نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 28 (بهار 1401)

Intertextuality is rooted in twentieth-century linguistics, especially the well-known Swiss linguistic theories of Ferdinand de Saussure (1857-1913). Explaining the linguistic sign of cognition, he presents a detailed discussion of the concept of "sign" and considers language as a system consisting of signs that have no positive meaning at all, that is, they have no meaning in themselves but they gain their meaning through their differences and similarities in the language system. The sign of Saussure's founding difference paved the way for the concept of intertextuality, as the sign becomes possible in relationships. Therefore, this ruling can be extended to literary works. The literary tradition can be seen as a system of synchronicity. Thus, the signs in each literary text do not refer to any subject in the world, but to the literary system in which the text originated. Narrative can be traced back to most cultural discourses that are a chain of events in different spaces. Different forms of narration have an effect on each other, which leads to the creation of the intertextual relationship between them. This article examines Gérard Genette's theory of hypertextuality, which is a subset of his theory of Transtextuality. Since the adaptation works are placed under this theory, the process of adapting the film Tranquility in the Presence of Others by Nasser Taghvai from a story of the same name by Gholam Hossein Saedi is discussed in this article. Gholam Hossein Saedi wrote this story in 1346 in the collection of stories of Nameless and Elusive Apprehensions in ninety-seven pages, and Nasser Taghvai adapted this story in 1349 and made a film for one hour and twenty-five minutes. This article tries to analyze the process of this adaptation and describe its intertextual features according to the intertextual approach and its branch, which is the concept of  hypertextuality from Gérard Genette's point of view. The paper aims to provide an overview of the concept of Genette's hypertextuality by analyzing the "B text, that is, the film" from "Text A, the story," and then analyzes the intertextual relationships between the two works. The article is written in an analytical-descriptive way and assumes that the type of this hypertextuality is a transposition. The paper first introduces a brief definition of the narrative structure and its elements, as well as Gérard Genette's theory of hypertextuality, and then describes the film's reduction and expansion process in adapting the work by analyzing and explaining its narrative structure. In the analysis of these two works, the theory of Gérard Genette's narrative relationship and the elements enumerated for narrative analysis are used. Therefore, the description of the film's significant adaptations from the story and then the effect that these adaptations have on the film and the meanings will be analyzed. In conclusion, the film Tranquility in the Presence of Others, due to serious changes and the creation of a new style in the process of adaptation, is a work of the type of Transposition in the sense of hypertextuality.

Boredom in Heidegger's philosophy is known as a mood, which is attuned in “Da Sein” and becomes an attunement (State of Mind). A kind of attunement is the one constantly trying to escape it by using banality and everydayness. A kind of attunement, which has a deep capacity to reveal being to the one as a whole, like anxiety mood. Heidegger introduces three types of boredom and unlike the third type; the first two forms are superficial and can be created in the human’s attunement. But the third type of boredom is the profound one which can not be created in one’s attunement because the third type of boredom does not depend on other beings. Heidegger also explains that all three types of boredom are fluid in each other and one type can lead our “Da Sein” to other types of boredom. In this research, we assumed that Béla Tarr creates the first two forms of boredom in his audience’s attunement by using cinematic visual possibilities such as framing, camera movements, etc which are based on Heidegger’s boredom patterns to eliminate the banality and everydayness of audiences and put them into the deep boredom (the third type) in his films to reveal the concept of Being to them and make them face their Being especially in these two films: The Satan Tango and The Turin Horse. In this research we analyzed Heidegger's boredom patterns of “Da Sein” and as a result, we established cinematic boredom patterns to analyze Béla Tarr’s films. Among Béla Tarr’s movies, two films, The Satan Tango and The Turin Horse were chosen because of their obvious boredom patterns. by analyzing these two films, it became clear that forasmuch as " expectation " is the main characteristic of structural moments of boredom and this expectation is not being met, an absence can be formed which creates existential emptiness in the situation emptiness. This existential emptiness causes existential boredom and to overcome this boredom Tarr’s audience is forced to encounter their being.

