دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 20 The Use of Visual Arts in Raising Awareness among the Audience About Colorectal Cancers کاربرد هنرهای تجسمی در آگاهی به مخاطب درباره سرطان‌های کولورکتال 1 18 8251 10.22124/ira.2024.29189.1041 FA سمیه زارعی دانشجوی دکتری پژوهش هنر، گروه پژوهش و تاریخ هنر، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران شهرام منوچهری دانشیار بخش جراحی عمومی، دانشکده پزشکی، دانشگاه علوم پزشکی بقیه الله، تهران، ایران Journal Article 2024 12 07 Introduction: The prevalence of colorectal diseases, including colorectal cancer, is increasing day by day, and the average age of onset is decreasing. Raising public awareness to prevent and recognize this disease significantly impacts and reduces the morbidity and mortality of affected individuals. One way to raise awareness is to represent the concept of the disease through works of art, especially visual arts such as painting, sculpture, photography, and installation. Medicine and art share common goals in some areas, such as anatomy, where both artists and physicians seek to understand the body's anatomy. Just as Renaissance artists like da Vinci and Michelangelo played a role in the development of anatomy with their experiences, and since then, the proportions of the human body have become important in art academies; art can be used as a tool to inform the public about internal body anatomy and the recognition of diseases such as colorectal cancer. Therefore, this research emphasizes the concept of a conscious body, assuming the content of a work of art about understanding body anatomy with the goal of recognizing a type of disease for the audience, it leads to prevention and addresses the relationship between form content and the transmission of health messages in works of art. With the question of how awareness of colorectal cancer is represented through works of art, with the goal of correctly conveying health-oriented messages and awareness about internal organs and colorectal cancer, in the stages of conducting the research, the disease under study is first introduced, then the representation of the concepts of the disease through painting, sculpture, installation, and photography is described and analyzed. Background: The use of fine arts in medicine has a long history; however, there are still gaps in the awareness and connection between art and medicine. Most interdisciplinary research has been conducted in the field of art therapy or the use of creative arts in medical education. However, no independent research has been conducted on the use of visual arts in medicine to raise public awareness with an emphasis on the disease. Research Methodology: This is a qualitative, descriptive-analytical study with an interdisciplinary approach between art and medicine, focusing on the central phenomenon of internal body anatomy related to colorectal cancers. Data collection includes field notes based on observation, interviews, visual and textual data, and library research. Realistic images taken after surgery are used as exemplary samples for description and analysis in artworks, in raising public awareness, and in emphasizing thematic analyses. The statistical population consists of patients with colorectal cancer, and purposive sampling is used by selecting desirable samples from images taken after surgeries that have the potential to convey the message of body awareness through works of art. Discussion and Analysis: Cancer, as a complex issue, has led to the discovery of new methods for diagnosis and treatment with advancements in technology and medical science. However, awareness of this disease is not sufficient. The concepts of this disease can be represented in various forms within the visual arts, including painting, sculpture, and photography. These artworks, as a means of communication, convey the concept of the disease to the audience; therefore, the representation of the form and content of colorectal cancer in artworks is the artist's manipulation of objects, events, and situations in a physical, real, mental, imaginative, thematic (title of a work), painting (for narrative and description), sculpture or visual arts (plastic) in three-dimensional space, construction of structures (construction) from various materials, and photographic media in the realm of information. In this research, the emphasis is on the content of the selected images, what they aim to show, and as a visual message for understanding internal organs and cancer that can be used in visual arts and other artworks. Medical trainers can use visual arts for various purposes as a tool such as strengthening trainees' skills in observation, description, critical thinking, and communication. Painting, sculpture, and installation can also be a medium for representing internal organs. Artists, alongside physicians, can create artworks with medical themes about specific diseases with the aim of combating public ignorance of diseases that can be reduced by prevention. Statistical and medical data, along with artworks, have a greater impact on persuading the audience and are a better tool for awareness and prevention. Of course, artworks must be a representation of correct reality, and this can be achieved through communication with colorectal physicians and surgeons, which is the subject of this research, and direct communication with patients who have had these experiences. Ultimately, it can be concluded that all forms of art have the ability to positively influence the viewer's perspective and attention in conveying messages about disease and health. سلامت در جامعه، روندی در حال تغییر است که پیوسته باید موردتوجه قرار گیرد و دنبال راهکاری برای بهبود وضعیت سلامت جامعه بود. سرطان‌های کولورکتال (CRC) از سرطان‌های شایع در بین مردان و زنان است، شیوع این بیماری در حال افزایش و میانگین سن بروز آن کاهش‌ یافته و بار اقتصادی و اجتماعی آن در حال حاضر سنگین و رو به ‌شدت‌یافتن است، بنابراین آگاهی‌دادن به مردم برای پیشگیری و شناخت این نوع بیماری، مراحل تشخیص، عوارض ناشی از درگیرشدن و آسیب‌های مبتلا شدن به آن برای بیمار و خانواده او، می‌تواند مؤثر باشد. یکی از راهکارهای آگاهی‌دادن، بازنمایی مفهوم این روند بیماری از طریق آثار هنری است. هنر در پزشکی می‌تواند به‌عنوان ابزاری برای آموزش سلامت و انتقال پیام آموزشی و توضیحی به مخاطب موردتوجه باشد. بیماران دارای سرطان کولورکتال، قصه‌های دراماتیکی دارند که داستان آن‌ها، می‌تواند سوژه مناسبی برای آثار هنری ازجمله هنرهای تجسمی باشد که ضمن آگاه‌سازی و آموزش، می‌تواند به خلق صحنه‌های احساسی ماندگار منجر شود. علاوه‌بر آن آگاهی مخاطب از آناتومی بدن خود می‌تواند عاملی برای پیشگیری و مراقبت باشد. به‌همین منظور در این پژوهش به این پرسش پاسخ داده می‌شود که آگاهی از سرطان‌های کولورکتال از طریق آثار هنری چگونه بازنمایی می‌شود؟ با این هدف که؛ انتقال پیام‌های سلامت‌محور و آگاهی دربارۀ این نوع بیماری به‌شکل درستی ارائه شود. این پژوهش کیفی، روش تحقیق توصیفی ـ تحلیلی با رویکرد میان‌رشته‌ای و گردآوری اطلاعات به‌صورت کتابخانه‌ای، مشاهده و مصاحبه است. محتوی این بیماری، درگیرشدن بیمار، نوع جراحی توسط جراح کولورکتال، تصاویر واقع‌گرایانه، به‌عنوان نمونۀ مثالی جهت توصیف و تحلیل در آثار هنری استفاده‌ شده است. درنهایت این نتیجه حاصل می‌شود که هرگونه از آثار هنری توانایی تأثیر مثبت در نگاه مخاطب و توجه بیننده در انتقال پیام دربارۀ بیماری و سلامت دارند.

https://ira.guilan.ac.ir/article_8251_641557b6853a5affb5abc8b14b128004.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 08 Analysis of the communication process of smart contemporary art museums with the audience "Emphasizing Augmented Reality" تحلیل فرایند ارتباطی موزه‌های هنر معاصر هوشمند با مخاطب «با تأکید بر فناوری واقعیت افزوده (AR)» 19 38 8213 10.22124/ira.2024.28958.1037 FA محمد زریابی کاندیدای دکتری تخصصی پژوهش هنر، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران Journal Article 2024 11 12 Introduction: Today, museums are assessed through plans, visitor loyalty, diversity, public attractiveness, and quality. Different dimensions of aesthetics, remembrance, and idiosyncratic in-visit experiences are imperative in the communication process with visitors. In light of recent technological developments, technological features are also discussed for museums as competitive advantages satisfying their objectives and ideals. Research purpose and question: The present research analyzed the communication of smart contemporary art museums with addressees based on Jacobson’s communication theory and explained approaches to promoting communication and attaining more desirable efficiency. The question raised in this research was, what policies can be made to