absence

Throughout the history of dramatic literature, "presence" has been assumed as a fundamental concept, prominently reflected in the existence and presence of an active character and an organized and primarily forward-moving plot within the drama structure. While "presence" is often considered foundational, the concept of "absence" as its counterpart has frequently been overlooked and neglected. Jacques Derrida, the post-structuralist philosopher, argued in his theory of deconstruction that Western metaphysical tradition is centered on presence while disregarding absence. He called for disrupting the prevalent binary oppositions in this tradition and dismantling existing structures to allow marginalized voices and previously absent elements to speak. This article, drawing on Derrida’s theory of deconstruction and employing a descriptive-analytical method, examines the manifestation of the concept of "absence" in The Bald Soprano, Waiting for Godot, and The Dumb Waiter as the first, most renowned, and one of the most significant examples of absurd drama. It demonstrates how a new form of dramatic literature has emerged by deconstructing the structures and dominant patterns that have governed Western dramatic traditions for centuries. This form, characterized by the absence of an active, driving character, a nonlinear and repetitive plot, and the prevailing absurdity of its world, aligns with the era in which these plays were conceived and established, promising a fresh perspective. These plays can be considered pioneers who indicate the possibility of new types of drama by breaking common patterns and established traditions and creating harmony between the drama of each era and its contemporaneous characteristics.

This article discusses the presence and absence of objects in museums, based on J. Fontanilla’s perspective. The study analyzes museums outside of Iran and examines recent projects or museum scenarios that have addressed the issue of missing elements or absence, aiming to reduce various forms of absence. The research findings suggest that the dichotomy between presence and absence in museums is diminishing, due to evolving object representation policies, redefined museum missions, and the integration of new technologies. The evidence indicates that expressions of absence in museums are becoming more Non-material and Visible, and absence is now acknowledged alongside presence in museum contexts.

Photography has an inextricable link with it, the recording of elements and phenomena in reality has been intertwined with the nature of photography since the beginning, this link with reality brought photos closer to historiography than other cultural products, photos as copies and originals of The social and historical existence can be a direct and reliable source for obtaining many facts and historical sentences, this feature makes the photos a reliable document of what is really considered. For these historic photos, they find a document that requires the presence of the photographers in the heart of the historical or social event, the same chance to be present, but if the photographer cannot open such a chance, he can record the historical photo based on the historical texts. Instead of directly referring the photo to the event, the photographer uses the function of representation in photography, the photography that becomes reality in his mind and then he photographs it. Photographic representation is a concept which exceeds the image. In this photographic process, the concept of absence can be used to signify the negation and privacy of the presence of elements, objects and to enjoy them. With historical photographs, texts that show traces of the presence of something in the past, absence has a documentary purpose. The photograph uses absence as a post-modern concept to display various historical elements of the event because of absence. By examining Yasar Khadishi’s collection of photographs of the event of Agha Mohammad Khan Qajar’s attack on Kerman, in which he turned Kerman into the eye of history, with regard to the concept of absence, we can conclude that the photographer needs to be present in the heart of the social historical event in the contemporary artistic nature of photography. Nothing, it is not possible to use the concept of absence in his photos to present the apparent causes to the viewer in a deeper way, this concept cannot be made voluntarily, involuntarily or unconsciously in the photo, the concept of absence is a historical narrative within the frame of the photos, not based on the display of elements. The present and ready to be the photographer, who is read and understood by the spectator based on factors and phenomena outside the framework. The same thing makes the space of the photos poet and the audience without the presence of the photographer’s desired objects and elements in the frame, the photos for local mental thoughts and thoughts and start to read the effect of those types. In this mode, photography can free itself as an artist, let the imagination and thoughts of the photographer behind the camera fly, and produce me without worrying about breaking stereotyped and repetitive forms.

Ever since the emergence of drama in this world of possibilities, there has always been an affirmative or privative relationship between philosophy and drama. Among the thinkers who’ve approached to art based on this perspective, Martin Heidegger in his book The Origin of the Work of Art presented an ontological interpretation of ancient Greece’s tragedies and reflected on the relationship between drama and existence, in other words, the presence and absence of existence in drama. In this study, in order to understand the relationship between philosophy and drama based on ontology, we use the method of hermeneutic phenomenology and library sources to study the play of Mohammad Rezaei Rad based on the ontological relationship between Presence and Absence in Martin Heidegger's thought so that we can contemplate the relationship between philosophy and drama with an ontological approach in Iranian drama and explain the fundamental aspects of this work. For this purpose, we propose the hypothesis that the foundation of this play is based on the dialectic of presence and absence and the structural elements of this work are based on that foundation. We first consider the relationship between drama and philosophy and then describe the method. In our cognition, we reflect on what presence and absence is, and the approach goal of understanding is how these two concepts occur as the fundamental principles of the play. We will also implicitly show how it is possible to narrate the relation between human and the universe by examining the philosophical concepts and using them in drama.

The quality and meaning of life are continuously attached to the presence of elements, objects, things, people and concepts; the absence means denying and depriving the presence, has strengthen this concept, hence has been frequently presented in philosophy and art fields. The concept of absence as an art strategy has been presented at the context of many artworks, especially in the present century. In photographic contexts due to introducing the previous presence of things, ‘absence’ finds a referral function. But the main question here is that, how in the photographic contexts, we might be able to find the existence of historical narratives behind them, through the absence of elements and things?

Photographs as the ever-present contexts, whether on private albums or in art/ news studios, even on virtual social spaces, offer a variety of absences with different origins, and [therein] the historical analysis arising from it in these works would lead to a better understanding of the human social context. The research hypothesis here is that photograph as a historical context, when linked to and analyzed by the narratives surrounding it, would present the ‘absence’ as a means of denying the presence of suppressed forces in the social context, that potentially have the power to participate and alter the actions of every day’s life.

was done based on the social history of the photographic contexts, as in this approach, behaviors, events and beliefs, besides being part of daily life context, are also important in the process of historical research.

Absence in the picture frame, is able to represent the latent power behind the different social classes; Moreover, the standpoint of elements related to absence within the historical context and its continuation at photograph scale will be discussed and explained the way that photography exploits the absence as a modern concept to represent a different content and various readings.

Almost a particular insight is effective on the artist’s approach in creating quality of space in his painting. In fact, the general atmosphere in any painting is a reporter of artist’s thought and insight. By examining the foundational of ontology in their approach we have found some similarities and differences between the Iranian painting and the Far East painting. The purpose of this study is to investigate the relationship between ontology foundations and painting space. In fact, we are looking for: is the concept of “existence” and “absence ” ( in ontology) effective in negative and positive space painting? To prove this goal, we have analyzed the aesthetics and visual structure in their paintings and compare them in some concept such as (time, place, color, …).
The research method used in this paper is analytical-descriptive and the library resources have been used for these concepts.
This study concludes something that be represented in Iranian and the Far East paintings involves artist’s insight into the knowledge of ontology, so we can see filled space in Iranian painting and empty space in Far East painting which is proved by a comparison of the visual structure of their works.