interpretation

Martyrs' memorials are a reminder of national identity and authority, and its designers are reviving the country's history and culture and commemorating the memory of martyrs. These concepts appear in the structural and formal aspects of the monuments, along with the sign and meaning, and the lack of attention makes it difficult for the audience to interpret and perceive the meanings and disrupts the function and identity of the works. The purpose of the research is to analyze the principles of interpretation in architectural works and the question of the research is what are the principles of interpretation in the memorials of the martyrs of Tehran. The results were obtained from the qualitative-quantitative method, data collection in the library-field and with the interview tool, and the statistical population was two groups of 30 experts and three memorials. With non-probability sampling and the method of analysis, coding is open, central and selective, and the interview results are obtained with scaleless and fuzzy matrix and data ranking, which shows that the principles of meaningfulness in the form and function of these works are evident and the beliefs, beliefs and values ​​of the designer through the form. Materials, colors, proportions and dimensions, lighting and generally structural and physical elements are manifested. These principles include symbols, explicit, intertextual, and implicit meanings, as well as associationist and perceptual signs that lead to the perceptions and interpretations of the audience when faced with the building. The meaning-making components are classified into three categories: physical, semantic and functional, where the physical components have the highest rank, and among the physical factors, the role of proportions and attention to verticality, having an abstract form and multi-sensory quality, and the type of placement in the most important place in meaning-making are The implicit and objective form in the audience is the work of architecture.
 

Henry Corbin, a philosopher and interpreter of spiritual wisdom, has uniquely engaged with phenomenology, recognizing and integrating Iranian-Islamic philosophical texts. His primary approach delves into topics within Islamic philosophy that were often overlooked or confined to a traditional circle of wisdom and knowledge before him. In Islamic philosophy, particularly in the works of Mulla Sadra, a crucial topic that Corbin addresses is the issue of the authenticity of existence. It refers to the separation of existence from its essences, recognizing the reality of things independently of their essences. This proposition is then extended to the realm of art, where artistic works are considered as emanations from their source. According to Mulla Sadra, these artistic works are perfection-seeking and transcendent, revealing the characteristics of the artist in their pursuit of excellence.Corbin, while describing the transcendent realms beyond human experience, considers the interpretation of these realms as a central and serious theme. He regards various approaches to the world beyond as valid, emphasizing the accumulation of interpretations by scholars of mystical illuminations. Based on this foundation, he introduces his unique approach in the search for sparks of light in artistic works, suggesting that these sparks manifest in the human soul and have roots in the higher light and the sacred essence of the divine. From this perspective, an artist, in creating an artistic work, presents an image and representation of a transcendent and metaphysical place and time, connecting their audience with the Creator of the universe.

