فصلنامه کیمیای هنر
پیاپی 41 (زمستان 1400)

Attention to the narrative structure of stories from the twentieth century followed the science of linguistics and then semiotics as a branch of science. The narration of Sheikh Sanan is the most famous and longest story of Attar, which has been analyzed many times in terms of literature, narration and artistic since its creation. In the field of narration, Grimas proposed a comprehensive rule for analyzing the spiritual foundations of the text by recognizing its linguistic structures, and based on this, he proposed the study of characters and their actions based on the three verbs of wanting, knowing and being able.Also, the use of active-passive, transmitter-receiver and inhibitor-helper interaction actors and And highlighting by contrasts are items that can be seen in addition to the story in the images and drawings created from it and provide an artistic area of the story. This research has been done in a descriptive-analytical manner with the aim of recognizing, analyzing and adapting the characters of the story and drawing based on Grimas’ action model and has analyzed two drawings of Sheikh Sanan’s story and matching it with the story. The research questions are: What are the personality patterns of the actor used in the story and drawings of Sheikh Sanan? How verbal and conceptual contrasts are used in stories and drawings? The results show that all the models of active, passive, transmitter, receiver, inhibitor, helper are used in the story and paintings. The difference is that in the paintings of Mantiq al-Tair, the pattern of deterrent action is very weak and there is no supporting actor. Painters have used other elements such as nature, architecture, color, viewing angle, etc. to compensate for verbal. The research is done with a comparative approach and using library studies.

Sophocles’ Ajax is among the most significant plays in ancient Greek literature, and William Faulkner’s The Sound and the Fury is an important modern novel. This study considers these two works using Gérard Genette’s Focalization term in Narratology theory. Focalization is a feature of the point of view in narrative and is described by characters’ action, emotional reaction and speech. This study investigates the narratives of the main characters in both works based on Genett’s theory. The main point in comparing these two works is how focalization is formed in each text regarding the narrative of each character, emotional and cognitive conditions in which characters consider the event and what kind of action do they take based on that conditions. This paper uses qualitative research method and is based on library research and record keeping. It analyzes the written resources using content analysis and descriptive method, while exploring both texts comparatively and applicably. The results show that focalization is transferred from one character to another in both works and both can be compared based on the resemblance of the narrative’s direction.

The uncertainty of the events, behaviors and relationships of characters are important features of the play This is not a Pipe, written by Seyyed Mohammad Mosavat. This study is an analytical-descriptive research, using Jacques Lacan theories in psychoanalytic criticism and it is conducted with the aim of examining the relationships of family members, their conversations and actions. According to the results of the research,  Lacan’s three orders are spotted in the play. The imaginary order is seen as a mirror stage in the dualities of the play. Such as the narratives about the presence or absence of Mommy, Maria, and Papa, the existence of John’s double, and characters that can be depicted on the Mobius strip, namely Mommy / Maria (common role: object of desire), and Jim / Papa (common role: first father). The symbolic representation of the text is Title. By turning invisible events into text, Title makes the real thing translatable to us with the help of language, which is the agent of the symbolic order. The police are another representative of the symbolic order that seeks to establish law and clarify events. He is, in a sense, an angry superman who has come to restore order. In addition to the police, superman is also reflected in the character of Mommy. John has returned to the Oedipal complex due to the trauma caused by Maria’s betrayal, and for this reason he is still looking for the original object of his desire (i.e. Mommy) and the maternal superman dominates him. On the other hand, he is also under the control of the primary father. Form, paranoid characters, illusions and unjustifiable events from the perspective of the real world are reflected as the representatives of the Real order in the play.