develop and exalt every sextet function of Jacobson’s communication theory and meet the needs of contemporary art museums? Method: The present research was a library study, given the collection of theoretical sources and empirical background, followed by a note-taking approach. The data were analyzed by qualitative content analysis according to Roman Jacobson’s communication theory. Conclusion: This study examined the communication of contemporary art museums with audiences and applied Jacobson’s communication theory for its purpose. To promote and improve communication and achieve more desirable communication efficiency, the researcher suggests taking the following factors into consideration: 1. Expressive function: Investing in new technologies and electronic devices, promoting infrastructural strategies and procedures, training employees, and developing effective strategies evaluating the implementation of new technologies, along with exhibitions, programs, and experiences, to attain the museum’s goals and values. 2. Conative function: Attempting to make visitors closer to displays, considering them as active elements in the museum by employing Augmented Reality (AR) technology, and creating interactive properties project implementation and technology convergence in different virtual audio and visual contributions. 3. Referential function: Heeding social, cultural, and technological aspects as indispensable identity characteristics in the environment and designing AR-based programs. Notably, minuteness in this issue makes the presented software transfer the tangible and intangible assets of the region, country, and given contemporary art museum. 4. Poetic (Aesthetic) function: Attending to recreational aspects and visual attractiveness, e.g., robust graphical media content, animation, and video, and strengthening visitors’ feelings of presence in designing and running the AR software of the museum. 5. Metalingual function: Enriching visitors’ experiences by providing high-quality audio and visuals in AR environments and replacing lost senses for special communities, such as the deaf and blind, in designing and implementing the software. 6. Phatic function: Moving toward digital transformations and satisfying basic needs, e.g., the country’s internet and lack of respective software and expert human force, and engaging in operational research in different technology domains, like AR. Considering the factors above, smartization with maximum efficiency makes the communication of contemporary art museums with addressees more effective and influential through visitor stimulation and the provision of useful and effective experiences. موزه‌ها امروزه با برنامه‌ها، وفاداری بازدیدکنندگان، تنوع و جذابیت برای عموم و نیز کیفیت ارزیابی می‌شوند. در فرایند ارتباط با بازدیدکننده، ابعاد گوناگون زیبایی‌شناسی، یادآوری، تجربه منحصربه‌فرد حین بازدید حائز اهمیت است. در نتیجۀ تحولات تکنولوژیک سال‌های اخیر، در زمینۀ موزه‌ها نیز ویژگی‌های فناورانه به‌عنوان مزیت رقابتی در جهت مرتفع‌ساختن اهداف و آرمان‌های موزه‌ها مطرح می‌شوند. در این راستا هدف پژوهش حاضر تحلیل فرایند ارتباطی موزه‌های هنر معاصر هوشمند با مخاطب براساس نظریۀ ارتباطی یاکوبسن و تبیین راهکارهایی برای ارتقای مقولۀ ارتباط و به‌تبع آن تأثیرگذاری مطلوب‌تر است. پرسشی که در این پژوهش مطرح می‌شود این است که در جهت رشد و اعتلای هر یک از کارکردهای شش‌گانۀ نظریۀ ارتباطی یاکوبسن و پاسخگویی به نیازهای موزه‌های هنر معاصر، چه تدابیری را می‌توان اتخاذ نمود. روش پژوهش توصیفی ـ تحلیلی است. روش گردآوری اطلاعات، کتابخانه‌ای از طریق فیش‌برداری است. تجزیه‌وتحلیل داده‌ها کیفی است. نتایج پژوهش حاضر نشان می‌دهد در جهت رشد و اعتلای هر کدام از نقش‌های شش‌گانۀ نظریۀ یاکوبسن و پاسخگویی به اعم نیازهای فرایند ارتباط، تدابیری را می‌توان به‌کار بست که بدین شرح است: 1. پیاده‌سازی زیرساخت فناوری‌های جدید در کنار نمایشگاه‌ها، برنامه‌ها و تجربه‌ها؛ 2. تلاش درجهت ایجاد ویژگی‌های تعاملی و به‌کارگیری بازدیدکننده به‌عنوان عنصر فعال در حین بازدید؛ 3. لحاظ زمینه‌های اجتماعی، فرهنگی و تکنولوژیکی در محیط برنامه مبتنی‌بر واقعیت افزوده؛ 4. توجه به جنبۀ سرگرمی و جذابیت بصری چون محتوای رسانه‌ای گرافیکی، انیمیشن و ویدئو در طراحی و اجرای AR؛ 5. تقویت و جایگزینی حس‌های از دست رفته خصوصاً برای اقشار خاص؛ 6. رفع نیازهای بستر اینترنت، سخت‌افزار، نیروی انسانی متخصص و پژوهش‌های عملیاتی در حوزه واقعیت‌افزوده.

