles. And it is a stage, and diffusionism emphasizes on the expansion of the components of beauty in different societies, until with the emergence of aesthetic anthropology in the contemporary era, more attention was paid to the components of native beauty and the creative society in researches, and beauty was criticized from the perspective of the creative society

Court portrait paintings in the first Qajar period are mostly known with the faces of the king and courtiers, but part of the paintings of this period are painted images of women dancing and playing music. These images also follow the rules of court portraiture, but the portraiture of women independently has never been the goal of research. This type of painting, unlike court portrait painting, does not have a political or propaganda aspect and is used to decorate palaces with the standards and rules of court portrait painting, and it is painted without the artists' signatures. The purpose of this research is the analytical study of court portrait painting of women in the first Qajar period and its aesthetic criteria. The question in this research is as follows: what are the aesthetic criteria for portraying women in the first Qajar period? What are the similarities and differences with the official portrait painting of the court in this era?

The research method in this research is descriptive and analytical, using library sources and examining examples of portrait paintings of women and museum examples. Women in the first period of Qajar.

The results of this research show that the portrait painting of women in the Qajar period was an important part of the official court portrait painting in this era, the paintings have a decorative and idealistic aspect and have more diverse motifs and decorations. In the rules of aesthetics, idealism, the use of decorations and motifs, exaggeration in the facial expression has something in common with the official portrayal of the king and courtiers. In these paintings, according to the patterns defined in Iranian literature, women are young, beautiful, dancing, playing instruments and performing acrobatic movements.

This article employs a research methodology that involves the analysis of Morteza Momayez's works, specifically focusing on five posters from his cinematic portfolio. The selection of these posters was based on their relevance to the historical context of Iran, encompassing the periods preceding the Islamic Revolution, the imposed war between Iraq and Iran, and the post-war era. The research approach adopted is descriptive-analytical, utilizing library resources as the primary source of information. Furthermore, the study draws upon the conceptual framework of Gilles Deleuze, in collaboration with Guattari, particularly their molecular-molar theory. Within this theoretical framework, concepts such as the Rhizome, which symbolizes the interconnectedness of events, play a significant role. This research endeavors to explore and relate these concepts, including desire, Rhizome, deterritorialization, territorialization, molarity, and molecularity, to Morteza Momayez's movie posters. The selected movie posters for analysis include "The Mongols" (1973) by Parviz Kimiavi, "The Lodgers" (1987) by Dariush Mehrjui, "Mother" (1991) by Ali Hatami, "Oh Iran" (1990) by Nasser Taghvai, and "The Artist" (1993) by Mohsen Makhmalbaf.

From a molecular-molar perspective, Guattari's art serves as a reflection and mirror of society and the human psyche. Consequently, the interpretation of these posters necessitates an examination of the events that transpired during the specified years, spanning from the pre-Islamic Revolution era to the post-1978 revolution era of Iran's reconstruction. Morteza Momayez's movie poster works exhibit a deliberate deconstruction and departure from conventional design norms, which are evident in all five posters. In addition to capturing the essence of the films and their actors, Momayez paid meticulous attention to typography, size, and even adopted unconventional approaches to presenting the artists' names. Guattari's concept of "becoming," which elucidates collective transformation and dynamism, finds rich representation in Morteza Momayez's movie posters.

This article provides a comprehensive analysis of all five posters, considering the contextual events and Morteza Momayez's artistic perspective. The affinity between Guattari's molecular-molar theory and these posters was thoroughly explored and examined. Through the lens of Guattari and Gilles Deleuze's philosophical concepts, the authors sought to unravel additional layers of meaning embedded within these artworks, showcasing the creative prowess of Morteza Momayez. The analysis revealed that the movie poster for "The Mongols" (1973) exemplifies the concept of a "limbless body," while the poster for "The Lodgers" (1987) encompasses notions of "minority," "becoming," and "stratum." "Mother" (1991) portrays "territoriality" and a " limbless body" while "Oh Iran" (1990) exhibits the concept of "desire" and in "The Artist" (1993), several conceptual themes are discernible, including notions of "individuality," "abyss," and "tribal thought". Consequently, it is evident that Morteza Momayez's movie posters bear the molecular-molar roots of Pierre-Félix Guattari's theory.