When a person is confronted with an artwork, he speaks to it, reads it to himself, and achieves a degree of understanding and interpreting of it. Different thinkers and philosophers have offered different theories about this understanding and interpreting and what it is, and how to achieve it. The scope of these theories can be considered as a subset of two ways of thinking, namely structuralism and hermeneutics in philosophy and humanities. Structuralism seeks to methodize the understanding and interpreting of social and cultural phenomena and resorts to linguistics and semiotics through structures and patterns. Structuralisms speak with confidence and certainty about scientific methods that will lead to achieving the final, ultimate, absolute, definitive, comprehensive and complete interpreting of everything, including the art works. Hermeneutics is also known as the science of understanding, human works, and interpretation of texts. Hermeneutics also deals with the study of interpreting, human works, and the interpretation of texts. If we consider two different forms for hermeneutics, the first form is traditional hermeneutics, which follows the theories of biblical interpretation. It was founded on the ideas of thinkers such as Schleiermacher and Dilthey. The second form is contemporary or philosophical hermeneutics, which deals with the theories of Martin Heidegger and Hans-Georg Gadamer. Gadamer's philosophical hermeneutics deals with the study and philosophical exploration of interpreting and the necessary conditions for it. Therefore, there are different perspectives that discuss how to interpret the artworks. This study discusses how man interpret the artworks from the perspective of the contemporary hermeneutics of Hans-Georg Gadamer. Therefore, this research seeks to answer the question of how man achieves an interpretation of artworks. The aim of the current research is to understand how to interpret art works from Gadamer's point of view. The current research is "fundamental-theoretical" in terms of purpose and is presented as "interpretive-analytical" in terms of nature and method, and "library" is term of data collection method, and in terms of analysis method is "qualitative". After studying the methods that are used in qualitative research for data analysis, the phenomenological method was chosen with the approach of interpretive phenomenology or hermeneutic phenomenology, which was the most relevant for the nature of the research. This method is one of the most famous contemporary philosophies, which claims to interpret concepts in order to penetrate them. Therefore, in this research, we will also doubt all the past existing interpreting of art works and once again we will examine everything by the phenomenological method and from the perspective of Gadamer's philosophical hermeneutics. Therefore, it first examines the concepts of "artwork", "man", and "interpretation" and its relation to understanding and Hermeneutics, and then examines how man interpret the art works from Gadamer's perspective. In concept of "artwork", the research explained what art is, its relationship with techne, technology and aesthetics, and pointed out the reduction of the study of art to aesthetics in the Renaissance era and after. Also, the discussion about "man" and his position and dignity started from the Renaissance era and a fundamental change in the worldview of man. Man turned from heaven to earth. In other words, the human intellectual world gradually broke away from the values and thoughts with a supernatural orientation and turned to the thoughts and values related to the natural world and human life. As a result of Cartesian thinking, man was placed in the center and reached a new interpreting of concepts such as art and art works. Art was reduced to having a pleasant and artistic pleasure. And paying attention to instrumental and calculating reason, natural sciences, and scientific methods leads man to dominate nature, But Heidegger and Gadamer deny the thinking of their contemporaries. In concepts of "interpretation" and its relation to understanding and Hermeneutics, the existing translations of hermeneutics in Persian language were referred to and finally the differences of opinion regarding the translation of this word were ignored and the meaning of "to interpret" was considered for this word.
With these prerequisites, the research focused on the interpreting of art works from Gadamer's point of view. Gadamer's view on how to interpret an artwork summarized in seven key points:First point: man interpreting of an artwork is not an immutable, final, comprehensive, and complete interpreting; because man is always navigating this path and every time new ways appear in this path. Man, as an interpreter of artwork, will receive a manifestation of the truth of artwork at any point in time. Therefore, reaching certainty and a definitive answer has no place in interpreting the artwork in philosophical hermeneutics. From Gadamer's point of view, there cannot be a superior interpreting of artwork, and interpreting the artwork is an endless process and cannot be predicted.
Second point: interpreting the artwork is in many ways related to the concept of the game. These include going beyond the usual experience, understanding their rules and surrendering to it, having an uncertain end, and not being instrumental.
Third point: The artwork does not always have the same meaning, there are always different and multiple interpretations of an artwork, and different interpreters may provide different interpretations of the artwork. These interpretations will be different depending on the time horizon, historical perception of the interpreter and the relationship and interaction between the artwork and its interpreter. The endless number of interpretations of an artwork is possible and natural.
Fourth point: The mental background and previous knowledge of the interpreter of the artwork has a significant impact on his interpreting of the art work. The combination of beliefs, traditions, and perceptions that man inherits from his ancestral culture, society, and religion makes his interpreting.
These factors create a mentality for the interpreter of artwork in order to start a conversation with the artwork. When the interpreter encounters an artwork, his understanding and orientation towards that artwork is influenced by the totality of cultures and traditions that encompass his life and to which the interpreter belongs.
Fifth point: interpreting of artwork also occurs when a person penetrates into the language. In other words, interacting with the artwork leads to its interpretation. The interpreter of art work must first understand the language of art work, and a dialogue takes place between the interpreter and the art work. As a result, a common language is obtained. And interpreting comes from this common language.
Sixth point: interpreting of artwork is achieved through the hermeneutic cycle and questions and answers between the artwork and its audience.Seventh point: The time lag between the art work and the interpreter challenges the interpretation of it. Paying attention to the history of the artwork causes the emergence of a common language between the interpreter and the artwork and better interpreting.
In short, in the hermeneutic interpreting of the artwork, Gadamer proposes the absence of an unchangeable, comprehensive, complete, and final interpreting of the artwork. He proposes the entry of man into the artistic game. He points to the existence of different and multiple interpretations of artwork. He considers the mental background and prior knowledge of the interpreter to be an important point in interpreting the artwork. He finds the artwork in dialogue and conversation with man. He also considers the interpreting of artwork to be dependent on the understanding of the language of artwork. He interprets reaching a common language as a hermeneutic round.  And finally, he introduces attention to time and history in interpreting artwork.

Among the views available on the language of the Qur'an, symbolic or codified language has a long history. Belief in such a language is more widely used in Sufism and mysticism. They have used a mystical language to tell their mystical experiences and truths. This view is more prominent among commentators such as Ibn Arabi, Nasafi, and Gonabadi, especially in the verses of the story. The use of the Ramsay language in explaining the hidden references to the story of the Prophet Adam (pbuh) is particularly relevant in these interpretations. In the meantime, Adam is symbolized by the mind or heart, the symbol of the animal soul or soul, paradise as the human soul or soul, the heavenly tree against the real being, and the devil as the serpent or the fearful one. This descriptive-analytical research deals with the coded interpretations of Adam's story in mystical interpretations. The most important forms of sophistication in Sufi interpretations include: contradicting the Qur'an's guidance in symbolizing the rhetoric; ignoring seemingly rhetoric; disagreement in coding interpretations; From Sofia to others.

