fantasy

Alain Badiou, as part of one of his main discussions, addresses the concept of the “impossible event” and identifies the conditions for its realization. These include the eventual site, the subject, and the subject’s actions, which lead to transforming the event into either a truth or an illusion. According to Badiou, the subject does not pre-exist; in other words, this identity is granted to the individual only when they accept and believe in the events that have occurred as truths. In this study, adopting a descriptive-analytical approach and utilizing library-based data collection methods, the various aspects of Badiou’s theory regarding the concept of the event and its realization are first examined. Subsequently, the texts of the plays Action and The Angel of History are analyzed to investigate the process of the event’s occurrence from beginning to end. The study aims to answer the following questions: What elements and means facilitate the occurrence of the impossible event? What impact does it have on the characters? The findings of this article suggest that, in addition to playing with time and space, engaging the imagination, and transforming the narrative framework, Badiou’s approach to the event can introduce fresh perspectives on repetitive situations. By generating novel ideas, this approach has the potential to contribute to dramatic literature and its advancement.

 Considering the importance and position of fantasy in children's and teenagers' performances, it is important to study the types of fantasy in this theater and also how to benefit from special arrangements and effects to create it in stage theater. This article examines the fantasy in the works of Ardashir Kashwarsi and its focus is on the play "Hasan and Khanum Hana"; A show that was staged in the beginning of the 1360s under the direction of Keshavarzi in the city theater. Ardeshir Kashwari was among those who founded children's and youth shows, especially the puppet type, in Iran and played a great role in its development. However, until today, not much research has been done in relation to the way of working and the characteristics of his works, especially the show "Hasan and Mrs. Hana". In this show, agriculture has presented a successful adaptation of a western story, Jack and the Magic Bean, by using legends, stories, local customs and cultural standards of Iran. This research is of a descriptive-analytical type, with a combination of sources from library studies, field research (mainly interviews) and examines the play and performance of "Hasan and Khanum Hana", by using the theories of child psychology, it tries to incorporate fantasy elements into the work. Ardeshir Agriculture to specify. The investigations showed that the said show, by using the old story of Jack and the Magic Bean, and localizing it, and also by creating a fantasy adaptation, was successful and at that point in time, it was able to be welcomed by the audience of children and teenagers, even adults. 

Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha`s party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha`s party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha`s party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject`s projection and fantasy; consequently, it causes the multi-faceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting.

Art is a vital part of human existence, which accompanies him at all times, in all stages of his life, and is visible. Staged photography is an artistic approach to photographing and displaying images. Staged photography is the only genre that has established such a close connection between the arts today. Staged photography is defined as a combination of photography, sculpture, theater, and installation art. This art was born in the 80s of the 20th century in Europe, but in Iran, where almost a decade has passed since its expansion, it is busy shaping an art movement that has a different concept of its concept in the West. Artistic photography in Iran may have come about for reasons such as the hard work of documentarians and the lack of acceptance of documentary works in the eyes of publishers and gallery owners. Artists turned to artistic photography due to the collective taste and change in the visual taste of the audience. The work of news and documentary photographers of this period is an indication of this change in taste. The works of this period have not been affected by the isolation of artists in society and the closure of several publications and magazines. Instead of taking pictures in the community, the photographers started using stage design to create them. Staged photography in Iran has only one similarity with this type of photography in the West, and that is the process of making a photo, but in terms of its formal features, it is very different from the flow that exists in the West. A comparison of the role of fantasy in the staged photos of Sandy Skagland and Gohar Dashti has been discussed in this article.

