نشریه جامعه شناسی هنر و ادبیات
سال پانزدهم شماره 1 (بهار و تابستان 1402)

"Sound of Silence" is a reflection on one of the works of Abdulrazak Gurnah, an African novelist who won the Nobel Prize for Literature, in 2021. The purpose of the article is to examine the signs of interactions between the two social worlds of the colonizer and the colonized, which, like the suffering engraved on the consciousness/unconsciousness of the narrator, encourages a writer like Gurnah to write about his destiny. The whole life of the author/narrator has been involved in colonialism and post-colonialism, and this is what imposes the post-colonial theoretical and methodological framework of this writing. The book "Admiring Silence" somehow expresses an ambivalent and shadowy whole that has one end in the homeland and the other end in exile. The book describes and compares the painful odysseys of sounds, colors, cultures, geographies, politics, etc. The main structure of the story and the driving force of the adventures are formed by dualities based on time, place, language, personality, culture and society. According to the historical nature of such novels, Gurnah's story has also put a human effort on paper to be the voice of Subalterns. His success rate is fluctuating and ambiguous. This silent work is expression of wounds.

National anthems along with the flag are the most important national symbols of countries and in terms of ranking, they are placed in the first category of national symbols. The national anthem of the countries, which is also their official anthem, is a concise, artistic and auspicious mixture of words and music, whose words, with all their brevity, indicate the type of culture, society, language, history, religion, ethics, race, nature, government, It is the ideal of its people and their land, and its musical sounds express the spirit of patriotism, hospitality, pacifism, growth, happiness, love and respect for the nations of other countries, behind all of them, Azarakhshi. It is also hidden from the spirit of bravery, bravery, defense and invincibility against the attack and domination of potential enemies. In this research, we have investigated the concept of liberation based on Marcuse's theory in the themes of the national anthems of Iran, Venezuela and Cuba, which faced the revolution, with a descriptive and analytical method. The results show that the national anthems after the revolution of the mentioned countries often do not have a nationalist aspect and most of the slogans are revolutionary and are against the global capitalist system. They often seek to create unity among supporters of the revolutionary cause worldwide. This hymn has an Islamic theme in Iran and is consistent with the oppressed Muslims of the world. The music of these hymns is close to a military march, its rhythm is fast and similar to revolutionary songs. In fact, revolutionaries come to work and want to make extensive and revolutionary changes in the true sense of the word. What is more prominent in these hymns than other themes is the idea of liberation and freedom, which is very closely related to Marcuse's concept of liberation.

Death in any cultural realm will not be interpreted as a purely biological event. What, the cultural world around man is always mixed with a constructed meaning system, which, in addition to the choices of people, is a transcendent source of meaning through which every event, natural or human, will be interpreted and interpreted. in the new world. The bed of the new world is made up of cities where death has become a marginal matter with the least image for humans. The era of the Corona epidemic once again brought death to the table of human time, but before that, it was art that tried to revive the cultural view of death for humans in any society by creating images. Finding the meaning of death, the manner of dying and its rites, in the modern world, has distanced itself from the neighborhood, family and city and defined itself in the frame of cinema and television.It is natural that "death" as an inevitable and certain matter has an important position in the semantic system and cultural realm of a society. What, the human species as a creative and self-aware being will gain an identity for itself in this realm of meaning and will define its "life and death" in it. Therefore, death will be closely related to the land in which the inhabitants live. A relationship that, if broken or caused any kind of disturbance in it, will be the source of many existential crises. In these lines, an attempt will be made to analyze the two films "From Karkheh to Rhine" by Ebrahim Hatamikia and "A Little Kiss" by Bahman Farman Ara, according to Martin Heidegger's theory about "Death", "Boom" and "Identity". Let's examine the above three issues.

Social documentary photography of Iran has a small contribution in representing the problem of subalternity and contrary to the claim of pure depiction, the photographic representation of subalternity relies on social, cultural and political discourses. The aim of this article is to analyze the discourse of subalternity in its photographic representation. For achieving this, the social documentary photos of Iran between the 1970s and 2010s, have been studied by purposive sampling in the qualitative method of discourse analysis. According to Foucault's interpretation it is shown how photography as an institutional apparatus has represented the discourse of Iran’s subalternity which have been formulated by foregrounding some statement in each decade. The results of this article showed that the photographic representation of the discourse of subaleternity can be divided into three distinct periods; First, the representation of the subaltern with the main statement of "proletarit" and "mustazaf" in the social discourse of the 1970s were often called to the scene of the revolution by representing ideal bodies as a symbol of resistance. Second, the representation of the subaltern with the main proposition of "vulnerable class" in the cultural discourse of the 1990s, which often becoming visible in a metamorphosed form in the gallery by the representation of passive and idle bodies with the lost innocence. Third, the representation of the subaltern with the main statement of "abnormal", "less privileged" or "unproductive groups" in the neoliberalism discourse of the 2010s, often became subjugated and invisible as potential criminals by the representation of grotesque and exotic bodies, then being exiled to places far away from the consumer society.