Philosophical hermeneutics has tried to change the systematic problem of aesthetics to the question of artistic experience and to avoid reduction to the aesthetics of the subject. the metaphor of the play a prominent role In this effort. Unlike Gadamer, with the theory of appropriation, Ricoeur places all the possibilities of hermeneutics in the path of interpretation and self-understanding. Understanding occurs from the tension between distancing and self-understanding In other words, the interpretation of the text occurs in the self-interpretation of a subject who understands himself and his possibilities better after the interpretation. The purpose of appropriation is to give new capacities in a new scope for self-knowledge. Using the metaphor of the play, in addition to the transformation of the subject, he also prioritizes the transformation of reality and the author over the transformation of the subject. The metaphor of love also has a similar function in the transformation of the wayfarer and his world in Attar's mystical experience to approach the truth. Can the metaphor of love be equivalent to the metaphor of play (festival, celebration, ritual, mourning, dance, etc.)? Since the narrative of the experience of the love event has a much longer life than the event of the play and is more solid and concrete to understand the interpretation, can mystical love be considered equivalent to the hermeneutic play in the experience of the work of art? Comparing the two metaphors of love and play opens a way to better understand both in interpretation.

Hermeneutic theory and criticism are one of the important theories and criticisms of art and literature. The term hermeneutics or the science of interpretation and interpretation has entered the field of visual arts from the field of literature. The polysemous of this word indicates the types of uses that this word has been used for. Hermeneutics is defined as an attitude, knowledge, method and art that deals with the understanding of the world, human and text. Texts and works of art are open to interpretation, and the goal of interpreting and understanding works is to reach their true meaning. The science of hermeneutics was first used in the interpretation of the holy books and then entered the literary and artistic fields. From the point of view of this science, understanding and interpretation of phenomena are inseparable from each other, texts and works of art are opened in interpretations and their hidden aspects are revealed by interpretation. The purpose of interpretation is to understand the works and obtain its true meaning; Therefore, achieving meaning is associated with the process of understanding.As an interpretive creature, man also tries to communicate with phenomena by understanding and interpreting them. (These phenomena can be the holy texts of the books of the prophets or books of philosophers or works of art.) But in reality, what is the ultimate goal in interpretation and hermeneutics is to achieve the true meaning of the phenomena. Shapes, images, signs, social customs and in general any phenomenon that is made by nature or man are placed in the position of interpretation and understanding. For understanding the world made up of forms and colors that are constantly changing, transforming, giving birth, expanding and transforming, man gives meaning to them or he discovers their meaning. So, the act of interpretation is done with the significance of the phenomena. The meaning is hidden in the text and the work, and the interpreter is required to find the hidden meaning in the work. The works and texts guide the commentators to understand the interpretation methods.Therefore, the text and artwork have always been the subject of interpretation; And man as an interpreter is always interpreting the phenomena around him; But due to the existence of different understandings in a person, there have always been multiple interpretations of a work. Therefore, the important question raised here is what is the position of the text or the work of art or even the creator of the work in hermeneutic science? Are the interpretations as countless as the number of people, and it is the audience of the work of art that determines the meaning of the work? Or that the author or the artist is the main pillar in the interpretation and the interpretation is formed based on their thinking. Can the text or artwork determine which interpretation is valid and which is not? What is the validity of these valid and invalid interpretations? Is it possible to determine a certain basis for the interpretation of works of art by summarizing the opinions of different thinkers during different centuries and classifying them? Therefore, the purpose of compiling this research is a critical and analytical reflection on the opinions of hermeneutic thinkers and the bases of achieving the true meaning of the work.The purpose of this research is a critical and analytical reflection on the opinions of thinkers about hermeneutics, its role and place in the interpretation of phenomena and especially works of art. Therefore, firstly, the works and ideas of the first thinkers in the field of hermeneutics are investigated and a brief history of hermeneutics and its types are introduced. Then, by dividing hermeneutics into two historical periods, classic and modern, the theorists have been categorized. Hermeneutics has been examined in terms of the subject and its types, and by summarizing the opinions of theorists, an attempt has been made to reach a certain basis in hermeneutic criticism, so that with its help, a criticism appropriate to the work can be presented. After summarizing and classifying the opinions of thinkers and examining the science of hermeneutics in the world of art, it has been tried to present specific models of hermeneutics and its criticism in the field of visual arts. Research shows that hermeneutics, as a knowledge in obtaining the meaning of phenomena, always plays an important role in determining the meaning of works of art. But paying only to each aspect of the author, the audience and the text in hermeneutics reveals only a part of the meaning of the work; Therefore, despite the modern hermeneutics that determines the meaning only in the interpretation horizon of the interpreter, the text and the author also have a central role in determining the meaning of the work.