Persian painting, in all historical periods, has been institutionally affiliated with the royal palaces and courts in which pleasure, amusement, and sexual desires were highly regarded leading the painters to sometimes reflect them in their works. A psychoanalytic reading over the past centuries, especially in its socio-historical context, has been rarely considered by researchers; therefore, this kind of research is necessitated significantly. Yusuf and Zulaikha painting by Behzad in 1488A.D is one of the acme points of the history of Persian painting and that is why it has been highly taken into consideration by researchers. Here, a question might be raised and that is: why? Does the importance of this painting depend on the form and technical features? Or is it related to the transcendental attitude towards Yusuf as a prophet in the story itself? Apart from chronological and descriptive research regarding this painting and Behzad`s life and techniques as a painter, most of the previous analytical research mainly considered this painting through mystical and religious studies and analyzed it accordingly, since it is a highly important story in the Torah and Quran. However, if, regardless of these metaphysical considerations, one sees this scene as a fantasy in the subconscious or unconscious and emphasizes materialistic, mundane, and sexual features, what would the result be? Moreover, what do the results cause in Persian painting in further periods? To achieve this goal, a different theoretical foundation is necessitated. Psychoanalytical theories, as the approach of this research, provide an appropriate point of view for analyzing this painting and it also helps the readers understand the scene differently. The conceptual framework of this paper is based on Freud`s and especially Lacan`s psychological ideas. Authors try to do a descriptive and then a synthetic analysis to find more about the subject critically. The visual culture of a society regarding paintings, as historical and cultural texts, is an appropriate ground for scrutinizing sexual terms and relations; provided that, we consider visuality as an equivalent for discourse, not only regarding the text and speech but deeming visual cases as well. Results suggest that this painting, due to the visual features and structure as well as special characteristics of the history of visual culture concerning the representation of sexuality, provides a specific image or a fantasy for the desire and anxiety of the subject dialectically (viewer, individual, or collective) based on the imaginary and symbolic order, as Lacan suggested, according to all psychological process behind that. Having all the visual effects in a historical path, the scene is a turning point to form a sexual visuality dominated in further periods in the history of Persian painting, especially in the mid-Safavid era. The final purpose of this essay is to propose a new idea and provide a different position for relevant subjects such as sexuality, representation, and sexual identity in historical Persian paintings. From this point of view, other Persian paintings of later periods can be psychoanalytically studied in their social, cultural, and historical contexts regarding sex and sexuality.

In the Persian traditional painting, we confront a special view. It changes the coordinates of our visual comprehension in order to abshact from matter and representation of realities which are cryptographic behind that, and it changes the known rules of seeing and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to express his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and stylizations which applied on the human figures are special movement creators. One of the leading Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. This study tries to examine these images of motion fantasy; The author’s question is: “In what form and style are the animated effects in the human characters of Sultan Muhammad’s works manifested?” The purpose of this study is to achieve a meaningful structure and purposeful method in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad’s iconography and adopts a two-way structuralist-semantic approach. The result of this study is to understand and receive the method of exaggeration and special transformation of Sultan Mohammad in drawing the figures based on the intended meaning of the drawing and predicting the way of movement for the mentioned figures.