Urban walls hold significant influence over the quality of urban spaces, making them one of the most impactful environmental elements. Enhancing their quality contributes to an overall improvement in the physical aspects of a city. While the urban landscape and its aesthetic indicators are well-established, the question arises regarding the influential components that shape the urban landscape. Hence, the objective of this scholarly article is two-fold: to identify effective solutions for enhancing the aesthetic dimension of urban walls in terms of their objective-physical aspects, and to prioritize these solutions based on the perspective of citizens who frequent the Eram sidewalk in Qom city. Determining the sample size was achieved through Cochran's formula, resulting in a total of 384 participants. The research methodology employed was practical and aligned with the nature of the study, employing a descriptive-quantitative approach to answer research questions. To analyze the collected data, the Lisrel software was employed for designing the structural equation. The research findings highlight the need for improvement in various components of the urban landscape when it comes to the walls of the Eram pedestrian area. These components include enhancing the beauty and visual variety in wall decorations, paying attention to facade additions, and diversifying the texture of materials utilized. Notably, citizens rated the absence of disturbances and visual disruptions as positive and appropriate, assigning it a high impact factor of 0.82. This component emerged as their top priority when indicating their visual preferences. By addressing these findings and incorporating the indicated solutions, urban planners and policymakers can effectively enhance the aesthetic appeal of urban walls, thereby improving the overall perception and experience of citizens within urban spaces.

The concept of nature, despite its simple, clear and comprehensible appearance, is a mysterious and complicated concept and has traveled a long and winding path throughout history until today. "Nature (physis) in Greek culture is designed and understood in relation to Logos, Eros, Cosmos, Chaos, Tragedy, Mimesis, Poiesis, Techne, Praxis, Dialectic and Paideia. Various fields of studies of mythology, history, culture, society, economy and politics, philosophy, art and literature, and many sciences, according to their perceptions of nature; They plan and formulate their affairs and phenomena and how they face each other.The representation of nature in all fields of human knowledge has always been based on conceptual and metaphorical dual oppositions about nature: transcendence /immanent, dynamic /static, mechanical /organic,theological /materialistic, deterministic /occasionalistic and animate /inanimate. Considering the opinions of German, French, English and American philosophers and thinkers in the last decades of the 18th century and throughout the 19th century, it can be safely said that the most obvious and complex view of nature was formed in the great flow of romanticism. The concept of nature in the school of romanticism is a multi-layered and deep concept. Reducing the movement, rather the great revolution of romanticism to a literary and artistic school, on the one hand and highlighting characteristics such as reaction, opposition to rationalism, enlightenment and civilization, praise of melancholy and suffering and disease; On the other hand, it has caused the suppression of valuable aspects of romanticism, which are now showing themselves in the process of "the return of the repressed" - according to Ernesto Laclau-.Our approach in this research is philosophical and political. Our attempt was to bring these two types of encounters together in the fundamental concept of nature, that is, in addition to the aesthetic aspects of nature, we intend to indicate the philosophical foundations and political contexts of the focalization of nature and its relation to other concepts of romanticism including individuality, subjectivity and anti-capitalism orientation. The results of the research show that romanticism has intelligently attracted various parts of the opinions of philosophers and thinkers, which it saw as compatible with its essence and orientation, and with the idea of "romanticizing the world" and "understanding the world as a work of art"  was looking for solutions to problems that covered all philosophical, epistemological, ethical, aesthetic and political fields.

In his sociology of art, Marcuse seeks to provide a theoretical answer to Freud's transhistorical hypothesis of the rational refusal to form a non-repressive civilization; a hypothesis according to which, domination of the principle of reality over the realm of desire in general, is an unchangeable destiny in the processes of civilization. Marcuse, however, tries to show that the antagonistic relationship between desire and reality is not a definite thing, but merely a changeable historical situation. By relativizing Freudian assumptions, he visualizes the beginning of a historical transformation dominated by the principle of performance in contemporary civilization, in which alienated work can be replaced by an alternative form of work, aesthetic work; A procedure that, in turn, can transform the established principle of reality (the principle of performance) in favor of an alternative form of the principle of reality. Marcuse believes that art is a factor that can revolutionize the relationship between desire and reality. This revolutionary power of art is embedded in its aesthetic dimension (formatted content); a dimension itself is the product of the fantastic and imaginative knowledge of the work of art. In this way, Marcuse introduces the concept of psychoanalytic fantasy into his theory as a liberating element; A mechanism that, by its nature of performance, is able to reconcile desire and reality and reshape their relationship under an erotic principle of reality.

Townsend’s “Hume's Aesthetics Theory, Taste and Sentiment” is a critical point in Hume studies. Before that, Hume's commentators hold that his aesthetics was explained only in his short essay entitled as Standard of Taste. But Townsend shows that Hume's aesthetic can be found in other works, such as A Treatise of Human Nature, An Enquiry Concerning the Principles of Morals and An Enquiry Concerning Human Understanding. Through these books, we can gain a comprehensive understanding of Hume's aesthetics. But, furthermore, he asserts that the main basis of Hume’s philosophical system is his aesthetics, a claim that we found it very controversial.  He also shows that concepts of taste and sentiment have an epistemological role in Hume's Aesthetics. But his conclusive interest to aesthetics leads him to give a strange and misunderstanding reading of Hume's philosophy. This book could be better understood as speculation concerning Hume’s philosophical system rather than instructing his aesthetics.

