deconstruction

Derrida believes that Western philosophy, from the time of Plato until here and now, has always been living in a word-centered life under the shadow of metaphysics. Therefore, he challenged the prevailing atmosphere of Western philosophers' thoughts with his disruptive design. He believes in the existence of the superiority of writing over speech, and referring to Saussure's opinions and mentioning the idea that every sign can have different meanings; proposed the theory of reconstruction. According to Derrida, the structure of texts is the biggest obstacle in the way of understanding the truth of texts, because by referring to the model of signifier and signified, he realized that it is impossible to achieve a definitive and true understanding of texts. This is why he suggests deconstructive reading for the overall understanding of texts, including literary texts. A dance play like this... written by Mohammad Rezai-Rad provides a suitable platform for a deconstructive reading, because it can be considered an adapted text that is adapted from another text, that is, war. The present research tries to find an answer with the help of a descriptive-analytical method in a library format in response to the question: How can a critical reading of the above play challenge all public beliefs? As a result of the answer to this question, it is important that as a result of a constructive look at each text, concepts that have not been seen until now are revealed. For this purpose, first, Derrida's theory of deconstruction and its indicators are examined descriptively, and then a reading in accordance with the theoretical framework of research in the play is discussed.

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.

According to theory of deconstruction by Derrida, meaning is always defermented and the chain of signifiers have no final signification. The objective of the current research is to show that visual metamorphoses are inherently constructive, unless, a constructive narrative prevents this possibility from occurring. "Elephant Buttons" by Noriko Ueno, "I see, I see" by Robert Henderson, "Are you a stork or a woodpecker?" and "I stand on my hand" by Ali Khodaei were chosen for the research topic, because all are based on metamorphosis of the image and at the same time, they have used different styles in creating the metamorphosis of the image. The present article seeks to answer the question “how deconstruction is formed or not in works based on visual metamorphosis”, with the analytical-comparative method. The result of the present research shows that image metamorphosis can lose its adaptive function under the influence of the narrative structure of the text. In more precise words, the visual narration of the text can postpone the chain of metamorphosing images.

Deconstruction first originated in literature, then extended to the realm of art, and ultimately influenced graphic design. The current research aims to explain the characteristics of the deconstructive style observed in the poster designs of the California Institute of Arts (Cal Arts) during the 1990s, as one of the pioneers of deconstructive graphic design.This research is practical in terms of its purpose and is considered qualitative in terms of data. To conduct this research, an initial review was conducted on printed and electronic written sources pertaining to deconstructive thinking and deconstructive graphic design, and through that, a researcher-made checklist was created for the analysis of artwork. Then, using a checklist, the 311 samples of posters designed in Cal Arts Institute from 1900 to the end of 1999 were analyzed to determine the frequency of each of the eight deconstructive features observed in the samples. Finally, two artworks with the highest identification of characteristics were analyzed using qualitative methods.The research findings indicate the presence of three primary features of deconstruction observed in the majority of artworks produced by the Cal Arts Institute: cluttered typographic elements, cluttered pictorial elements in the composition, and changes in type form. Following these three features, the collision of typefaces emerges as another deconstructive characteristic found in the posters of the Cal Arts Institute. The most prominent deconstructive characteristic is the use of cluttered typographic elements, which highlights the strong relationship between deconstructive graphic design and typography. In some artworks, more detailed characteristics were observed, including changes in size and typographic baseline in smaller typographic elements, the creation of wave-like lines, and the blurring of letters.

