فصلنامه عصر آدینه
پیاپی 18 (تابستان 1395)

Seyyed Ahmad Fardid, is one of the most influential Iranian thinkers. He believes that western culture (in our time) seduces human kinds and changes their norms. He says and we live in darkness and hell of ignorance. But, he believes, if we remember the memory of holiness and consider our nostalgic living in the heaven (before the Adam’s descent), we can escape from these suffering and we would bring the side of rest. According to Fardid, art is one of the most essential elements, which can associate us to reach paradise in the last section of human life at the end of time. In the other world, if an ideal artist introduces himself and regards self as a messenger of heaven, he can open an approach to the leaved man and also can aware and make human up to his eternal happiness. Although it is an acceptable answer, but it seems that such thoughts must reduce their ideology and must try to set them as transcendental and spiritual types of life. If so, Fardid’s idea can consist himself with new theory and also can transfer art, to exam some spiritual experience. In addition, it seems that Fardid couldn’t set his basic idea and his method of thought with Shiah theory of anticipation. So we can conclude that he couldn’t prepare a successful plot for Anticipation theory of art.

The golden age of religious poetry is the Qajar era. Number of ritualpoets, creation of religious epopees and the emergence of poets who have accused exclusively with the issue of guardianship, is notable. During the Mashruteh period this process is ongoing and many of the poets of the period, have eulogy and elegy poems in the Prophet and his household, especially poems about Imam Hussein (AS) and Ashura event, praise and elegy for the Imam Reza (AS) and also in praise of Imam Mahdi (AS), are seen. Many poetshave this feature.They are Poet laureate Bahar, Saqir Isfahani, F. Kermani, Mftaqar and Mirza Yahya Esfahani. We report a case of these people and their poetry criticism oftheir Mahdavi poems.

Mahdavi's lyric poetry is a subsidiary of poetry of the virtues, and enjoys a special status in the realm of ritual poetry with its wide range. Recognizing the semiotics and characteristics of the emergence of Imam Mahdi and how it is reflected in this kind of poetry as well as its relevance and impact on this type of poetry, requires a particular exercise. Most Shiite poets had paid attention to Mahdavi poetry in their work and have used these poems with special effects and manifestation of their own artwork. Muhammad ben Husam Khoosfi and Seyyed Haider Helli are two well known poets in Mahdavi poetry from Persian literature and Arabic literature. This paper is a report of comparative research seeking what motivated these two poets on the Mahdavi poetry, as well as how the signs of appearance and characteristics of Imam have been used in this type of poetry. The results of the study show similarities and at the same time, considerable differences between the approach of these two poets towards Mahdavi poetry. Khoosfi, mostly emphasizes on the semiotics of Presence, especially the spread of injustice before emergence, but Haider Helli, features the governing style of Mahdi, particularly focused on devastating the oppressors. The method employed in this research is descriptive and comparative.

Although all religions and nations have prophesied a reformer at the end of the world, none of them has talked as much as Islam about its promised reformer. From the perspective of the Shia school, Imam Mahdi will be absent after birth and will emerge after long absence and will fill the world with justice and equity by forming a one-world government. In this respect, one of the duties of Muslims during the Imam's absence is to promote Mahdism; thus, cultural institutions, including the mass media can be very effective in this realm. Despite great cultural and news imperialism and the one-way information flow from the Western countries against Muslims, they must embark upon the globalization of Islam and Mahdism in different ways. Preparation and publication of scientific articles in the mass media, reports, commentaries, interviews and news contribute to this important undertaking. In this article, we try to investigate the content of Jam-e-Jam newspaper, as the Islamic Republic of Iran Broadcasting periodical, in a period of one year in 1392. We aim to know how successful cinema, culture and art pages of this newspaper have been in covering news on Mahdiism and Messianism. This study has been conducted using random and systematic sampling. Agenda setting and Use and Gratification theories are used as the related literature for this study.

