نشریه جامعه شناسی هنر و ادبیات
سال چهاردهم شماره 1 (بهار و تابستان 1401)

Iranian ethno music which undermined during Pahlavi regime under modernization policies inclined to western culture and art, raised again after Islamic revolution and was focused by artists and researchers. The main question of the paper is; How the elite oriented toward ethno music during post revolution thought transformations? The main aim is describing the importance of ethnicity art and ethnomusicology studies in Iranian contemporary music in the viewpoint of music experts. As cultural-artistic or artistic magazines represent the thought approach toward ethno music, this paper by analyzing the constructed themes in these magazines has shown the thought foundations of elite viewpoints toward Iranian ethno music. The research is based on thematic analysis. The research sample consists of 10 cultural- artistic or music magazines including; “Honar quarterly”, “Golestaneh”, “Soureh”, “Adabestane Farhng & Honar”, “Asre Adineh”, “Magham”, “Adineh”, “Donyaye Sokhan”, “Kelk and “Mahour”. These magazines have studied on the music after Islamic revolution. The data extracted from the mentioned magazines based on purposive sampling and the process of data collecting continued till data saturation. Saturation is a core principle used in qualitative research. It is used to determine when there is adequate data from a study to develop a robust and valid understanding of the study phenomenon. Saturation is applied to purposive (nonprobability) samples, which are commonly used in qualitative research.The findings show that 3 general approaches toward music was formed in the mentioned magazines:1. The centrality of western music and absence or peripheral situation of ethno music 2. The originality of ethno music and religious approaches toward this kind of music 3. The originality of ethno music and it`s recognition through ethnomusicology studies.

Positioned at the wave-crest of material disappearances and the foreclosure of corresponding modes of thought, this essay develops the notion of subaltern objects at the intersection of materiality and absence. In doing so, the essay illustrates how two projects of epistemic overhaul working as dislocated and unacknowledged parts of a vast two-handed engine within Europe and on the colonial frontier subalternized facets of that bio-habitat that did not retain a mark of their past, impeding them from acting as agents of temporalization within our modern linear temporal structures. The essay argues that such linear structures are partly centered on the succession of technological objects and their “development,” one out of another, in a chronological order (e.g., from print to electronic to digital mediums). That is, a movement from few simple to increasingly more complex technological objects that establishes progress-as-history. The essay concludes by considering what a politics of radical absences might mean and how it could be linked to an alternative schema to progress/development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Monuments of different historical periods are constantly being interpreted and reinterpreted. architectural monuments specifically contain different forms of human life and the meaning they give to it and endeavour to disclose these meanings through buildings and spaces gives a more accurate image of people's life world. The architectural buildings of the Iranian academies of literature is located in the Abbas Abad district of Tehran. One of the most important architectural competitions after the 1979 revolution in Iran was held for the design of these buildings. The analysis of the works of this competition shows that both the jury and the selected architects are under the influence of a certain current of thought, which are known as Nativists. Each of the selected designs contains elements with reference to a certain historical period which could be identified as Iranian or Islamic Architecture which is in contradiction with modern approaches. On the other hand, despite the chasm of 1979, identity-oriented ideas in Iranian architecture still remains strong. Nowadays, despite the modernist claims of architects, in many architectural circles and classes, Iranian authentic identity is still problematic. This article aims to provide a sociological critique of the ideas underling these monumental buildings,. Considering the sensitive and critical issue of constructed identities in today's world, we tried to analyse the scattered and dusty facts and thoughts that make up our image of ourselves today.

According to the book publishing statistics, the novel "The Forty Rules of Love" is one of the best-selling novels in recent years in Iran, and paying attention to the reasons and contexts of its popularity can help to understand the mood of society in this period. Therefore, the present study, through a qualitative study of the reasons for the tendency of female Instagram Users to the novel "The Forty Rules of Love", tried to find some of the issues raised around such a phenomenon in Iranian society. For this purpose, in-depth semi-structured interviews were conducted with twenty of these Users by means of Content Analysis and Purposeful sampling and Snowball sampling. According to the findings of this study, although it seemed that the audience was called by popular features and curious advertisements, but on the other hand, attention to the elements of the story such as form, content and author also indicates the selectivity of the audience and their agency in choosing this book, and in addition to the "propaganda wave" and "story appeal", the reasons for the tendency to study it can be attributed to another important factor, such as addressing issues such as "society's current issue" in Iran. It can be said that the social, cultural and political conditions of Iran are influential in the attention of this book, and among them, the role of Instagram in introducing and more attention to it has been very bold.

Paratextuality, as one of the five types of transtextual features, was proposed in the framework of the structuralism paradigm by the French literary theorist and semiotician, Gérard Genette. Paratexts are textual excerpts surrounding the core text of a work, acting as a threshold for venturing into and comprehending the main text. A book cover, as a “simultaneous internal paratext” performs descriptive and promotional functions for the main text since the first encounter between the reader and the book is shaped through this visual frame. The current study intends to make use of the descriptive analytical method and library studies to assess and evaluate the paratextual function of the book cover and its association with the discourses dominant at the time the work was created. The corpus selected for the study includes four different literary books published in Iran in the 1990s. About two decades later, these books were republished with new book cover designs. The findings of the study indicate that the book cover paratexts and their changes are a construct of transtextual factors including the cultural fabric of the society, the stylistic and artistic discourses common at the time of the creation of the work, publishing policies, and technological changes. Furthermore, during those two decades, the function of paratext shifted from a descriptive and narrative intent toward implicit and coercive implications. In other words, paratext has become an independent text.