How to analyze the deconstruction component in clothing design with emphasis on the works of Maison Martin Margila is the main issue of this research. Deconstruction is one of the components of the postmodern era. Postmodernism refers to a philosophical, cultural, and artistic school that lacks a central hierarchy with distinct structured principles and is fundamentally at odds with modern philosophy and aesthetics. Many artists have performed in the field of deconstruction, including Belgian designer Maison Martin Margila, a leading figure in the wave of contemporary fashion designers; The term deconstructionist fashion was first used to describe her collections. This article, with a qualitative approach and descriptive-analytical nature, intends to introduce and identify the deconstruction component in the costume design works of this artist. This artist as one of the initiators of postmodernism in clothing design. The emergence of a deconstructive component in the works of Maison Martin Margila has not only established his position as one of the pioneers of postmodernism in costume design, but also in the creation of outstanding works to express other ideas and concepts of this current such as carnival. Grotesque helps glamor, time and other deconstructive components. Other results of this research show that in Margila's works, one can see an enthusiasm for a certain path and determination and rethinking in traditional fashion techniques. Margila shows that she has changed her design direction and is following her own rules, and this has been the idea behind the deconstruction in her work. Margila has been in the past for a long time, while deconstructing and denying common concepts, and shows that Derrida's concepts can be seen in the work of this Belgian designer. The concept that is deconstructed from his philosophical texts is also that Martin Margila's works do not speak only of a simple and meaningless subject and try to interpret the concept of beauty, and he exaggerates the usual sizes and shapes, compares and proportions and with The use of different materials in other fields, but in the case of clothing, created an opportunity to go beyond the fixed framework of clothing in the fashion world.

There is a consensus in the history of art that Peter Bruegel’s works are allegorical reflecting contradictory semantic implications. Bruegel’s the Tower of Babel, while being a visual representation of the mythological-religious narrative of the painting, has multiple and contradictory readings. Jacques Derrida, one of the poststructuralist theorists, has analyzed this narrative using a deconstructive approach and in contrast with the philosophical tradition of the originality and unity of meaning.

Using Derrida’s poststructuralist approach, this study attempts to examine the different aspects of the Tower of Babel Bruegel in its historical context. To this purpose, we analyzed and interpreted the existing documents and sources using structural analysis.

This study aims to provide a polyphonic and fluid interpretation in line with the developments of contemporary criticism and aesthetics. By rejecting the definite meaning of the work, this research seeks to answer these questions: What is the relationship between the painting structure of the Tower of Babel and extra-textual factors? What semantic aspects do emerge in the deconstructive critique of the work? How does the interpretive reading of the work relate to the orientation of contemporary criticism?

By revealing multiple contradictions and layers of meaning, deconstructive critique of the work shows that painting is at the same time a metaphorical image of the failure, inability, and decline of the political power of the contemporary government in the time of the painter in the historical context. At the same time, it reflects a positive embodiment of the construction of a utopia developed by human activity and effort aligned with the cultural and social context of the work. By rejecting holistic and absolute interpretations, the polyphonic interpretation can be considered as a manifestation of the pluralistic nature of contemporary critical action in the field of art.

Postmodern movement emerged in the 1960s as a reaction against modernism, the most important differences which distinguished it from previous periods were its attitude to the reality and critical attitude towards the certainty of science and truth. In this view, reality differs for individuals and is determined by the perception, culture and language. In this view, each person's perception of reality is the product of his attitude to the life, so the existence of an absolute reality is rejected. Postmodern culture does not represent a systematic and pervasive theory because every individual or culture measures reality in its own way; so they can be understood by their own criteria, not by a standard and objective one. People also use language to construct their inner realities, so each person's words and manner of speech reflect the internalized realities and their perceptions of reality. Based on what has been said, deconstruction can be considered one of the most important postmodern manifestations that has influenced not only on aesthetics discourses but also in the sciences such as psychology in the last three decades of the twentieth century. This approach seeks to eliminate and abolish universal principles and emphasizes diversity, plurality, differences, contradiction and relativity. Accordingly, postmodern psychotherapy also came under the influence of postmodern philosophy. Social constructivism is a postmodern view of therapy that believes reality is not outside to be found; it is built within each of us and socially constructed through the interaction of culture, perception, and language. So everyone is personally and actively involved in making his own reality. The purpose of this paper is to study and investigate the impact of the features proposed in postmodernism on postmodern art therapy in an analytical and theoretical way. The main question is to find in what extent postmodern art therapy is related to the concepts in postmodernism. In this study, it is assumed that the concepts discussed in postmodern philosophy are specifically applied to the postmodern art therapy. The results of this study confirm that the deconstruction of social structures and internalized narratives, the importance of multiple realities, the importance of social aspect of art, group and discourse-based activities, pluralism, the importance of audience interpretation, the use of metaphor and etchings as well as the use of different medias in creation of artworks are among the most important features that have been introduced and applied in postmodern art therapy. Postmodern art therapy began as a means of combating social conditions, with the idea that individuals are influenced not only by their childhood experiences in the family, but also by culture, ethnic, race, gender, politic and other issues in the life. In this context, art was used as a means of expressing multiple realities to establish mutual discourses and communication as well as identifying and eliminating the dominant narratives of life. In this way according to post modern art therapy all people have the ability to lead their own lives in ways that are both satisfying and socially productive.