According to Cartesianism and the duality of the primacy of the mind over the body, museums have been influenced by visual concepts since their inception in the seventeenth century, and the play was considered a purely visual experience. With the importance of the role of the audience in the twentieth century, the capacity of the body to protect the memory and empathy in practice was gradually considered. The purpose of this study is a comparative study of narrative and space and analysis of the role of narrative in increasing the social interactions of audiences in museums in Tehran. Tehran, as the historical and cultural capital of the country, offers several narratives of urban spaces. This study is of applied type and is based on the data theory of the foundation. The presence of the audience in space increases the opportunity for social interaction. In the process of embodying museums, the audience empathizes with their predecessors in past events, interacts with other visitors, and ultimately creates their own narrative from space.Aims of Research:1- Identifying the components through which the narration improves the quality of the museum space.2- Recognizing how the audience relates to the museum in the process of perceiving spaceResearch Questions:1- Through what components does narration improve the quality of the museum space?2- What is the relationship between the museum and the audience in the process of perceiving space?

Humans have been familiar with concepts such as ugliness and beauty from the outset and have applied them to various objects. Upon seeing a picture or painting of nature or a statue of a man or animal, they admire it and use beautiful and ugly words to describe it. Humans tried to objectify what they thought in their minds, and the outcome of that objectivation was called art. Thinking and understanding have been two basic and inseparable things in the way of human life since the beginning and ever since there was a text, writing, image, or a sign, man has always tried to translate, interpret and understand it, and for the same reason He used various methods to understand and convey what he faced. In the meantime, art, as a universal language in expressing fundamental ideas and concepts, has played an essential role in the formation of thoughts and theories throughout history, and for this reason, its meaning and interpretation require a scientific and accurate method. In this research, I intend to go beyond the everyday view of art with a descriptive-analytical method and a philosophical approach and examine the role of the hermeneutic method in the interpretation of works of art. As part of this search, data was collected through library materials. The findings show that the work of art is an event of the truth and an aspect of the truth is revealed in it, it needs a precise and scientific interpretation, and the interpreter must, in the hermeneutic analysis of the work of art, consider the concept of betweenness, being an object, and interpreting the appearance. The artwork goes beyond and rightly interprets the truth that the artwork is the platform for its appearance.

This research deals with the cognition of architecture in conformity methodology of interpretation and levels of existence derived from Hekmat Sadraei. By thinking in the form of a human paradigm in which human is defined as the width of humanity, the method as the width of the methodology and the values as the width of the human essence in his entire territory without the need for the contractual boundaries of knowledge. The research method is logical reasoning in the interpretive paradigm with a qualitative approach and the method of data collection is library-documentary.Assuming that the understanding of architecture relies on the existing experiences and the meaning system of social structures, from grammatical interpretation to the reconstruction of mental processes and introspective psychology, and from sociological reflections to the interpretation of products. A culture corresponding to the audience's level of knowledge can be identified; It shows that the knowledge of doubt in man, which according to the teachings of Hikmat Sadra is caused by his existence, requires different methods in understanding architecture. All strategies are indirectly related to each other in stages and levels of examining observable or unobservable phenomena, which cause interference of paradigm boundaries. Therefore, depending on what we are looking for in the understanding of architecture, we understand and understand architecture in ways that are appropriate to the set goal.

 The present article is deductive and is based on the analysis of concepts and theory. The paradigm of this research is interpretive and it intends to interpret the phenomenon of subcultural architecture accurately. The approach of the present article is deductive and is based on the analysis of concepts and theory. The method of analysis is based on the careful study of theoretical data based on the semiotic theory of Umberto Eco. Data were collected through library studies. An important and fundamental point of the architecture of Iranian subculture houses for this study is the combination of majority and minority cultures. As mentioned, the method of this integration is different in the geographical areas of Iran. The analyzes showed that the interpretation of architectural buildings in minority culture differs from the interpretation of buildings for three reasons: First. In process, syntactic and semantic codes. In process ciphers, the elements of the first system ciphers are linked to anonymous system ciphers. This anonymity delays Will's formation and therefore allows him to create a creative appearance. In syntactic coding it is possible to have a different coexistence of architectural components. In semantic codes, the expressive forms of majority culture and minority culture are usually interpreted and referred to as minority culture. Second, the knowledge that the machine of those signs refers to the meanings in the mind of the audience is not historically supported in the minority culture and therefore will be vague for the population of the minority group for others and will be clarified only by historical studies and culture. Third is the existence of two groups of audiences. The people of the minority group and the people of the majority group who have the minority culture in their hearts.