If religion be defined as " Promotion" of the ego, materialism and status, according to the Islam, the Sharia and responsibilities of human amount himself, God and others; according to that, Islam claims to direct and manage all aspects of an individual and social's life of his followers and promising a bright future for man; so that the "Secularization" can be defined as "staying in the ego, materialism and status, trice price" and thus " reducing the role of religion and its teachings in management and direction of individual and social's life of his followers and lack of attention to the promised and the bright future.
To know whether in Iran the possibility of "Secularization" of the track 'cinema' exists or not? Have to adopt a definition of "Secularization" and "Religion" and then review the basics of the art of the Christian modern West. For arrangement to discuss about “Cinema", as a result of West and modernity, and discuss about its secular nature and origin.
To continue, we discussed of the principles of philosophy of Christian West art such as “Incarnation oriented”, “Visualization” and the “Desacralizing”. Continuing the downward trend in the Renaissance and then in the art of the modern era that based on the "Hedonism" and "Romanticism". We emphasized this downward trend as Secularization of Religion, Culture and Society.
It seems, according to the philosophical foundations of Islamic art that based and emphasizes on the principles: "denial of the Incarnation", but the " Epiphany", "Simulation" and the “Promised bright future", In Iranian today’s cinema regardless of that fundamentals, wanted or unwanted it complies with the principles and must not flow path and providing to the Mahdavi community, not messianic and messianic promised community, but based on "Secularization", even in the film who claim to be religious is to be over. This process occurs in Iranian cinema for the following reasons: (1) lack of attention to the fundamental philosophical differences between Islamic and Western art, (2) the secular nature and origin of the cinema, 3. attacking on religion that kind of prestige and class "Intellectual".

The necessity of universally expanding the discourse of Mahdism, due to its dependence on the nature of human beings, its savior-seeking nature and the universality of Islam, emphasizes the necessity of using instruments and facilities to transfer and inspire Mahdavi message.
Therefore, art as one of these instruments, provides the possibility of message transfer in an appealing way and has a variety of applications in different forms. Among these, symbols, as an art form, are of high significance and have a sociological dimensiondue to their features such as: brevity, power of inspiration, capability of interpreting the concepts which are supernatural, beyond reason and mysterious yet intelligible, and on the other hand having effects on the humans’ unconscious mind, and the necessity of their application is emphasized in this article.
In this regard, based on the discourse theory of Laclau&Mouffe, with the use of symbols as a kind of signifier, the transfer of message and the fixation of the subsequent discourse can be made possible through the process of concept articulation in three levels:1. Symbolic influence: identification of empty symbols, redefining them and designing new ones.
2. Symbolic distribution: turning the theory into a sociological notion.
3. Symbolic dominance: through the process of the fixation of symbol’s meaning.
Accordingly, Mahdism discourse can become the ruling discourse and expand in the aforementioned three levels, based on the sphere of knowledge, various universal areas of civilization and religious, social and cultural shares in any domain with the concepts and components of Mahdism discourse. ".

In the present article, the manifestation of Mahdaviat discourse in Iran contemporary art is studied, with an emphasis on "He Will Come" tableau, an artwork by Mahmood Farshchian. Farthermore, by employing critical discoursive method, it is demonstrated how the notion of the manifestation of the savior is objectified in an artwork. Discourse analysis is an approach for studying various discourses and examing the way in which meaning is formed in discoursive space of a society. In this method, a set of social conditions, the background of text occurance, speech, non-vocal communications and the relations among them are examined generally. In this article, too, by applying discourse analysis, the effectiveness of mahdaviat discourse, as one of the most conspicuous discourse in cultural space of society is analysed. Additionally, the way through which figurative items in the mentioned tableau work as signifiars implying religious concepts and public beliefs on the manifestation of savior is delineated. Meanwile, the inter-discoursive articulative mechanisms formed in this artistic work is investigated.