He gives his post-structural analyses based on the object and develops the subject’s identity with the concept of vacuum, which requires an “other” to get filled up, centered over object, objectivism, and decentralism. He proposes a theory named “mirror Stage” to prove his claim, and states that when a little child gets attracted to her/his own reflection in the mirror, they get trapped in that picture, and regards their own picture as an allied individual. They get the very first image of self when they look at their own body in the mirror. Therefore, the separated body parts of the child get completed by the mirror. At this point, Lacan emphasizes an entity called the imaginary nature of being the master, the physical master that the child does not yet possess, the master of an alien self-image that he has always longed for. According to Lacan, this "image" is a stage or mode of existence in which the human subject is burning with the desire of self, identity and individuality. The individual is always suspended and wandering between this unreal image and its embodiment. Lacan points out that the visual creates the illusion of wholeness both in ourselves and in what we see so that the visual deceives us so that we do not realize the shortcomings existing in us and the world around us. Lacan extends his mirror theory to include the "gaze" theory. Gaze is an object-dependent concept. In a Lacanian sense, the gaze is not an action related to the concept of perception in its psychological, and it is not limited to the mechanism of seeing or appearing physically, although it is dependent on it. However, the realm of gaze includes both the act of seeing and being seen—the act of perceiving and interpreting. In fact, when we look at an object, we are seen by that object in the first place, so we are not the ones who look first. We are called by its gaze, even though it invites us to look at it by looking at the object. considering this definition of gaze, it is possible to understand that in a film, even in a painting or commercial, the main gaze is attracted and the main object is suspended. When the function of the gaze is doubled, it appears as a spot. This spot or object of the gaze breaks the symbolic order of the work of art, disrupts its realism, and fills that conventional order. It has unusual capabilities, so the look is the surplus consciousness that affects the whole flow and structure of the work. In this descriptive study, with the use of Lacan’s “gaze” framework, efforts are made to clarify and respond to the questions and issues such as how, according to Lacan's view theory, one of the main axes of fantasy and imagination (such as advertising), can be made more effective in attracting the consumer. Also, how the subject, as a consumer in the fantasy space of advertisements, seeks to fill the void of its existence and falls into the trap of the advertisements. In order to answer these questions, one should know more about the nature of the subject or the spectator. According to Lacan, the subject is nothing but a loss. In fact, the subject is the Cartesian bearded man, a man who is trapped in the darkroom of his eyes and cannot walk out of that domain. He cannot even see himself, and the only thing he can do is seeing others through the window of this room. So the subject is nothing but a spectator, or to be more precise, an observant spectator. As a director, Alfred Hitchcock interprets the spectator as a significant organ playing and reacting. The spectator is the only eye in opposition to the object, and according to Plato, if the eye wants to see itself, it must be looked at with another eye. The subject sees himself through another eye, and realizes his existence. In order to realize this flow, the viewer, as he enters the filmic experience, deals with the image as a narcissistic unification with the subject, and then, as he moves away from the imaginary and enters the symbolic world, his desires turn into images. This is the moment when the spectator stares at the symbolic entity or the inner reality of the image. It is the moment of being stitched and getting united with the other, which faces the viewer with the contradictory and fragmented nature of his desire. He seeks his pleasure from the sight of the object, in another unconscious, and remains confused between his self-awareness and unconscious. Here we face a hypnotic imposed on the subject (spectator) due to the collision of excess consciousness with unconsciousness or emptiness. Hypnosis is the dominant space of this symbolic world, a trance and a fluid stillness of different scenes and sequences that engulfs the viewer. It is a common experience for the subject, while he watches movies, commercials and commercials. Even when we walk in the streets, we inevitably encounter giant pieces of environmental advertising such as billboards, posters, stands, and such and are caught in the spell of advertising. The viewer suffers from blindness due to excess consciousness. Being imitated by propaganda, he now imitates someone else in the symbolic order. Advertisements create frames where one seeks his identity, as Lacan always refers to the subject as "lack of identity." In pursuit of this goal, the advertising industry emphasizes the importance of the cognitive processes of the cognitive process, which is the escape from rational constraints and the alternation between logic and the unconscious. This research that is about the process of attracting and motivating subject(viewer) was focused on three cases of advertising teasers such as Korean company LG’s 84" UltraHD television set ‘Meteor Prank’ (2013), emphasized the superior quality of the screen. Furthermore, the food company SideKick set ‘Salty Mask’ (2010) emphasizes less salt as a remarkable advantage of its product. Then, Apple’s iPhone 5c company set ‘Designed Together’ (2014), which affects appears in graphical shapes and colors as one of the best designs for a cellphone space. Today, advertising goods has become one of the primary and essential pillars of human life, and even advertisements or commercials form the basis of some cultures. The seductive “gaze” of the advertisements causes the spectator to get bored and consequently blind, and engulfs the viewer like an artificial dream. Lacan refers to this in his eleventh seminar, and explains it this way: The status of a person during sleep and dreaming is like one who does not see and only follows. When a person looks at commercials with the gaze of the object, he passes from one space to another, from the physical or real space of our existence to another imaginary space or fantasy within the story. In order to satisfy his desire and need, he merges the space and language of the prophecy of advertisements. The source of this prediction is in the whisper coming from the depths of the discourse of these advertisements; the discourse that the spectator considers to be true, the discourse of the unseen, confusing, and astonishing him. This effect is created by breaking and destroying the symbolic space's realism and filling the spectator with an excessive consciousness or blinding him to the lights around him. Following this process, the subject becomes confused and thirsty to possess the product or advertising object, as he is trapped between his desire and unification with the other. The method of influencing and attracting the audience by the designers of commercial teasers emphasizes the feature of this view within the symbolic order, which is inconsistent and different from the general process of the story, plot or image that breaks the regular rhythm and expectation of the real subject. It creates an attractive distortion that stares at the subject and stimulates his gaze and feeling. This gaze can take place for the visual items, color, concept or even the sound elements.