One of the visual element of ancient Persian art is ‘love’. Love has important position in Persian art and medieval Islamic pottery. The motif on pottery with the content of love is generally derived from literary and historical stories and has been created in the format of national Persian stories. Taking into account the importance of pottery’s motifs, four potteries have been selected in current research and examined by using iconological approach, which would result in exploration of semantic layers in designs through investigation of the hidden goals beyond the motifs. In this study, in order to examination, adequate data have been collected based on essential goal and from the perspective of descriptive and analytical method and through library research and websites of reliable museums in abroad. The main goal of present research is analysis of motif of love on potteries of 4-7th century AH which would reveal the effects of ancestors on content of artwork through identifying visual aspects of motif and its symbolic values. The final results imply that whatever the artist has created in the format of motif and painting can include connotations and in some case adapt to love, which balance the physical instinct and spiritual tendencies and bring spiritual vitality to human soul, and the base of the motifs can be defined as Persian-Islamic. Natural elements which have been sanctified in ancient religions such as water and plants like cypress, are observed in some of the potteries, which can suggest similarity with love, and this kind of motif coupled with human in love can be the symbol of freshness and the balance between body and soul and the beauty of soul. The symbolic values in the potteries have been created by considering the origins of literature and emerging of inter-textual relationships. In some case, the structure of story has been changed based on verbal narratives. Tapping into the ancient patterns is observed in hidden semantic layers of love designs, and it seems that the use of motifs in the position of symbol has been done on purpose.

Interpretation is a very complicated theme in musical performance and is influenced by many factors. The notes on the paper indicate sounds in the composer's mind, but they are not still real sounds. In other words, the score does not sound by itself! Converting a composer's score to musical sounds includes a complex process full of dark points which should be discovered during the score studying and before rehearsals begins. In a musical performance, not only the written notes but also the not written parts between the notes are played by the musicians. Therefore, a musician must learn all the score details and be well prepared for all of them and also have a clear image of the sound that he wants. Of course, to achieve the desired interpretation in a performance, it is necessary to learn the orchestral score exactly, but definitely it is not enough. For this purpose, the performer needs to pay close attention to all of the details written by the composer, also to be able to discover the unwritten elements in the work to reach a clear musical imagination to provide a fine interpretation in performance. These articles, by mentioning some aspects of the score studying and citing examples shows how the additional information relates to the conductor’s musical ideas and helps them understand and prepare the piece. The question is how can a performer discover a way to discover deeper layers between the notes in a score and understand the piece on a deeper level? How to approach the unwritten part between written notes in the orchestral full score? Which further information could be practical and how can they be obtained? The purpose of this article is not to analyze the piece, but to specifically answer the prior questions by focusing on Igor Stravinsky's Ballet “Petrouchka.”To this end, the full score of Petrouchka, other pieces, and writings by the composer, alongside various researches about the composer and his works have been studied. The author has employed his experiences in conducting and score studying to recognize the relationship between the supplemental information and how score details can be understood. This article seeks to discover ways to approach the content of the score by citing examples from the composer's various works and examining other information about his musical ideas. It should be noted that as no two works are alike, how the musicians approach the content of the work is not quite the same.Finally, this article will indicate how a more thorough understanding of the content of an undeniably necessary work for achieving the desired performance, can be reached by employing additional information.

 To observe social conditions and situations in everyday life, photography has been actively and efficiently substituted by inactive visualization, as it has made it possible to consciously observe the daily events and analyze them through photographs. The interpretation and analysis of photographs related to human daily life requires methods that can lead to a better understanding of people’s beliefs and daily interactions. Such methods should be informed by the context and socio-historical structure of population issues.Hermeneutics is the knowledge of interpretation and hereupon, a hermeneutic analysis of photography facilitates studying target photographs with social themes and interpreting theirimplicit meanings based on the characteristics of linguistics, population interventions, intents and intentions, and also those social rules governing the creation of the photographs.The hermeneutics of photography means the interpretation and explanation of photographs within their socio-cultural context by an interpreter who has gained prior knowledge of the context by applying the effective factors of hermeneutic interpretation.

Basically, in hermeneutics, the way of understanding is under question, and so in addressing the photographic categories, hermeneutics deals with “the way of analytically understanding photo”. Therefore, the purpose of the hermeneutic analysis is to 1) identify the factors influencing the process of perceiving photography, 2) to explain the background conditions for this comprehension, 3) to determine the characteristics of the analytical context for the correct interpretation of photographs,4)to define the interpreter of the hermeneutics of photography, and finally to determine who/what has a more reliable position in the photography?

In this study, the hermeneutic analysis of photography is based on the philosophical hermeneutical views of ‘Hans-Georg Gadamer’,andis constituted based on acareful examination of its hermeneutic elements, in creating the correct interpretation of the photo. In other words, the position of each of the elements of Gadamerian hermeneutic in analyzing the context (the concept of tradition, prejudgment, effective historical awareness, conversational logic, semantic horizon, author intent, and hermeneutics critique) is considered in the interpretation process of photography, and its position is raised based on a visual context.

The hermeneutic analysis of photography can include all types of analysis, interpretation, and criticism of target photographs if the influential hermeneutic tools and elements in the analysis are applied accurately. Addressing the interpretive position of the hermeneutic elements will lead the hermeneutics of photography towards a more comprehensive and accurate analysis.