Cinema is the arena for the realistic representation of the nowhere lands - suspended between reality and ultra-reality, whilst upholding and sustaining heterotopia – is simultaneously governed by the discourse and logic of power. Kurdish cinema may be viewed as a telling example of this point of view. The main objective of this research has been a content-wise study of this cinema to figure out the strategies employed by the Kurd filmmakers to represent their identity through places. The research methodology of this research was grounded theory in qualitative studies. For this purpose from movies produced in Kurdish cinema (from the very beginning to 2016), 15 films were selected based on the open coding method. The common concepts of the selected movies were re-read through axial coding and selective coding and based on theories on the concepts of identity and representation.  This article refers to the convictions of various thinkers in the field of ‘location’ studies as well as an emphasis on an ‘identity’ centered approach - to present a meaningful model for a more facile understanding of ‘location’. The divisions of the discourses on location - in a three-part model (space, location, and matrix) –follow such an undertaking.  Studying different aspects of location (violence location, space locations, other locations, home, and country) are all further discourses in the field of identity which are further accented with the location. In this regard, the Kurdish filmmakers’ share is considerable - by presenting the periphery and “other locations”. In [this] cinema, ‘other locations’ are presented and delivered in a variety of forms. The findings of this research show that Kurdish cinema is a wave of regional cinema that through the emphasis on language and identity in mostly neorealist productions has represented Kurds and their problems as the main theme of their stories. The productions of this cinema try to establish a nation, bestow identity on these people, and remove the previous prejudices. These movies, through paying attention to themes like war, genocide, poverty, displacement and migration, marginalization and exclusion and mainly by stories related to children and women, produce signs like border, camp, disability, other places, mountain, snow, mine, which all have significations related to the cultural identity. The movie’s stress on the geographical location of Kurdistan signifies a form of nationalism and the construction of “self” in opposition to the “other”.

The important cultural and social events and changes that happened in contemporary Iranian society in the seventies had a great impact on Iranian cinema. In such a way the look of the sixties cinema productions, from national and religious films which appeared in the form of holy defense cinema changed its direction towards social and psychoanalytical dramas. Meanwhile, at the level of society, the most important event was the presence of the middle class, followed by the change in the social and cultural attitudes of the people. This class tried to play a more important role in the social, political, and cultural equations of society with a modern perspective. Although the conflict between tradition and modernism has a long history in Iran, it seems to have become more intense in the seventies with the presence of this class. Adapting to this process, cinema also took a sociological look at the social problems and dilemmas caused by this confrontation, especially the family issue. This research, by looking at two prominent social films of this decade, namely, Under the Skin of the City and Two Women, aims to examine the most important social and family anomies of contemporary Iranian society from the perspective of these two films. The descriptive-historical research method is based on statistical analysis and is done by employing library studies and questionnaires. To extract the social characteristics of these two films, a suitable reading tool was needed. Therefore, the principle of coexistence and substitution of semiotics considered by Saussure was used. The findings of the research indicate that in the film Two Women, the variables of local identity reduction, the fattening of the new urban middle class, the introduction of modern identity indicators, the weakening of traditional social networks and emotional discontinuity, and the film Under the Skin of the City, the variables of traditionalism, social gap, and Class, the importance of family, marginalization, and change of society's attitude towards women, respectively have the biggest role in the correlation between the variables of the main components of the research (with a correlation coefficient of 0.806). Based on the findings, the results indicate that the achievement of modernity is the generation gap and intergenerational challenges in families.