Studying literary works in accordance literary theories is one of the most practical methods of criticism, which leads to the production of meaning for the audience. In the context these studies, literary works become a tool to reflect the conditions of the society and in this way help increase the level of awareness and social recognition their audience. The theory of receiving aesthetics is theory of narratology. This theory considers the action of the text as the creator of the horizon of literary expectation in the reader, which is the result of the production of the work. In this regard, social horizons attract the audience to the work. In fact, the collective patterns in the audience's mind are his mental framework, which is influenced by the conditions prevailing in the society, and along with the artistic horizon of the work, it is considered a determining factor in the continuation of the reading of that work.The current research with a qualitative study seeks to find the acceptance factors of the two novels Dalane Behesht and Paiz, fasle akhare sal ast, is with the audience. For this purpose, it examines the horizon of expectations and its compliance with the collective components in these two works with thematic analysis method. The present research examines the horizon of expectations its compliance with collective components in two novels, Dalan Behesht and Paiz, fasle akhare sal ast, with a qualitative study and thematic analysis method. The findings of this research show that the Dalan Behesht, with a traditional view of women, deals more with issues in which men's voices are the dominant voice, which in the Paiz, fasle akhare sal ast,, more diverse issues related to women in this work. which is consistent with the components and horizon of collective expectations related to the woman-centered perspective.

This article employs a research methodology that involves the analysis of Morteza Momayez's works, specifically focusing on five posters from his cinematic portfolio. The selection of these posters was based on their relevance to the historical context of Iran, encompassing the periods preceding the Islamic Revolution, the imposed war between Iraq and Iran, and the post-war era. The research approach adopted is descriptive-analytical, utilizing library resources as the primary source of information. Furthermore, the study draws upon the conceptual framework of Gilles Deleuze, in collaboration with Guattari, particularly their molecular-molar theory. Within this theoretical framework, concepts such as the Rhizome, which symbolizes the interconnectedness of events, play a significant role. This research endeavors to explore and relate these concepts, including desire, Rhizome, deterritorialization, territorialization, molarity, and molecularity, to Morteza Momayez's movie posters. The selected movie posters for analysis include "The Mongols" (1973) by Parviz Kimiavi, "The Lodgers" (1987) by Dariush Mehrjui, "Mother" (1991) by Ali Hatami, "Oh Iran" (1990) by Nasser Taghvai, and "The Artist" (1993) by Mohsen Makhmalbaf.

From a molecular-molar perspective, Guattari's art serves as a reflection and mirror of society and the human psyche. Consequently, the interpretation of these posters necessitates an examination of the events that transpired during the specified years, spanning from the pre-Islamic Revolution era to the post-1978 revolution era of Iran's reconstruction. Morteza Momayez's movie poster works exhibit a deliberate deconstruction and departure from conventional design norms, which are evident in all five posters. In addition to capturing the essence of the films and their actors, Momayez paid meticulous attention to typography, size, and even adopted unconventional approaches to presenting the artists' names. Guattari's concept of "becoming," which elucidates collective transformation and dynamism, finds rich representation in Morteza Momayez's movie posters.

This article provides a comprehensive analysis of all five posters, considering the contextual events and Morteza Momayez's artistic perspective. The affinity between Guattari's molecular-molar theory and these posters was thoroughly explored and examined. Through the lens of Guattari and Gilles Deleuze's philosophical concepts, the authors sought to unravel additional layers of meaning embedded within these artworks, showcasing the creative prowess of Morteza Momayez. The analysis revealed that the movie poster for "The Mongols" (1973) exemplifies the concept of a "limbless body," while the poster for "The Lodgers" (1987) encompasses notions of "minority," "becoming," and "stratum." "Mother" (1991) portrays "territoriality" and a " limbless body" while "Oh Iran" (1990) exhibits the concept of "desire" and in "The Artist" (1993), several conceptual themes are discernible, including notions of "individuality," "abyss," and "tribal thought". Consequently, it is evident that Morteza Momayez's movie posters bear the molecular-molar roots of Pierre-Félix Guattari's theory.