Nomads of hand weavs and Sociology is one of the desirable discourses in the interdisciplinary field that has an acceptable capacity in creating a discourse of indigenous and ethnic arts and gaining knowledge of the active creators of these weaves, community and the cultural context in which such works are produced. in this article, gabbehs and qashqai lion will be studied, analyzed and analyzed from the perspective of giddens sociology and construction theory with the focus on the propositions of "structure and agency". the meaning of structure is the technical dimension of weaving, ie the type and technique of weaving and how the weaves and their patterns are formed, which is in the position of social structure. the question in these weaves is that the structure (rules and sources) of the texture by what mechanism has caused the persistence gabbegs and qashqai lion rugs continuation of their function? therefore, the purpose of this study is to investigate the components and effective factors in making (weaving), fame and symbolic power of Qashqai lion rugs and gabbehs. the findings of this study indicate that various components such as weaving structure and technique, as agents, play an essential role in the reputation and value of these weaves. also based on this theory, in the process of weaving and weaving production, not only weavers as actors and human agents,but other factors, such as natural colors and abstract motifs, the "mental weaving" and "improvisation" features, also contribute to the creation of weaving. this is a qualitative research and descriptive-analytical research method. The method of data collection is library.

Generation of Narrative; Removal of Dystopia/Living with (Dys)topia: The Last Pomegranate of the World (2002) and The Time of Negligence (2004)Abstract:Both the postmodern novels The Last Pomegranate of the World (2002) written by Bachtyar Ali, an Iraqi Kurdish writer, and The Time of Negligence (2004) by Mohammad Reza Kateb have a dystopian space. During those years, Iran was in a state of transition from the Khatami presidency to Ahmadinejad, and Iraq was going through the last years of Saddam's rule. In order to investigate the pervasive state of dystopia, we went to the utopian openings of the main characters and studied the novels from the window of the possibility of getting rid of dystopia. Due to the complex conditions of the Middle East, the duplicated or integrated characters have unattainable utopias that cannot exist due to reification, privatization, etc. Depending on the situation, opium (a kind of story here) and promises are ideological/utopian paths in which the characters are emploted. Bachtyar's praised promises are hopeful for the removal of dystopia, and Kateb's blamed opium provide the possibility of coexistence with it. In this way, utopia reveals ideology and emancipatory literature predicts the future by inserting the reality structure into the novel structure.

The field of Iranian painting in the years before and after the revolution, rather than being important in innovation and creativity or the power and ability of the artist in presenting style and art form, in creating a gap based on The change in the position and role of the art and the artist created is of special importance. In the mid-1950s, a protest painting by a group of young students led by Hannibal Al-Khas rose to prominence against the legitimate art of the time, abstract and modern art, and instead of the slogan Art for Art, Art The artist committed and spoke in the face of social events. With the establishment of the Islamic system, the protest art movement was divided into two branches. A group was attracted to the art field and continued their previous activities with an emphasis on religious identity and its symbols. The second group continued to move towards purer and more personal art, creating works that showed less explicit national and revolutionary commitment. In this article, using Bourdieu's field theory and the concept of strategy, we show that second-tier artists took steps to overthrow legitimate art, as opposed to the realm of art - which is realist and popular art. Promoted-placed. That is, they demanded a return to the origins of art. Hence, they chose a multifaceted, complex and pure language. Of course, it should not be overlooked that this strategy for restoring dignity has been carried out quite honestly and impartially, because it is the result of an unconscious relationship between habitus and the field.

The Safavid era is one of the most important and influential periods in the formation of intellectual and social life.The Safavid dynasty was always trying to gain legitimacy in various ways.Hence due to the religious nature of the government and the relationship that its kings had with mystical methods and the Shiism introduction, used religious art as a tool in the service of government programs and social movements. Among these, the Qur'an, which has always had a special place among Muslim artists due to its value and credibility, in the Safavid religious government, it was at the forefront of artists' attention and inspiration And the artistic expression in the narrations, stories and their concepts became the source of inspiration for many illustrated works for miniaturists.Reading the miniatures of the descent of Adam (AS), which is one of the components of the story of creation in the Qur'an, and the answer to the question: how the implicit meanings and social conditions of the Safavids are explained in this miniature, is the research query.The goal is to discover the hidden inside and recognize the social functions of the work.The research method was descriptive-analytical with the approach of social semiotics of the image and the results of the study showed; the illustration of the story of the descent of Adam is in accordance with the ideological approach of the era and is influenced by social conditions and discourse conflicts of the first half of the Safavid period. Which has been done in its lower layers, by emphasizing the mythical legitimacy of the king and the establishment of the monarchy and the purification of his character and extra-textual factors such as the theory of divine shadow, and Shiite Mahdism and attitudes toward the flow of the perfect master have been involved in its formation.

In each period, the storyline of the stunningly illustrated edition of Shahnameh, involving sociological meaning, has been illustrated according to the different social perspectives and the personal style of artist. An analysis of composition and the visual concept of the motifs helps identify the the style and sociological features of each artist's painting.In order to limit the scope of the study, Rakhesh motif is selected, and the purpose of this research is to discover the features of visual structure to examine the composition and visual structure of the Rakhsh motif on emphasizing the paintings of the Rostam's seven trials to recognize social perspectives and the personal style of artist. The main research questions are: How is these paintings unique in their composition, lins, coloring of Rakhesh in the paintings of the Rostam's seven trials in Tahmasbi's Shahnameh, and what are the similarities and differences in the different social perspectives of artists?In the present study, the research method is descriptive-analytical and using library resources. The results of this study show that the Rakhsh as the main motif in these paintings is different in terms of shape and decoration, and also, has similarities. Artists have tried to combine this motif in expressing the visual theme of Rostam's seven trials. It indicates the symbolic aspect of Rakhsh in the social perspectives of the artists and indicate a conceptual connection with the Shahnameh literature and other visual elements in the paintings.