Interpretation is an extremely complicated theme in musical performance and is influenced by many factors. The notes on the paper indicate sounds in the composer's mind, but they do not represent authentic sounds. In other words, the score does not sound by itself! Converting a composer's score to musical sounds includes a complex process full of dark points which should be discovered during the score studying and before rehearsals begin. In a musical performance, not only the written notes but also the not written parts between the notes are played by the musicians. Therefore, a musician must learn all the score details and be properly prepared for all of them and also have a clear image of the sound that he wants. Of course, to achieve the desired interpretation in a performance, it is necessary to learn the orchestral score exactly, but definitely, it is not enough. For this purpose, the performer needs to pay close attention to all of the details written by the composer, also to be able to discover the unwritten things in the work to reach a clear musical imagination to provide a fine interpretation in performance. This article, by mentioning some aspects of score studying and citing examples shows how the additional information relates to the conductors’ musical ideas and helps them understand and prepare the piece. The question is how can a performer find a way to discover deeper layers between the notes in a score and understand the piece on a deeper level? How to approach the unwritten part between written notes in the orchestral full score? Which further information could be helpful and how can they be obtained? The purpose of this article is not to analyze the piece, but to specifically respond to the above questions by focusing on Igor Stravinsky's Ballet “Petrouchka”. To this end, the full score of Petrouchka, other pieces and writings by the composer, alongside various researches about the composer and his works have been studied. The author has used his experiences in conducting and score study to find the relationship between the supplementary information and how score details can be understood. This article seeks to find ways to approach the content of the score by citing examples from the composer's various works and examining other information about his musical ideas. It should be noted that as no two works are alike, how the musicians approach the content of the work is not quite the same.Ultimately, this article will show how a better understanding of the content of a work, which is undeniably necessary for achieving the desired performance, can be reached by using additional information.

Problem Definition:

 Research regarding the topic of "women" often exposes new aspects of the social culture of diverse epochs. The position of women in Iranian cultural geography bore many fluctuations from ancient times to the present day; hence, a means to study this position is to scrutinize historical illustrated manuscripts. In this study, two courtship themes from the illustrated version of "Vargheh and Golshah" are observed. This version, as the oldest illustrated version of Persian numerals, belongs to the late sixth and early seventh centuries AH. and is illustrated by "Mo'men Mohammad Khoei". This study seeks to answers the following two questions: What effect did the Iranian-Turanian originality of the painter and his cultural background have on his personal interpretation of the literary text, and how did this analysis affect the visual representation of the story? .

The aim of this study is to understand the effect of the originality and socio-cultural context of the artist in the method of representation of a literary text with non-Iranian roots.

The research approach of this study is qualitative. Data is based on library information and scientific databases; moreover, the methodology is descriptive and analytical and Michael Riffaterre's intertextual semiotic theory is applied in data analysis.

According to the results of this study, it can be stated that the cultural context of the literary text, which comprises of a material and earthly assessment of "love" according to the Turanians and the productivity of men in any kind of decision-making in his personal reading is resolved by the painter and presents an Iranian view in which the woman devises an "active and dynamic" nature in love, decisions and social scenes.

There are several definitions of "art criticism"; But many scholars consider all kinds of critical writing, including theoretical texts, articles, notes, and reviews of visual art exhibitions that discuss and interpret works of art and their evaluation, as "visual critique." Based on such a definition of criticism, the present article has formatted "Critique of Visual Arts in Persian Language Press" in the 1390s. Research shows that there are four different media streams for publishing reviews, including 1- academic journals 2- specialized journals 3- press and 4- cyberspace. The main purpose of this study is to find the most important features and components of visual critique in each of the above four contexts. This article seeks to answer the question of how visual critiques can be formatted based on structure, form, tone, and other linguistic features. To achieve this goal, structural coding tools have been used as a way to categorize and analyze qualitative data. The statistical population and sample selection were also collected by purposeful sampling method from academic art journals, specialized visual journals, press and online journals. The components are analyzed based on the following three categories: A) Extent of reliance and citation of studied texts on theories of humanities and methods of scientific research B) the importance of the form, structure or style of works of art for criticism; And c) the degree of attention to the views, personality and biography of the artist for art criticism. Based on the results of this study, it can be said that the Release media of critical texts has a significant relationship with the tone, form and structure of these texts, so that academic critics have paid more attention to theories and less attention to the personality or life of the artist. Reviews published in specialized journals focus more on art style. Press reviews are more interested in studying the artist's life and opinions. There are several definitions of "art criticism"; But many scholars consider all kinds of critical writing, including theoretical texts, articles, notes, and reviews of visual art exhibitions that discuss and interpret works of art and their evaluation, as "visual critique." Based on such a definition of criticism, the present article has formatted "Critique of Visual Arts in Persian Language Press" in the 1390s. Research shows that there are four different media streams for publishing reviews, including 1- academic journals 2- specialized journals 3- press and 4- cyberspace. The main purpose of this study is to find the most important features and components of visual critique in each of the above four contexts. This article seeks to answer the question of how visual critiques can be formatted based on structure, form, tone, and other linguistic features. To achieve this goal, structural coding tools have been used as a way to categorize and analyze qualitative data. The statistical population and sample selection were also collected by purposeful sampling method from academic art journals, specialized visual journals, press and online journals.