The first half of the 16th century is one of the most important cultural and artistic periods in Iran, in which painting grew at an unprecedented rate. Shah Tahmaseb I ascended the throne in Tabriz in 1524 and supported artists until the transfer of the center of rule to Qazvin in 1548, due to his intense interest in painting. He moved many artists from the schools of Timurid Herat, Turkmen Tabriz and Shiraz to his court. This is how one of the most brilliant schools of painting in Iran flourished in Tabriz. One of the most important illustrated versions of this period is the great Shahnameh called "Tahmasebi Shahnameh" which, in addition to its excellent quality, can be referred to for creativity and variety in the characterization of its drawings. This copy was compiled in the library of the Safavid court in Tabriz and contains 258 images and prominent artists of that time collaborated in illustrating these assemblies Undoubtedly, the diversity of characters in the literary text of Shahnameh has played an important role in this development, but the most important factor is the time of creation of this great version, which was formed during the intellectual and artistic maturity of one of the most prominent schools of painting in Iran, which itself was under the strong support of the court and this has led to the innovation and creativity of artists and sometimes the deconstruction of previous rules. What this research seeks to identify is the qualitative characteristics and diversity of different types of characterization in Tahmasebi Shahnameh drawings. The research hypothesis acknowledges that the painters of Tahmasebi Shahnameh, while adhering to the literary and artistic traditions in drawing, tended to deconstruct and innovate in characterization. The question is: What qualitative features have been used in the characterization of the Tahmasebi Shahnameh drawings? Considering the special place of Tahmasebi Shahnameh, which is a great treasure of Safavid art that has been effective on the process of Shahnameh writing in the history of Iranian painting, recognizing various features in characterization and different approaches to painting faces and iconography of this version matters, while little research has been focused on it. This research in terms of method is historical-analytical, and data was collected using library research method and documented material. The statistical population consists of 9 miniatures that include various visual capabilities, abundance of iconography and characterization, which are illustrated in different parts of Shahnameh. These drawings are in order of review: 1-Kiomars Court, 2-The killing of the black demon, 3-The court of Jamshid, 4-Seeing Zal by the caravan,5-Rostam's battle with Afrasiab, 6- Kikaus goes to heaven, 7- Conquest of Bahman Castle, 8- The story of Haftavad and Karam, 9- Young Shapur in the court. The method of analysis of the selected society is qualitative, based on the types of characters from the two perspectives of narrative and image, and the way of their representation. The studies that have been done so far on the paintings of Tahmasebi Shahnameh are more from the point of view of visual arts and aesthetic aspects, and the painter's approach to characterization has rarely been considered; hence, no source was found that was related to the problem and objectives of the research. The studies of the present research indicate that in terms of narration, there is a significant variety in all types of characters in the drawings of Tahmasebi Shahnameh and artists have had no restrictions in drawing narrative characters. In analyzing the characteristics of characterization, the important point is that artists have tangibly gone beyond the norm and deconstructed. This deconstruction is most evident in the display of facial expressions, strange and abnormal body movements, and exaggeration in human proportions. The authors of this version, in characterizations, did not consider themselves obliged to follow the defined rules and in order to create new characters and the best visual expression, had the courage to break any pre-determined principles and rules. The deconstructive features in the characterizations of this Shahnameh are such that some of the characters seem very different; to the extent that Eva Beer, a scholar of Islamic art, also acknowledges about the Tahmasebi Shahnameh that some of the figures in this version are "caricatures". The artists of the Tahmasebi Shahnameh have ridiculed the characters of the story and have depicted fat and big-bellied, thin and tall, staggering and thin as well as complaining figures. However, it must be acknowledged that this deconstruction does not include all characters. Rather, it consists mostly of base and ugly characters, and the main characters and some important court figures of the narrative have not undergone the changes that were introduced as deconstructive features in characterization.