Emotions are considered as the most important biological, psychological and social structures, the key tools of humans to create a dynamic relationship with the world inside and outside. With the argument that a huge part of emotions are produced and institutionalized in humans through society, a branch of sociology emerged in recent decades, which is known as the sociology of emotions. A group of contemporary theorists of this branch, relying on the primary emotions of sadness, happiness, fear and anger and dividing it into three types of structure, expectation and consequence, analyzes the power and dignity that a person acquires through social situations.Since the adaptation of the models of this branch of studies in the literary text helps to discover new layers of the emotionality of the texts, the present research examines the feelings in the novel "Lakhdir" written by Yasmina Saleh, an Algerian writer, using the analytical descriptive method. to reveal a view of hidden power in the social structure in Arab countries. The results of the research indicate that the indicators of power and dignity in the analysis of the character of the protagonist are consistent with the situations argued by Kemper, and respectively, the situational contexts of sadness (39%) and fear (31%) have the highest frequency compared to other primary emotions. .In order to reach the top of the pyramid of power, the protagonist has come to believe that in response to the social environment, by focusing on the expected and consequential emotions described by Kemper, he can dynamically change from a passive person and influenced by circumstances to an active actor. and become an absolute power by applying its characteristics to the social environment.

Safavid epoch, as one of the most brilliant eras in art periods in Iran, was along with the support of kings from artists. Meanwhile, the new political transfers and relations caused more acquaintance of Oriental artists with western art. The present research, while studying visual, ideological and sociological aspects of Safavid miniature from the viewpoint of the novel “My name: Red” based on Wuthnow theory, contrast the present differences between two miniatures schools of Herat and Tabriz II and the obtained results are matched with one of the miniatures without identification information left from this period. As per the novelist, he had been familiar with the philosophy governing Iranian miniature and its differences with western paintings and investigated the existing differences between traditional and modern views in the miniature workshop of the Ottoman Empire Palace. The points that how the said miniature was following one of the schools of Safavid miniature and how had been its relation with governing miniature school are discussed in this research. The findings of the present research indicate that from the composition viewpoint, this miniature belong to Tabriz II school and the artist, while being institutionalized with environmental conditions and principles, remains royal to the school in question and in some parts benefitted from his contemporaneous innovations. The findings of this article well indicate the importance of referring to fictions in artworks criticism.

The article explores a comparative study of the role of social, political and cultural structures on the process of documentary photography as a medium in the Eslahat period with the Mehrvarzi period, and examines that how is the role of the ruling power policies on the documentary photography trend in the two periods studied from the perspective of two sociologists of art, Lukacs and Hauser. In this qualitative research, the research method is descriptive-analytical and information collection is through review of printed written and electronic literature. Research finding show that documentary photography in the two periods of Eslahat and Mehrvarzi was influenced by the policies and ideology of the ruling power. By creating an open political and social space in the Eslahat government, documentary photography could relatively reflect the spirit of the times, but critical realism could not happen. publication of newspapers, appearance of news agencies, organizing competitions, photography annuals, exhibitions and publishing photography books led to the development of social and news documentary photography, but in Mehrvarzi's government, these cases were accompanied by strict control in due to not being idealistic and contradicting the ideology of the ruling power.The documentary photography movement in the Mehrvarzi period is a continuation of the photography movement in the Eslahat period but with the blocking of the political space and sequestration of newspapers, the activity of photographers gradually became more limited, as a result, documentary photography from outer spaces was shifted to interior spaces and studios, and the spirit of the time was reflected in the form of conceptual and artistic photography, translation of photographic texts and books and instead of professional photographers, citizen-journalists played a fundamental role in reflecting the documentary images of this period using cell phone cameras and new communication tools.

The problematic of this article is to describe the mechanisms and consequences of the process of psycholgization. The article argues that this process is the result of macroeconomic political relations, but its mechanisms and consequences are hiding by psychological mechanisms. In order to show the characteristics of this phenomenon, the TV talk show "KetabBaaz"(bookaholic) has been subjected to discourse analysis.The central propositions of the six final programs of the introduction of the book in this program are accepting the status quo and tolerating it, encouraging individuals to get rid of alienation that is structural product, mental flexibility to accompany the changes in the world, reducing greed to curb capitalism, disobedience to expand the market and remove mental barriers to stalishing status que. Adapting to the status quo is all in line with psychologization and individual change to adapt to the fluid flows of the market.This article concludes that by depoliticizing and de-economizing the existing situation, the reduction of macro problems to the individual reduces the phenomena to the individual and justifies and legitimizes macro relations, which serves neoliberalism as the dominant order of the world. In this way, the process of domination is taken for granted and deepened, and the only way to face it is to equip a person with survival skills in this exhausting competition and as a result, acquit the system