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سال نوزدهم شماره 108 (خرداد 1401)

Nowadays, the presence of neighborhood residents in physical spaces has become scarce as a result of the negligence of spatial territories and this issue has led to a decline in social communications specifically in the neighborhood sphere. Extensive studies have used qualitative methods to investigate the mutual relationship between physical space and social communications or to examine how the sociability of people in a physical space is influenced by the physical capabilities of public territories. Less research exists on the synergy of semi-private territory and social communications. Moreover, reviewing available studies shows that they have contributed to the advancement of quantitative methods that introduce strategies to improve physical conditions. These studies have offered strategies that have not been informed by the qualitative methods.
Research

The purpose of this study is to compare the outcomes of the quantitative and qualitative phases on evaluating the correlation of the features in spatial territories specifically semi-private territory with residents’ sociability in physical spaces of a neighborhood to maintain a context for a more exact prediction of the probable behavior of the residents in the physical realm.

This research employed a case study method and was conducted in two phases; in the first phase, the qualitative variable of social communications was evaluated by using cognitive maps and, in the second phase, the same variable was evaluated through computational modeling of space syntax in a quantitative approach. Also, Ekbatan Town was selected as a context for this case study not only for its age but also for the existing variety in its spatial territories and its significant surfaces of public territory.

Apart from the integration and connectivity variables related to the public domain, the qualitative method helps to gather information on other variables such as geometry and vegetation that cannot be obtained by using a quantitative method. Moreover, the syntax of semi-public territory in blocks is considered a significant variable outside of the public territory in people’s tendency to appear in spaces. Therefore, the quantitative and qualitative methods are complementary to each other in the analysis and study of the sociability of physical spaces.

  Unwillingness for objectivity and an aversion to total adherence to subjectivity in the Qajar era art, have created a real-imaginary world. The motifs of angels dressed in Qajari attire and being influenced by Western ideals have their roots in this way of thinking.  Therefore, with the assumption that angels in the works of Hojat Amani have the role of angel motifs in the contemporary art of the Qajar period, this study seeks to examine the adaptation and evolution of angels in the Qajar era and contemporary art. So far the comparative role of angels has not been examined and the hidden layers of the angelic works of these two eras have not been studied. The originality of this research lies in this area.

The main purpose of this study is to show the utilization of the role of angels and their formation process in contemporary art, to use adaptation and survey results to answer the questions raised in this study.

This comparative research uses descriptive-analytical methods, along with statistics, documentary sources, and interviews.

In comparison with the Qajar era art, the project of postmodern angels with the feminist view of Hojat Amani, brings wider social meanings to the contemporary era in addition to having the components of the traditional art of the Qajar period, both visually and conceptually. It also delivers a resurrection of the human desire to ascend beyond matter and to place itself above the human condition that exists in the most ancient layers of Iranian culture and the general public.

Capitalism, in its modern sense, has been associated with the Industrial Revolution and is a system in which the means of production, distribution, and exchange are at one’s disposal. A system that has three basic characteristics; Complete competition includes freedom of choice and consumption. Capital circulation and accumulation of capital are some of the most important and main features of the capitalist system (CS) and capital due to its inherent nature (profitability). These features lead to the production and creation of new spaces in cities and metropolises. What in most developed countries are seen and are becoming apparent in all urban areas, including public spaces (PSS) and megamalls. Similarly, there is a CS in the cities of Iran, and the capital accumulation flow has failed to create a productive infrastructure in the cities, and capitalism, trade, monopoly, and rent have been formed. Controls and packages are created. Therefore, in Iran, as in developing countries, a CS has become common, but with different nature, in which many factors play a role in shaping this system and have produced spaces.

The purpose of this study is to investigate the effect of the rentier capitalist system (RCS) on the urban spaces of Tehran in the form of megamalls.

This research is by objectively basic-applied type, and the documentary-library method was used to collect theoretical sources and logical analysis.

The results indicate that in recent decades, the spaces of Tehran in the form of megamalls have replaced the uses of public spaces such as parks and public spaces (PSS) and since the 1980s, these spaces have been monitored and controlled. Urban spaces (USS) have become a rent-seeking, competitive, consumer, and unproductive space that has driven the majority of urban dwellers to the outskirts of cities, making them a merely accessible place for the affluent and the capitalist class to make more profit.

The conquest of Khaybar is one of the most important historical events in the Islamic world, which has attracted the attention of artists and painters in different periods of the history of Islamic Iranian art. This event is very important to the Shiites because the Jewish castle was conquered by Imam Ali (AS)  during this event. The necessity of this study lies in the importance of the conquest of Khaybar, the significant position of Hazrat Amir Momenan(AS).

The purpose of this study which is understanding the changes and illustrations of this event in the Safavid and contemporary periods. The present study seeks to answer these questions: How did the painters in the paintings related to the conquest of Khaybar in the two Manuscripts of the Safavid period’s Falnama and the paintings of Mohammad Modaber and Hossein Hamedani represent this event? In the  Safavid and contemporary historical periods, what changes can be seen in depicting the event of the conquest of Khaybar? and In what cases should the causes of changes and differences in the type of representation of the Khaybar event of the conquest of Khaybar be sought in the drawings of  Falnama in the Safavid period and the works of coffee house paintings?