Theatre and performance create a theatrical atmosphere by using and combining images and words. The theatrical atmosphere is perceived by audience’s imagination and changes to meaningful signals that convey the meaning of the play to them. Space dramaturgy is usually associated with composing, organizing, and processing; A solution that introduces the scenographer as one of the main pillars of shaping the performance for writing through the definition of space. Examining the concepts of the play, visualization, and putting these concepts in broader contexts with the language of image and space, forms the basis of a Scenographic dramaturg, whose the base of work is interpretation, deconstruction, creation and writing new worlds. The present study seeks to answer the main question of how to move from written text to production of unwritten text and performance text, relying on the hypothesis of the effectiveness of the idea of deconstruction theory on the formation of Scenographic dramaturgy in performance. Derrida ‘s studies require a careful consideration of the textual evidence and the logical contradiction that the flow of writing can interfere the interpreter’s attempt to get a united meaning and crystallize new concepts from the text itself by re - reading the dual contrasts, hidden layers within the text, intertextuality, the presence and absence, differentiation, playing with meanings and signs, links and textual breaks. The present research aims to improve the knowledge of designing in organizing the theatrical atmosphere by conducting an interdisciplinary study in order to get acquainted with the infrastructure of foundation - breaking to pass from the written text to the production of unwritten text and text of the performance space. The present dissertation is a qualitative research based on library resources and reputable Internet sites. Undoubtedly, in such studies, the interconnectedness of theory – practice structure, alongside each other can transform fixed patterns and forms, even of the past performances of classical plays.

The mysterious nature of mirrors has always been and attractive for artists to choose as their subject matter for the creation of the artwork. This is not just due to their reflective quality of their surroundings but also because of their capability to change such reflections. Today, mirrors and knowledge about them are being used beyond their reflecting feature more than any time before. Mirrors have coexisted mysteriously with the art and have found their special meanings in different cultures in the same way that art has enveloped other sciences, like psychology, politics, and technology. The complexity of mirrors and their ability to reflect things in a unique way is contrary to their simplicity. Therefore, their impression on their audiences varies from person to another. In other words, this method of “deconstructive reflection” (as Derrida has named it), can be explained as: the hidden meanings of signifiers that are constantly suspending and floating; the subject finds its meaning only through its division, multiplication, and expansion in space and floating in time. Using mirrors in the field of interactive arts can represent the relationship between the artist and his inner and outside world. The involvement of mirrors in artworks can be a way of representing the audience by the artist, in a way that the presence of the artist/author is unavoidable in some of the new artworks. This form of indirect interaction within the symbols, signs, and/or archetypes in the art work can create a multi-layered relationship with the audience. Moreover, such interaction between the audience and artwork makes the role of artist even more effective and also creates a new form of perception and understanding for the audience. In this essay, attempt has been made to study and analyze the roles and functions of mirrors in the new interactive arts. Therefore, the author has proposed a method to examine the potentials of the poststructuralist ideas, such as Roland Barthes and Derrida’s, and if they are employable on Post-modern art. Furthermore, the paper seeks to respond to the literary idea of “The Death of the Author” and if we can perceive new meanings from artworks through this Barthesian debate. To this purpose, the research studies the roles of mirrors in the post-structuralist framework and Barthes’ theory of “The Death of the Author”. Hence, on one hand, this essay challenges this Bathesian theory in the interpretation of contemporary artworks, and on the other, analyzes mirror’s functions through Derrida’s post-structuralist theory. Finally, this essay concludes new responses to the author’s transformational role in the relationship with the audience and artwork. Through this relationship, the paper presumes that not only the author is not dead or absent in the art work-audience relationship but also exists in a more effective way through his indirect interaction with his audience. Interactive arts, including those that involve functional mirrors, are appropriate candidates for this research elaborating upon the thoughts and ideas of post-modern theorists like Barthes and Derrida. The data required to conduct this research has been gathered through the desk study of library resources taking descriptive-comparative method. The statistical population includes six examples of interactive arts created during the past decades. The works selected are sufficient to support the paper’s hypothesis and also extend it to the aforementioned theories.