The interpretation of Kashf al-Asrar wa'dat al-Abrar is one of the most important mystical interpretations in Persian. The author of the book, Abolfazl Rashid al-Din Meybodi, interpreted the Holy Quran three times. The first version is the translation of Shiva and Rast; the second version reports and expresses the dignity of the revelation of verses, and the third version is mystical and provides mystical interpretation of Sufism. Through centuries, some scholars have decided to make a selection of the versions to increase its efficiency, and when it was included in the academic textbooks, this attempt was accelerated. The present article reports on a list of these excerpts from the beginning until now

Semiotics, as a text-analyzing method, among others, studies semiotic systems to infer overt and covert implications of signs. It seems that during Naser al-Din Shah's monarchy, semiotic system succeeded in making the desired nature of its own using new tools of promotion such as banknotes which were the product of the advent of modernity in Iran. On the other hand, as this pictorial text combined textual and pictorial signs, it paved the way for the emergence of a new branch in the Iranian graphic design called 'banknote design'.  However, banknote was introduced in Iran almost a century after it became popular in the world and after Nasser al-Din Shah's return from his third trip to Europe. But apparently, from the very beginning, this visual text served as an appropriate context for the King's propaganda campaign. Supporting such claim is possible through analyzing it using approaches such as semiotics, because in general, the main focus of the studies conducted so far on the subject have been limited to examining its historical and artistic aspects including photography, without endeavoring to explore its explicit and implicit implications. Therefore, some researches must be conducted that apart from the above, are able to discover the intent behind using the image of Nasser al-Din Shah on Iran's first paper currency. Through the application of one of the practices of semiotics called 'the Pierce trilogy pattern', new data of the unknown dimensions of the subject can be obtained, because if studied through semiotics, that its broadest meaning is the study of forms of formation and the exchange of meaning on the basis of sign systems,  the meanings conveyed through the printing of this visual element could be identified. However, a more accurate analysis reveals that due to the visual nature of the the design of banknotes, it is recognized as a physical phenomenon. However, this not absolute because this text, like other ones, has constantly fused with the implications which play a covert, yet practical role in reading its text. Such has happened to the extent that it has affected the original formula and its literal meaning in the name of paper money. Nonetheless, Barthes 'anchor theory' can be employed to avoid the floating of various meanings and concepts of this visual symbol and image and thus stabilize the multi-semantic feature of the language, because through reading the figures or other information written on the banknotes of this era, their economic value could be determined. Yet based on the fact that semiotics is phenomenally textual, that is in every action, an objective communication is formed according to its comprising implications and that's why it's open, not closed. Hence, based on this open process, the design, printing and overall production of banknotes contains the image of Nasser al-Din Shah during the Qajar era were not just meant to produce some valuable piece of paper because otherwise, its meaning would have just served as a sign or its explicit meaning and doesn't serve other intertextual implications or other tacit notions. Therefore, the paper at hand intends to examine multiple implications of this pictorial text and its signs. Semiotics comprise of different approaches including reading and analyzing artistic texts. In fact, as a narrative analysis of texts, this method of study emphasizes on the role of the semiotic context in shaping meaning through examining signs as constructive wholes and also seeks to discover their hidden and implicit meanings. Accordingly, in order to conduct a proper analysis of the subject matter in this article, Pierce's three-dimensional model has been taken from among a wide range of tools. Pierce introduced his paradigm of sign in the three aspects of form, interpretation, and subject. Based on this pattern, it seems that a note, reflecting the image of Nasser al-Din Shah, is an interpretation, because interpretation is the form in which the sign appears or in the way the object is represented in the manner. So as to obtain results, this paper has adopted qualitative approach and has used analytic method. Data has been collected through desk study of library resources and examination of pictorial documents. Moreover, the research has been based on the semiotic theory of Charles Sanders Peirce which covers elements of sign, interpretation and object to answer this very question that what is the interpretation of the semiological analysis of Naser al-Din Shah's portrait on the first Iranian banknote as a reflection of the top official authority of the country? Aiming to discover and infer the hidden meanings and implications of the said sign (i.e. Naser al-Din Shah's portrait on the first Iranian banknote), the semiotic theory of Charles Sanders Pierce has been used. The research outcomes indicated a continuity of the court's iconography and portrait painting traditions of Iranian monarchies along with habit of highlighting the most powerful auhtority of the country which resulted in the use of banknotes as both ideological tools and public advertizing media to emphasize the legitimacy of the prevalent government.