The common idea about the modern literature of Iran considers its beginning to be related to the constitutional movement and its flowering to coincide with the year 1300 AD. But the modernization of Iranian literature can be regarded as the logical consequence of the reformist literature of the years before the constitutional revolution. Because the roots of Persian poetry and prose of the constitutional period should be sought in the works of writers such as Mirza Fathali Akhundzadeh, Mirza Malkum Khan, and Mirza Agha Tabrizi. But contrary to popular opinion, the formation of these modern trends cannot be reduced to the personal wills and achievements of the mentioned intellectuals. Undoubtedly, within the social developments, there have also been invisible literary currents that, in a rather homological relationship, have provided the possibility of these transformations through individual wills. This article tries to gain a logical and well-argued understanding of the formation and structure of Iran's literary production field in the pre-constitutional period, relying on Pierre Bourdieu's theory of developmental structuralism. It also seeks to explain how independent and dependent dual poles of this field develop in a homologous relationship with other social fields — especially the field of power — within the field of play/drama production. The result of this article is indicative of the formation of the field of Iranian drama production with the presence of Mirza Fethali Akhundzadeh, built on the literary work of Mirza Agha Tabrizi. The result of this construction is the establishment of Mirza Agha Tabrizi in the independent pole of Iran's drama production field defined in opposition to the dependent pole, which is the place where Mirza Fethali Akhundzadeh is present in this field. The positions of these writers are considered to be the result of their stance manifested in the form of literary action. This article also seeks to explain and explain why Mirza Agha Tabrizi implements the executive conventions of Iranian drama in his plays, which can be explained based on Bourdieu's theory of action. According to Bourdieu, action always takes place somewhere between consciousness and unconsciousness, which can be expressed by relying on the concepts of habitus and field. This article has employed a descriptive-analytical method to understand historical research data, and the basis of data analysis is also based on the theoretical framework resulting from the opinions of Pierre Bourdieu, a French sociologist.

The 9th century is when the Islamic civilization underwent massive changes and different discourses in the areas of science and culture formed. This is when theoretical music commenced developing and mathematical-philosophical discourse gained dominance thanks to the philosophers, logicians, and mathematicians who were familiar with the Greek sciences. The Kitāb al-malāhī wa-asmā’ihā min qibal al-mūsīqá is one of the documents which not only proves the existence of the discoursal opposition at the time but was also mainly written due to this selfsame opposition. This valuable treaty by Abū Ṭālib Al-Mufaḍḍal Ibn Salama - the 9th century Linguist, hadith transmitter, and grammarian of the Kūfan school – is one of the oldest musical manuscripts, which has been a reputable resource for the subsequent works, includes an account on the oral tradition in the pre-Islamic era and the early centuries afterward. In his manuscript, Ibn Salama is trying to protect the tradition he belongs in from the new-fangled phenomenon called "music". Therefore, he emphasizes the very points which aroused the dissension, such as the mythical origin of musical instruments; the ethnical backgrounds of the different musical instruments the changes in their names over the years, musical terms, and the correlation between music, poetry, and social traditions. This article, by explicating the book and explaining the terms used, intends to indicate that there were different cultural accounts of music in the 9th century which was different from the currently remaining metanarrative.

Cultural industries play an important role in increasing employment, and economic growth, strengthening national identity, and achieving sustainable development. Cinema, as one of the components of cultural industries, can lead to the prosperity and strengthening of art-industry and related arts, and consequently, the special capacity and capabilities of this communication media can also be used in Iranian cinema. Henry used it for economic gain. This will be the case if the economy of Iranian cinema can become what we know as the "cinema industry". Therefore, the present study was conducted to investigate the factors affecting the formation of the value chain in the Iranian film industry and the qualitative research method, the data method of the foundation. The statistical population included all experts in the field of cinema economics, university professors, producers, etc. The Research sampling method is theoretical. In this study, 15 experts were interviewed. An in-depth and unstructured interview method was used to collect information. Data were analyzed by collecting, coding, and analyzing the collected data. Data analysis and coding have been done through open coding, axial coding, and selective coding. To validate the research data, four GABA and Lincoln (1989) validity indices have been used. Some of the causal conditions mentioned in the research include the need to reform the current economic system in Iranian cinema, lack of economic view of the value chain in Iran, lack of knowledge and comprehensive local theory framework for the value chain in cinema, the need for market formation in the value chain and attention to marketing, the need to localize value chain issues in Iranian cinema, the need to localize value chain issues to determine the scope and classification of the film industry, the lack of soft and hard infrastructure in the Iranian value chain, the need to create a healthy economic platform and artery to operate in the chain The value of cinema is the important and reciprocal impact of the cinema value chain market on each other, market building as the main factor of power and expansion of the value chain in the film industry.