In this research, library, documentary, and visual data were analyzed in a descriptive-analytical manner using a comparative approach and the subject of the conquest of Khaybar by Hazrat Amir Mo’menan(AS) in two drawings of two Manuscripts of Safavid’s Falnama and two samples of paintings by contemporary artists including Mohammad Modabber and Hussein Hamedani were compared and analyzed.

The results show that in illustrating the event of the conquest of Khaybar, the degree of adherence to the narrations in the drawings of the two Manuscripts of Safavid’s Falnama is much higher than the coffee house paintings of Mohammad Modabber and Hossein Hamedani, and in the Safavid period, the miraculous aspect of Imam Ali’s(AS) action was more important than the contemporary period.

Carnivals are popular and folk festivals that are in contrast with formal and dry culture. In the carnival atmosphere, social classes are overthrown. Carnival challenges the laws and values ​​of society by using tools such as criticism, satire, ridicule, and irony. Carnival stands in opposition to formal culture, disrupting the monolithic atmosphere and creating a polyphonic community with diverse conversations. Mikhail Bakhtin (1895-1975), an important theorist of the twentieth century in the field of literary criticism, with the theory of colloquial logic, created a new atmosphere in various fields, including literature. One of the main branches of this theory is carnival. The components of Bakhtin Carnival can also be examined in the category of drama. In the present study, the author intends to critique the delightful Iranian plays in the late Safavid and Qajar periods, citing evidence and examples, based on the ideas of the Bakhtin Carnival.

The present study attempts to examine the relationship between this type of play with Bakhtin’s views on carnival and the possibility of applying Bakhtin carnival theory in these plays by examining Iranian happy plays and structural and content analysis of these plays.

This study is descriptive-analytical. In this research, valid Iranian and non-Iranian sources (in the form of books, articles, notes, and conversations with experts in two categories of text and performance) were used.

Delightful performances in Iran a space as a carnival so that people, regardless of social class, come together and criticize the existing space in the official space of society with fun and happiness together. In freedom and equality, real dialogue is formed and the general public is liberated and calmed in a short period.

Hallmarked by dramatic lighting against dark backgrounds, life-size figures, and raw emotions—in other words, a visual style resembling a thoroughly realistic play—Caravaggio’s paintings look like scenes of a tragedy and can therefore inspire catharsis in the viewer. Catharsis is not limited to drama and is found also in other art forms, including painting, music, and sculpture. This study attempts to understand how a painting can evoke tragedy and, in turn, produce catharsis.

The study aimed to compare Aristotelian tragedy and the art of Caravaggio from the standpoint of catharsis.

In this descriptive-analytical study, data was collected through a desk research method, and five Caravaggio paintings were selected at random for visual analysis and comparison.

The study found that a Caravaggio painting is a completely realistic “theater of contradictions” in which light and darkness, youth and old age, life and death, and strength and weakness are portrayed simultaneously. The painter arranged his scenes with an extraordinary display of faces expressing raw emotions. Based on a comparison between Aristotle’s definition of tragedy and Caravaggio’s paintings, his art is tragic in form and capable of effecting catharsis in viewers.

According to written sources, the city of Beymand was one of the cities of Kerman province in the early centuries of the Islamic era. Beymand was considered to be one of the important cities of this era due to its location on important communication routes such as Shiraz to Sirjan. Some geographical sources have mentioned the distance of this city to old Sirjan as four Farsakhs. However, according to the archaeological studies of Sirjan plain in the past years, its location has remained unknown. The location of this city was studied for the first time in spring 2018 in a project entitled the archeological study of Sirjan plain.

This research aims to locate the city of Beymand in the early centuries of the Islamic era. Thus, by matching the written sources and new evidence obtained from the archaeological studies of the Sirjan plain and analyzing and measuring them together, it is possible to accurately determine the exact location of this city in the current geography of the region. The main question of this research is the exact location of this city and measuring the degree of correspondence between written sources and archaeological data.

This research used the descriptive-analytical method, and the data were collected from written sources and archaeological studies and matched with each other.

The results show that according to the writings of written sources and their correspondence with the information obtained from archaeological field research, the area located in the northwest of the modern city of Sirjan in the Bagh Bamid neighborhood is the city of Beymand in the early centuries of the Islamic era.

Evidence of history and protection of historical monuments is based on authenticity; if the revival of the monuments is not based on the preservation of its originality, the historical identity of monuments has been damaged and it can no longer be considered historical.Therefore, In the process of restoration the authenticity of the work should be one of the priorities of the project executors. Sadaghiani House belongs to Qajar and Pahlavi period. The buildings and spaces of this historic complex have changed over time, and parts of it have been separated or destroyed, which needed to be rebuilt for re-use.

What are the effective and authentic indicators in the restoration of Sadeghiani historical house in Tabriz?Scopes of study: Regarding to the damages and changes in the structure of the Sadaghiani House due to disproportionate urban development and impacts of war and lack of proper preservation during the reconstruction process, This monument required intervention to change the physical structure of some parts of the house.

The research method is applied research which has been done by qualitative research method and content analysis strategy and has been done in two general sections of literature review and field surveys. The literature review was done by studying documents and historical images to recreate the building in order to investigate the issue of authenticity.The reason for choosing Sadaghiani House is due to many destructions during the urban development and the effort to change the use and recreate the destroyed parts by the executors.

What results from the analysis of the authenticity indicators of this house in 5 restoration periods, Despite major renovations and physical restructuring in parts of the building, Considering the indicators of apparent intact (form), stability of symbolic values,