The present paper is presented in two sections: theoretical and practical critique. </span>First, </span>it looks at Derridachr('39')</span>s view about narrative; </span>and then explains the distinction between narration and story, </span>generally explaining how a text is read within a post-</span>structuralism approach. </span>In the second part, </span>four paintings from the contemporary Iranian painter Hannibal Al-</span>Khas are analyzed in a post-</span>structuralist manner, </span>and with an emphasis on deconstructive approach. </span>In fact, </span>deconstruction emancipates the audience from blind presuppositions which assume the narrative as self-</span>sufficient and certain. </span>The narrative debate here takes painting as a text, </span>and analyzes the relationship of its visual features against its context. </span>The reason for examining these four works from Al-</span>Khas’</span>s oeuvre was their potential to provide a deconstructive critique of the narrative. </span>The main purpose of the present research is to reveal the semantic dimensions of Al-</span>Khas’</span>s work using descriptive-</span>analytical method, </span>and based on library studies of Derrida</span>.</span></div>

Land art was formed in early seventies in the USA. Land art artists take their art works out of museums and galleries and expose them to the audience in the natural environment. Since such art works are displayed in an outer area of museum and galleries and there are formed from natural elements, they were short lived and died in nature. In this respect photos are important to keep a record of them; and thus, Photos merely witness land arts and they became important themselves too.
Photos demonstrate the work in books and galleries and make them survive as an art work. Also photography and land art are relatively similar in art work process, art impact, the importance of audience, dealing with reality, and having conceptual significance. This writing attempts to study the role and importance of photography in the artworks of land art artist and determines the importance of the nature of this branch of art in deconstruction and de-familiarization /alienation. The question is what is photo do to de-familiarize land arts?
Findings of this study include: art work magnitude, its mortality, and being located out of galleries and in natural environment. Photography immortalizes a mortal and transient work. And in most case the photo of the art work sells best. Today all land arts are generally known by their photos as image publishes and propagates “tracks” left by artists.
This study will conclude from mentioned art works that: the importance of “the role of photography” to survive the artwork and “the importance of deconstruction for de-familiarization/alienation” in order to fade the similarities of art works and increase the concentration on environment and art works through methods such as ambiguity in concept of art works, eliminating visual habits, change in magnitude of art works, performing art work out of museum or galleries, evolving the material of art work and merging it in to environment, changing a work to an art work by package or displacement of place or holding it in an unfamiliar environment, more emphasis on domestic and ritual values, emphasis on natural layout, the art of cooperation and team work and etc. there are some related examples of Iranian and foreign works in the current study. Actually de-feminization/Alienation makes it complicated to understand a work of art thus subjectively makes it an obstacle, and this is achieved through the heart of concepts and accepted ideas and their illustration from a different perspective. Artistic de- familiarization/alienation forms by breaking common frames and presenting new ideas and new exhibitions. The point is that this de-familiarization is a process that forms from within, i.e. the idea, and then affects the outside, i.e. the form and appearance of an artwork. In this regard, de-familiarization works as a basic and core component and dominates all other elements. Test method applied for this study is: descriptive – analytical, and in some cases it used case study. Information also gathered from libraries.

In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed in the attitude of breaking the foundation, Lays down Hence, practices, defamation, deconstruction, and the breakdown of shared deconstructions in contemporary discourse, which oppose dialogism.In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed.

