پژوهشنامه فرهنگستان هنر
پیاپی 12 (بهار 1388)

Qualitative researches and applied Criticism have several benefits on practical areas of artistic creativity. In addition, qualitative researches and applied critics improve the theoretical basis of aesthetics and the philosophy of arts. The current research benefits from a multidisciplinary approach on its basic issues. On the one hand, the enquiries consider the principles of musical elements in composition in which several factors including richness of melody, repetition, phrasing and musical sentences, melodic contour, melodic compass, rhythmic structure, orchestration, and the lyrical structure discussed. On the other hand, some psychological issues of music perception and cognition form a case study in which two groups of subjects are examined against an Iranian piece of music. The study exhibits the theoretical issues on composition when applied in reality to listeners from different musical background. Iranian music, even though enjoys a long history, it lacks methodological studies particularly in recent times. The main concern of conservatories and music faculties has been training music performance and singing. In the case study provided in this article 10 musicians playing Iranian instruments and 10 musicians playing Western instruments. The result showed that the musical background and the familiarity of listeners play crucial rule in music perception in some musical elements while having little or no impact on perceiving some other elements. For instance, Iranian performers have a higher expectancy for melodic richness compare with the Western music performers. In spite of that the comprehending musical phrases were more or less similar in both performers groups. Structural analysis of music most often have some limitations, on top of those is framing the outcome by the world view and the perception of the analyser him or herself. In current study, this limitation resolved by analysing the piece from the point of view of several listeners from different musical background and different genders. In addition, using a multidisciplinary approach brings the issue closer to the way human looks at the world through various angles.

Bakhtin’s viewpoint concerning taking form in the novel, system of discourse, the application of polyphony, and his theory in the dialogism in his two famous books under the titles of The problems in Dostoyevsky’s Works (1929) and Dostoyevsky’s Poetic (1963) is fully expressed. But between these two books the second one is, in fact, the rewriting form of the first one with some changes and addenda. Their only difference is that in the first book the writer widely proposes the problems of novels and their characterization. In the second book, Bakhtin brings up some more innovations in Dostoyevsky’s writings which causes him to be called not only as the pioneer in the act of breaking with tradition in the novel, but also the founder of the revolution in writing novels, also the avant-garde of the method of “carnavalisation” in the space of novels. In the present essay, we first embark on a career of Julia Kristeva in making known the great works of Bakhtin to the public, and then we bring up Bakhtin’s views about time, place, characterization, discourse and polyphony in the novel. Finally, we try to carefully examine the relationship between polyphony and conversation with intertextuality, hypertextuality and hypotextuality .

Discursive action can be regarded as a dynamic presence of discourse and as a discursive attitude which stands as a connection between the two schemata of the language; surface and the meaning. The discursive action paves the way for these two schemata to act independently in specific situations, and create new and different meanings. As the result, discourse is an aimed process which creates meaning in the language through selection, intervention, displacement, and elaboration on the schemata of the language. In order to achieve such a production, the language provides the raw materials as meaning for discourse. The discursive action creates the conditions for the production of the meaning by the available common meanings. Such an action would stay infertile without a reference to the empirical and sensory-perceptive grounds, because discourse is a dynamic and alive presence which always ever enjoys a biological experience. Hence, one should believe in the prediscursive world that prepares the ground for the formation of the discourse. In addition to all the qualities mentioned so far, the discursive action is able to get close to or far from the center of the discourse. How can discourse pave the way for the growth and elaboration of meaning by passing beyond itself? The purpose of this article is to answer this question; moreover it is to study the characteristics of discursive action, the theoretical basics of discourse, the role of discursive action in creating meanings, and also to study the role of discursive action in making a dynamic relation between language forms.

Intertextuality and interdiscourse are the reflections of specific approaches and theories which have appeared in recent decades, and are by far applied by so many researchers to literary and artistic studies. Today, each of these theories and approaches enjoys its own history and classification. Although these two theories, especially intertextuality, have been a prevalent issue in many works, few proper studies have been done regarding the relation of these two approaches and their comparison and contract. The present article deals with the comparison and contrast of intertextuality and interdiscourse; to do so, it firstly studies the common characteristics such as “analysis”, “inter”, and then examines the differences such as “text” and “discourse”. The article also elaborates on the role of intertextuality in the emergence and creation of interdiscourse. In the end, the theoretical issues are exemplified by the artistic examples available.

The semi-symbolic system is to clarify how the meaning is systematized in the discourses. This system is based on the similarities between the ways the natural world is spoken (the signifier based on the outer world) and the ways the meaning is formed in the language (the signified formed via language). This is the reason why such a system is so concerned with the study of the pictorial discourse. But this curious concern is at the expense of concealing some resistance which ignores the possibility of moving beyond the contrasts and paradoxes; some resistance that ignores the similarity and correspondence between forms and meanings. The study of “Converse Image” helps us approach such discussions, and indicates how difficult it is to clarify and justify the systematization of the relations between the form and meaning. However, some believe that the mutual effect of the form and meaning entirely depends on this systematization.

This paper is an attempt to study gender roles and the way they are represented in Blue Scarf, a movie by Rakhshan Bani Etemad, in a CDA framework. The authors will discuss how patriarchal system as a discourse benefits from visual system of representation to produce meaning and to marginalize the competitive “other”. The authors assume that the patriarchal discourse is constructed ideologically and as the dominant discourse from one hand, it includes some sub-discourses and on the other hand it is not innocent in representation of the cultural, social and even biological facts. The source of our data is the screen play. Halliday’s Functional Systematic Grammar and Fairclough’s approach in Critical Discourse Analysis are the bases of this analysis. Those elements which have had some direct or indirect correlations with unjust distribution of power will be analyzed. It is evident that visual signs also play a very significant role in naturalization of gender discrimination but here we only discuss the verbal aspects of the discourse. It seems that while it is assumed that movies made by female filmmakers should have a feminist approach and should have a critical look at the patriarchal discourse, this study shows that female filmmakers also may unconsciously have a masculine look because of immediate transition of hegemonic masculine traditions.

This research studies entertextual references in related texts by considering radio discourse and tries to present a practical taxonomy from these references, hence during this study from one hand we will encounter the concept of text and intertext and from the other hand we will be involved with the concept of radio discourse and intertextuality. “Javani Azad” is a radio program which uses everyday discourse to study news, cultural and social issues in Iran, to analyse this program, viewpoints of main theorists in intertextuality (specially Kristeva and Bakhtin) is being used and there will be an emphasis on “subject” or “actor” in the world of meaning and semiotic systems. So first we will study radio discourse with this question that what kind of taxonomy to be proposed for radio intertexts and then we will check with some examples if this taxonomy will really end to a practical study of intertexts in such a discourse. Discourse, Critical Discourse Analysis, Gender, Cultural and Social Context.