Before the beginning of modern era and the amazing development of mass communication technology, art was considered and interested by thinkers. However, after the development of mass media and the development of literature in the field of culture and communication, the category of art, culture and communication was neglected and. caused many problems. This study tries to examine the relationship between three categories of art, culture and communication by studying some of the existing conceptual and theoretical structures. At the beginning, the concepts of "art", "culture", "communication" and "culture and communication" have been studied, and then the views and opinions of thinkers such as Heidegger, Benjamin, Nasr, Avini and Madadpour were investigated in the context of the relationship between these categories. For the conclusion, two descriptive and prescriptive approaches were performed and the approach of "Cultural Artistic Communication" was suggested as a desirable relationship between the categories.

The Iran-Iraq war began on September 22,‌ 1980. According to commentators and researchers, this war was the most serious and difficult war since World War II, and from this point of view, it is one of the most horrific wars of erosion in modern times and the longest in the history of third world countries. Letters from warriors at various times during the war are one of the most important documents left. Despite the unique features and structure of this war, no extensive studies have been conducted in Iran, especially in the field of anthropology of art, no study has been done on the letters of the warriors. Therefore, in this article, the aesthetic and semantic dimensions of the warriors 'letters were studied from the perspective of art anthropology. The main question was in order to identify the aesthetic and semantic dimensions of the warriors' letters of the Iran-Iraq war. More than 50 warrior letters were read during various periods of the war. Findings show that the aesthetic dimension of images and printed writings of letters is to produce and reproduce the dominant discourse of war, which is often a display of spatial, religious, political and national identities. Semantics of images, writings show that the dominant discourse of war pays special attention to religious identity It is also identified with the events of the beginning of Islam, especially the wars of that time with the Iran-Iraq war in the aesthetic and semantic dimensions of the letters. Me and the other in the semantics of the text and writings of the warriors to the two poles opposite me Muslim and the other enemy of the infidel is being produced and reproduced.

Reviewing the Persian translation of Umberto Eco’s  “Art and Beauty in the Middle Ages” (translated by Faride Mahdavi Damghani), is the subject of this article. The article does not concentrate on evaluating the original book, which is widely acknowledged by those who are involved in this field, and just outlines its subjects, chapters, and also its importance. In order to review the translation, the first 25 pages of the Persian text have been checked against the English one, which is introduced as the source of translation, and the errors have been divided into four categories and in each case, in addition to an explanation, the suggested translation is provided, too. The large quantity of errors is eloquent of the necessity for a serious revision to the translation of such an important book, which is usually used as a source by students and those who are interested in art and aesthetic studies.

The presence of bricks affirms many of the principles and philosophical thinking of Iranian-Islamic architecture including unity and plurality, unity and combination, and simplicity. In the post-Islamic architecture, the use of decorative arts became more limited, and the brick is one of the materials that appeared in a variety of decorative arts due to its potential in formation. But this application of bricks has been forgotten in the last century and lost its past glory. This article investigates the art of brick making and examines the role of this valuable element in three historical periods and textures (traditional, middle and contemporary) in the metropolitan city of Mashhad by a descriptive and analytical method. The data collection method is based on documentary-library and interviews. 12 works from Mashhad's well-known architects have been analyzed according to the obtained theoretical framework. One of the achievements of this research is identifying and interviewing selected architects of Mashhad. In general, the interviews show that each architect has a worldview and a particular approach toward brick and these approaches were classified in a specific category. According to the obtained results of the study, whatever has left of the valuable legacy in different periods and what is remembered as brick nowadays, is almost its technical, economic and memorable aspects. 

As a medium, animation films employ various arrangements to convey their messages to the audience. Narrative and narration play an important role in shaping the animations. Narratives, in general, reflect different views of the world and the way they are perceived. Much of the popularity of storytelling comes from their narratives; they help programmers move away from directly inducing a message to the audience while preventing the audience from becoming overwhelmed by the media in pursuit of their ultimate goals. For this reason, the form, the constituent elements, and the explicit implications of the narratives must be analyzed scientifically. Therefore, the purpose of this article is to analyze the narrative and visual elements of the short film "Ghasedak" which is one of the great works of IRIB Hamedan Center for Animation. To achieve the mentioned goal, the narrative approach and the theory of Roland Barth and Gerard Genet were employed to analyze the narrative and visual elements of this animation. Findings of this article showed that the visual elements serve to express the story and the visual concepts well narrate the main concepts of the story; the visual elements conveyed the explicit implications of the text in relation to the subject of the film. Also, the visual aesthetics of this animation had an impact on the content and visual beauty of the dandelion animated film.