Diverse artistic media in a nomadic community, despite their differences, represent the familiar traditions and beliefs of their creators. Text is a dynamic site in which relational processes and practices are the focus of analysis instead of static structures and products. Every text is an intertext that borrows, knowingly or not, from the immense archive of previous culture. Intersemiotic translation or transmutation is an interpretation of verbal signs by means of signs of nonverbal sign systems. With a semiotic analysis of the Sechischti lyrics and kilims of the Kurmanj people of the North Khorasan, the present study seeks intertextual and intersemiotic connections between these two sets of cultural texts, from two distinct types of sign systems: verbal and visual. This paper’s qualitative data has been collected in both field and documentary methods, and its statistical population includes 250 kilims and 1386 kilims Sechischtis. The arrangements of these signs in each of the two visual and verbal systems have a deep dependence on ethnic characteristics, socio-economic conditions, lifestyle and long-standing historical experience of the Kurman people. Without knowing the values of these signs and understanding their secondary layers, it won’t be easy to decipher these texts. The common signs used in both sign systems, have analyzed both denotative and connotative and categorized into five groups: human, animal, plant, natural phenomena and object signs. In all these categories, intertextual communication is visible. According to this study’s findings, the entry of signs can be traced from the Sechischti to the kilims.

Warburg is one of the most inspiring figures in the German tradition of art historiography. Although one of the well-known aspects of Warburg’s intellectual work is its relation to iconology, this article seeks to go beyond the conventional understanding of Warburg to mapping a picture of his “special” view of the image as a whole. To this end, by re-reading the classic Warburg texts and new interpretations of those texts, an attempt has been made to examine the place of his approach to the “image” in the tradition of German art historiography and the key concepts of his intellectual system in this field. The findings of the article show that in this system of thought, we can see the traces of the ideas of thinkers such as Friedrich Nietzsche, Jakob Burckhardt and Robert Vischer. In this context, Nietzsche’s “Apollonian-Dionysian” dichotomy, Fisher’s concept of “empathy” and Hegelian Burckhardt’s totalitarianism were influential in formulating Warburg’s particular conception of the Renaissance art. In this regard, Warburg devotes himself to the study of a concept called the “afterlife” of antiquity and other concepts such as pathos formula, dialectic, and empathy in Renaissance art and thought. It seems that most of these concepts revolve around the idea of “survival.” According to Warburg, since art has a history, images also had remnants, remnants that reveal themselves in connection with the concept of memory and in connection with a concept called pathos-formula. In this sense, Warburg focuses on gestures and their transmission through art. The result of such an effort is a silent language design free from argument. Expressive gesture analysis offers an unusual way of looking at past shapes and allows the audience to find images of the past in the present. This is the meaning of the afterlife and the survival of the images.

From the beginning of photography, various views were presented about the relationship between the body and photography, most of which focused on body as the subject of photography. Although such views address significant aspects of photography, very few studies have concentrated on the photographer’s body in creating works of art. Focusing on the concept of bodily perception, which is a bodily phenomenon in Maurice Merleau-Ponty’s point of view, and employing his extensive reviews on photography, this study investigated Merleau-Ponty’s theories with regard to photography in order to indicate how the body in photography takes a position beyond a mere subject of photography. This study intended to show that although Merleau-Ponty considered photography as nothing but mere freezing of a moment in time, which lacks the capabilities of other art media and thus was not in the center of his thought, he believed that the world is perceived through the subjective perspective of the body. Thus, like any other artist, the photographer can be considered at the core of such a reading. This paper would try to find a suitable answer about the idea of Merleau-Ponty’s reductionist approach to photography at early 20th century. It seems that the main reason of this attitude is the ignorance of many essential aspects of the relationship among the photographer, the photograph, and the world. However, by reflecting on his criticisms, Merleau-Ponty’s opinions can be applied to photography, presenting a different view of him.

Merleau-Ponty borrows “being-in-the-world” from Heidegger but is not passive in the face Heideger’s thoughts. He uses the subject of being-in-the-world to explain perception and embodiment. Heidegger’s Dasein and the embodiment subject of Merleau-Ponty are thrown into the world. This means that the world is not equal to the object of human thought, and man is thrown into the world before contemplation and reason, and understands the world directly. Artists reveal the world through being-in-the-world and physical action. To Cézanne’s paintings, the intersection of Heidegger and Merleau-Ponty’s thought is for pre-rational thought, because painting is not separate from the world. In this article, an attempt has been made to consider the similarities and differences in the world-existence of Heidegger and Merleau-Ponty through attention to Cézanne’s paintings. The results of this study shows that Merleau-Ponty has a conception of being-in-the-world and, consequently, a bodily being, which in some cases it contradicts Heidegger’s understanding, but both philosophers confirm Cezanne’s the role of works in the phenomenon of the world.