The analogy between music and language was common from antiquity. During the Renaissance and the growth of humanism, renewed interest in linguistic disciplines was to have profound effect on virtually all aspects of academic and artistic endeavors throughout Europe. During this time, music was considered not only as a numerical or speculative science but also as a linguistic one; Music was the means of exegetic expressing, transmitting the concepts of the text. This view shaped the deep connection between music and rhetoric and this interrelationship evolved over the Baroque period. The increased significance of language and linguistic disciplines resulted in a growing influence of rhetorical concepts on musical thought. Therefore, musicians tended to exploit the persuasive power of rhetoric to use in the musical compositions. The German baroque composers seeking to emphasize the orderly and eloquent construction of pieces, used rhetorical structure and musical-rhetorical figures in musical contexts. Johann Sebastian Bach, under the influence of the compositional German baroque tradition, wrote various compositions based on rhetorical principles of the baroque music. Hence, in order to achieve a deep understanding of the music of J. S. Bach, identification of the rhetorical aspects used in his works cannot be ignored in the interpretative process. The present study, first explains the historical interrelationship between music and rhetoric, then with a glimpse of the structural principles of rhetoric in oratory, delineates the application of these rules in the creation of a musical composition and then describes Mattheson’s rhetorical model of musical creation in a comparative manner. Finally, this study investigates the rhetorical structure and musical-rhetorical figures in the Prelude from cello suite no.3 in C major BWV 1009; the Prelude was analyzed based on Mattheson’s rhetorical model of composition. This model divides the process of musical creation into five stages based on rhetorical canons: inventio, dispositio, elaboratio, decoratio, and executio. The rhetorical analysis of the prelude showed that a flawless rhetorical structure was designed in the stage of dispositio, which contains six-part divisions: exordium, narratio, propositio, confirmatio, confutatio, and peroratio. The exordium was found in mm.1-2; the narratio was set in mm. 2-7; the propositio was expanded in mm. 7-45; the confirmatio was occurred in mm. 45- 71 with the subdivision part of the digressio in mm. 61-71; the confutatio was settled in mm. 71-82; finally, the peroratio was founded in mm. 82-88. In addition, some musical-rhetorical figures were identified in this Prelude. For instance, J. S. Bach used the tirata perfecta figure in both exordium and peroratio sections and applied the abruptio figure in the confutatio section. These figures were used in order to arouse affections in the listener and to represent particular concepts based of the Baroque musica poetica tradition. This descriptive-analytic study shows how J. S. Bach used musical elements, such as rhythm, silence, intervals, harmony, etc. and the rhetorical modes of persuasion (ethos, logos, and pathos) appropriately in a perfect rhetorical structure, attempting to affect the listeners and to gain their persuasion.

The audience's perception of the work is the culmination of the contact's interaction in the art system in which the audience achieves its understanding by assessing the work. Before the process of interpretation, the paraphrasing of the work, readings are made: Reading means the discovery of hidden message effects. In an attempt to construct a coherent concept of the work, the audience chooses elements of the work and organizes in a coherent whole such as presenting the narrative of the work. Audiences have different receipts in dealing with artwork. The initial assumptions in the perception of the work create a framework in which the next contents are interpreted. It's interpretation lead to the perception and understanding of the work. Past experiences of the audience, level of education, and gender are effective in reading works. The act of perception always begins with the prior knowledge and we associate new thing with what we already knew. Accordingly, the research hypothesis is that the male have abstract approach and female have a concrete approach photo reading. In this paper, with the abstract/concrete reading, and at a level beyond the interpretive / paraphrasing discourse, the exposure of the audience with selected photographs from NioshaTavakolian, GoharDashti, Ehsan Bagheri and Creative Photography Magazine have been investigated. By examining variables such as gender and education in reading and interpreting the audience from the photo, one can differentiate their views into two levels of interpretive (abstract) reading and paraphrasing (concrete) reading. Since among different arts, photographs have become more popular among the general public than visual media, and it has been used as a measure of research variables. The research method is qualitative and is used to study and categorize readings using the focused interview and gender approach. First, the concepts of reading, interpretation, paraphrasing, and narration as readings are discussed, and then the differences between the views of female and male and their relation to the readings and narratives of the photo are referred to, and finally, the narratives are separated which obtained from Focused Interview. Considering that in the Iranian society, women and men have different living experiences, so their views and way of dealing with phenomena such as pictures are different. Education is also effective in interpreting and paraphrasing audiences. Women use readings more than men to interpret and paraphrase. Women and men used different tools and narratives. Women initially start with emotional words and phrases, such as addressing the subject's feelings of a photo, explaining the meaning of photographs in the form of emotional descriptions and even after finding meaning, in most cases, in order to better understand the narrative of the photo with the focus of emotional criteria, they use abstract concepts, in such a way, these emotional descriptions confirm their abstract descriptions. In contrast, the men, in the face of a photo, they first seek to discover the distinct symbols and semantic codes that appear in the external photo and then by creating the rational ratios between them, they try to discover the meaning and interpretation of the photo.