Deconstruction and Surrealism, despite their different origins, are in accord on their criticism of deterministic approaches; both of them stand against reducing the infinite domain of meanings and interpretations to the determined and contrastive field of “binary oppositions”. Deconstruction challenges the structural contrastivism through its approach towards text and lingual structures, as surrealism does the same by altering the perceptive experiences and elevating the perceived reality. Given the aforementioned similarity in approach, the current research aims to use the reader-response theory to study the approaches of surrealistic art in 20th century (two-dimensional image) from the deconstructive viewpoint. The deconstructive analysis in this research is based on the reversed and disrupted relationship between oppositional components, and the “undecidability” of their final status. The research concludes that by disrupting the conventional relationship among contrastive concepts, wavering the certainties, and questioning the accepted convictions, surrealist images not only deconstruct the used visual system (abstract art and figurative art), but also “embody” (visualize) the deconstructive approach towards our conventional notions about reality.

Joseph Kosuth, American conceptual artist, has special techniques in art creation. He is an theorist, writer and artist and professor in art universities. He is one of the important figures in contemporary art, especially conceptual one. He wrote some seminal essays regarding contemporary art, like “Art as Idea as Idea” and “Art after philosophy”. Through this texts he found the new bases for a new art. Kosuth’s works show the major distant from traditional art frameworks. The rejection of aesthetics concepts and painterly elements are two goals of conceptual arts. Ideas, meaning and signification in this stream are so important. Ideas of artist can be socio-political and philosophical or religious and cultural; meaning is comprehension of audience; and signification is related to work. In the first stages of his career, Kosuth follows the theory of Ludwig Wittgenstein who is a main character in analytical philosophy. We will claim that not only this kind of Kosuth’s works but also his whole works can be read using Derrida’s approach. This comparative analysis shows the impact of linguistic anddeconstructive thought on Kosuth’s works and considers precisely his theory, his art and his shift in art interests and definition. In his career, this artist has created different and interesting types of works. At first stage, he put three mediums, i.e. an object, a picture of object and its dictionary definition,together. In another stage, he deforms classical artistic pictorial and writing works, for example crosses out Freud’s theories and writings. In the third, he shows just writing sentences of himself or a philosopher or from dictionaries in different styles, especially with neon. In this paper, with regarding to Wittgenstein’s impact, Derrida’s deconstructive concepts have been read, thus someconcepts like, decenterism, intertextuality and appropriation, the importance of writing and grammatology, double reading, undererasure, subjectile and labyrinth have been read. Dematerialization in all the Kosuth’s works means decentering the main elements of formalist painting. Also, this artist employs form ofwriting and language for his creativity. In this kind of works, he calls art as analytic proposition which is a picture of the world. The possibility of proposition rests upon the fact that logic of world structure is similar to the language structure. We find through Derrida’s argument that there is a rupture between signified and signifier. This can be explained through Derrida’s interest in writing as asuperior form in speech/writing opposition. The artist also has used philosophers’ words and quotations. He shortly follows other philosopher’s ideas. He follows the undererasure strategy which stem from Heidegger’s philosophy and Derrida’s usage of it. Derrida thought this strategy as a metaphor,because both affirms and rejects an issue. Kosuth also uses and rejects Freud’s theory. As a result, there is no fixed and singular meaning for audience; there are no fixed significations for signs. There is no way for artist toshow and express all aspects of his/her ideas in artwork. In this paper, despite Kosuth’s intentions, we have found other meanings in his works probably in contrary to his ideas.