https://ira.guilan.ac.ir/article_8213_36b530ad52a84ed3bb575bdace20200c.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 10 09 Expressing the Concept of Words with Harmony Changes in Chorales of Johann Sebastian Bach بیان مفهوم کلام با تغییرات هارمونی در کرال‌های یوهان سباستین باخ 39 56 8048 10.22124/ira.2024.28397.1029 FA منصور حبیب دوست عضو هیأت علمی گروه موسیقی، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران Journal Article 2024 09 07 Introduction: Choral is a Christian hymn in German for choir that was formed after the Protestant Reformation in order to bring a clear and understandable connection with the religious word to the listeners. While the early chorales were monophonic, from the Baroque period onwards, various composers such as Johann Sebastian Bach composed chorales for four vocal lines. In his chorales, by using different rhythms of vocal lines, harmony could move towards the desired chords at any moment and create various types of musical moods. This is historically natural in writing chorales; The early chorales were generally made based on well-known melodies of the time or especially old hymns common in the Catholic Church. In setting these samples with the new German text, first, the melisma related to their Latin word was removed so that they could more easily match the syllables of the latest word in German. Then it was necessary to coordinate their peak and trough about the concept of the new word. Of course, these relatively simple musical measures had other aspects, which can even be considered as a reflection of the composing techniques of German Meistersinger; Therefore, the linking of words and musical elements has always been a subject of interest in chorales since its earliest samples. Research Questions: The remarkable point in Bach's chorales is that they generally last less than a minute, but in most of them, the harmony changes both in terms of chord progression and modulation are relatively strange and high. That is, while it seems that according to the aesthetic principles of baroque music, the listener should generally face the monotony of musical mood or that, the flow of music does not undergo serious changes, the question is why are the harmony changes and as a result, the changes of musical mood relatively high in most of his chorales, and does it sometimes seem even without justification? Research Hypothesis: Choral from the beginning to the end is generally without rest and accompanied by words, and while it was formed with the purpose of a clear and understandable connection with the religious word, then it is the concept of the words that changes the harmony and consequently causes significant changes in musical mood. On the other hand, baroque music theorists considered harmony changes as a kind of musical figure and used them for interpreting words in music; For example, the constant change of tonality was a perfect symbol of the instability of faith. Of course, in Bach's chorales, harmony changes become doubly important because the restriction of using various rhythms, which is related to the clarity of religious words, puts forward the chords and their progression as the main basis for expressing the concept of words in music. He uses them along with the curve or linear movement of the main melody in the soprano voice, which is generally taken from the old hymns. In this way, at the same time that he applies the historical memory of meaning hidden in them to interpret the words, uses his harmony to express the concept better. Research Literature: Research resources about expressing the concept of words with harmony changes in chorales are very limited, and there are only a few materials about the topic. The closest subject is a musical figure, which is a term equivalent to sign in linguistics and has been discussed in some resources. This term is studied in connection with the doctrine of the affections in the Baroque period and expresses the relationship between music and words, especially literature. A musical figure is a sound sign in the context of music that implies a non-sound sign or the same meaning outside of music. The idea of baroque music theorists has been that music has a significant expressive quality, and a musical figure could lead to a relatively conscious understanding of it; For example, in Bach's Passions, slow and long chords, which were generally played after the singing of Christ, and also used in the Venetian operas of the time, as a musical figure expressed death, the other