In the Persian traditional painting, especially schools during the 4th to 11th centuries A.H, we confront a method of attitude. It changes the coordinates of our visual comprehension in order to abstraction from mater and representation of realities which are cryptographic behind that, and it challenges the known rules of visual intake and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities and quantites are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to portray his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and abstracts which applied on the human figures are special movement creators. One of the prominent Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. In this research, an attempt has been made to examine these images from the perspective of movement fantasy. The author's question is “how the animated effects of human characters in the works of Sultan Muhammad are expressed?”. The purpose of this study is to achieve a meaningful structure and purposeful methods in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad's iconography and adopts a structuralist-semantic two-way approach. This research has led to understanding and receiving the method of exaggeration and special transformation of Sultan Mohammad in drawing the statues based on the intended meaning of the drawing and predicting the way of movement for the mentioned statues.

The aim of this paper is first to compare Platonic and Aristotelian view on imitation which is reflected in cinematography and film . Secondly, in this article we examine the possibility of elaborating a philosophy or a theory of film with regards to Plato`s and that of Aristotle`s writings on aesthetics. Our method of research is that of analysis and description. In the ancient world and also among philosophers essentially of ancient Greece, what today is called fine arts or performing arts in particular, imitation or representation, surely artistic production was based upon proclaimed frameworks seemingly agreed upon by the great philosophers. Cinema can be considered as an art of imitation. It, too, resembles literature because of its narrative structure, and painting because of its representative structure. However, it is similar to theater, by its dramatic nature. In this paper, we examine the views of Plato and Aristotle. Plato in politic dialog talks about scales for acceptance or rejecting imitation art in his Kalipolice. In order to better understand the explanations about Plato’s ideas in this dialog, one can use Sophist and Timaos dialog. Basic reference for conscience of Aristotle’s thoughts about art and imitation art is Butiqua which analyses and evaluates epic and especially tragedy. In Aristotle’s book without any direct inference to fantasy and its function in creating artwork, he says that there is no way except using fantasy in order to reach imitation better than reality. When Plato and Aristotle talk about structuring art they are working on the nature of imitating, they don’t want to copy or reference exactly with reality. Desirability for Aristotle, is searching for representation such that it is better than reality and it is reached by function of fantasy. Plato wants to represent fact of objectivity. One of the innovative aspects of this survey is correlation of Plato’s and Aristotle’s thoughts about perception of the spectators. While Plato clams that knowledge is necessary for making art work, Aristotle searches the notion of the intelligent spectator. Other innovating aspects of this research is that from Aristotle’s thoughts about fantasy. He proclaimed that it should have a relation with reality and art works should use facts as well as fantasy since fantasy helps art works to reflect better than pure reality. Also in regards to Aristotle’s views on comedy, it isn’t lower imitation of drama. In fact it is an augmentation of sorts giving an acquired viewpoint of reality. We believe Plato’s aesthetics offers not only a value for evaluating film productions, but also a definition of perspective, reality, fantasy and most importantly, imitation of what one perceives to be reality. We can define the character of a kind of cinema agreed by Plato and Aristotle through their writings and comparison of cinema. In the ancient world and also among philosophers essentially of ancient Greece, what today is called fine arts or performing arts in particular, imitation or representation, surely artistic production was based upon an understood framework and point of aesthetic discourse.

As an artist and philosopher, Iris Murdoch also has addressed the question of whether art has an effect on moral education. She maintains that good art is capable of contributing to moral education and development. She tries to show that, through discovering the reality and use of imagination, art can provide qualification for virtue.