This research is going to study Akropolis performance by post structuralism perspective. Akropolis was directed by Jerzey Grotowski, famous polish director who is indubitably one of the most prominent theatre Directors and theorists in the second half of the 20th century. He has an important role in progression of experimental theatre and actor training techniques over the past decades. Akropolis was adapted from the Stanisław Wyspiański’s dramatic epic poem which was written between 1903 and 1904. The Main Play [Wyspiański’s poetic drama] was set on the night of Easter Saturday when Sculptures and paintings in the Wawel cathedral in Kraków were coming to life. The main theme of Akropolis is resurrection, considered not only as salvation from death, inertia and forgetting, but also as a task given to each human being. Grotowski performed Akropolis in Auschwitz. He changed the location of events to Auschwitz in order to find out how far Classic idea of human magnanimity could resist in new Era of Post-war tensions and decadence. The characters of performance constructed crematorium ovens from customs and iron rust which was located within the Auschwitz. Performers in this performance are both slaves in Auschwitz and famous historical characters such as Jacob, Helen, and Paris. Although this performance shows the ancient mythical story, the meaning of them is unclear. For instance, Christ is a doll and Paris fall in love with Helen as far as Helen is man. As all the performers are signs, they make an implementation system. In this system there is no final object so performance shows the absent of life with showing the existence of life. Characters in Acropolis are signs, which are moving in the space between two worlds, war camp and mythology world, since there is no center and signified, imply to each other. They have the spur of each other and Take part in the free play of signs and signify to each other. This implication system in the Akropolis performance was deconstructed based on Derrida philosophical theories. Conflicts and confrontations in the performing technique of Akropolis make a complex implication system, which postpone meaning and inception for the audience. Since the theater is based on the principle of delayed and differentiation, the meaning is always delayed. This qualitative study is descriptive and analytical. It surveys the performance theme by Derrida’s structuralism perspective. Some of the main aims of this research are to study Derrida’s deconstruction theory, survey the implementation of meaning and facts in Akropolis performance, to discover how implication deconstructed in Akropolis. Since the ‘threshold’ is one of the most important Components of Derrida’s theories, omparing the relationship between characters which were in threshold of crematorium ovens in Akropolis and Jacob threshold position in “battle between Jacob and angel” (one of the mythical story in performance) is the other significant aim of this article. In crossing the threshold, the only important thing is the energy of moving and in the view of Derrida this energy is meaning.

Diverse and various researches which have been conducted in recent hundred years in the area of Islamic city, has made the accumulation of a great volume of theoretical texts in which the views are diverse, sometimes contradictory with a grave differences. This broadness and diversity and in some cases conflicts, has brought about ambiguity and confusion of researchers in this field in particular the young researchers and also it has made the true understanding of the limits of these studies associated with certain problems. On this basis, in the present research, it has been tried to elaborate and analyze the contents of the main existing and available sources in the area of study of Islamic city and the attitude prevailing on it. This will pave way to remove the problems and will help with detection and selection a proper attitude in the future studies to develop the theoretical foundations of the Islamic city. The results of this research, which has been made aiming at paving grounds for the compilation of the theoretical foundations of Islamic city and in descriptive-analytical and documented based methods, indicate the rule of three main morphologic (form-oriented), structural-oriented and de-constructional(critical) attitudes and some sub-attitudes or tendencies in this area.

This essay is an attempt to view deconstructed notion of “Undecidability” and analyze readings that focus on a few paintings. The central argument of this study consists of two main sections. First، the formation of the West philosophy and strategies of deconstruction will be explained. Jacques Derrida developed a strategy called “deconstruction” in the mid 1960s. Deconstruction is generally presented to subvert، the various binary oppositions that undergird our dominant ways of thinking—presence/absence، speech/ writing، and so forth. The deconstructive strategy is to unmask these too-sediment ways of thinking، and it operates on them especially through two steps—reversing dichotomies and attempting to corrupt the dichotomies themselves. The strategy also aims to show that there are undecidables، that is، something that cannot conform to either side of a dichotomy or opposition. Indeed، to complicate matters، undecidability returns in two discernible forms in his explorations of these “possible-impossible” aporias، it becomes undecidable whether genuine giving، for example، is either a possible or an impossible ideal. In the second part، the three paintings of Alireza Espahbod (1330-1385)، Iranian contemporary painter deconstructed reading and analysis will be described. His major works، the study of the visual masterpieces، which are known in the history of art. Amongst our contemporary artists، a few have particular social presence. We see different periods of the artist’s works with the topics of three of these titles works: “FREEDOM”، “RED HORN”، “RED HORN (detail)”. At the end، describing and analyzing Espahbod’s paintings can be pluralistic approach in Deconstruction reading. The main objectives of this research are: Understanding concepts of “undecidability” as pharmakon، Supplement، Khora. Then feed these concepts from the perspective of deconstruction and read the text as examples of paintings. The results of this strategy are the potential of “Deconstruction” for the analysis and study of the Art domains suggests.