world, ghosts, or a disaster. Or in a piece about "The Ten Commandments of Prophet Moses", a melody was presented 10 times without the slightest change; This 10 times present as a figure expressed the piece's theme. There are many cases of using musical figures in his works. The symbolic connection of numbers in music is one of the important aspects of the musical figure, and it is not surprising that he was aware of Kabbalah numerology, which is related to the mysticism of Judaism (Old Testament), and used it to make his music an imitation of God's holy creation. Research Method: By examining a specific collection of Bach's chorales, which are numbered from 250 to 438 in the collection of works, and extracting interesting points from the accompaniment of harmony with words, the result of the research could be achieved and determined. Accordingly, through an extensive and case-by-case search in the collection of aforementioned chorales, the author has found examples with a special use of harmony in expressing the concept of words in music, some of which, about the volume of the article are presented here to determine the results. Research Results: The harmony changes in Bach's chorales are generally related to the concept of words. The conclusion is reached that in his chorales, he uses special and sometimes unpredictable harmony changes in a special way to express death, joy, worship, and other themes, and reveal even some ambiguities in the words. On the other hand, Bach's chorales are presented as a basis for learning advanced harmony practicing various chordal changes, and creating possible innovations in composition, and he has even taken advantage of choral writing as a method to teach composition to his students, which is still seen in some harmony teaching treatises. کرال، سرود مسیحی به زبان آلمانی برای گروه آوازی است که به‌دنبال اصلاحات پروتستانی شکل گرفت تا بتواند ارتباط واضح و قابل‌فهم با کلام دینی را برای شنوندگان به‌همراه آورد. در حالی‌که کرال‌های اولیه تک‌صدایی بودند اما از دورۀ باروک به بعد، آهنگسازان مختلف مانند یوهان سباستین باخ کرال‌هایی برای چهار خط صدایی ساختند. در کرال‌های باخ با استفاده از ریتم متفاوت خط‌های صدایی، هارمونی در هر لحظه می‌تواند به‌سمت آکوردهای موردنظر پیش رود و انواع مختلفی از حالت موسیقی را ایجاد کند. موضوع قابل‌توجه این است که کرال‌های باخ عموماً کمتر از یک دقیقه به‌طول می‌کشند ولی در اکثر آنها تغییرات هارمونی چه از نظر پی‌آیی آکوردها و چه از نظر مدولاسیون نسبتاً عجیب و زیاد هستند؛ یعنی درحالی‌که به‌نظر می‌رسد شنونده متناسب با مبانی زیبایی‌شناسی موسیقی باروک باید عموماً با یکنواختی حالت موسیقی روبه‌رو شود یا اینکه جریان موسیقی دچار تغییرات جدی نشود اما سؤال اینجا است که چرا در اکثر کرال‌های باخ تغییرات هارمونی و به‌تبع آن تغییر حالت موسیقی نسبتاً زیاد است و گاهی حتی بدون توجیه به‌نظر می‌آید؟ البته پاسخ می‌تواند در عنوان کرال‌ها و به‌خصوص کلام همراه با موسیقی باشد؛ چراکه کرال از ابتدا تا انتهای خود عموماً بدون سکوت مشخص و با ادای کلمات همراه است، درحالی‌که با هدف ارتباط واضح و قابل‌فهم با کلام دینی شکل گرفته است. پس این مفهوم کلام است که تغییرات هارمونی و به‌تبع آن تغییر قابل‎توجه حالت موسیقی را به‌بار می‌آورد. بر این اساس با روش تحلیل تعداد مشخصی از کرال‌های باخ که در مجموعۀ آثار او از 250 تا 438 شماره‌گذاری شده‌اند و استخراج نکات جالب‌توجه از همراهی هارمونی با کلام، می‌توان به نتیجۀ پژوهش دست یافت و مشخص کرد که تغییرات هارمونی در کرال‌های باخ عموماً در ارتباط با مفهوم کلام است؛ در حقیقت این نتیجه به‌دست می‌آید که باخ در کرال‌های خود، برای بیان مفهوم خاص و قابل‌توجۀ کلام دینی از تغییرات خاص و گاه غیرقابل پیش‌بینی در هارمونی استفاده می‌کند تا با تغییر حالت موسیقی هرچه بیشتر به انتقال آن مفهوم یاری رساند.

https://ira.guilan.ac.ir/article_8048_941de955810abd76c28fd305d9cac8a6.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 11 05 Investigating Anachronism in Modern Iranian painting; A case study of Ahmad Esfandiari بررسی نا‌بهنگامی در نقاشی نوگرای ایران؛ مطالعه موردی احمد اسفندیاری 57 74 8134 10.22124/ira.2024.28528.1033 FA مرتضی صدیقی‌فرد عضو هیأت علمی گروه عکاسی، دانشکده هنر، دانشگاه سوره، تهران، ایران فرشته سادات فروغی کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه سوره، تهران، ایران Journal Article 2024 09 23 Abstract: The evolution of modern Iranian art reflects a profound interplay between tradition and modernity, a relationship particularly emphasized in the concept of anachronism. In Iranian contemporary art, this theme underscores the distinct tensions and resolutions within artworks that traverse cultural and historical boundaries. Focusing on Ahmad Esfandiari's work, this study delves into how Iranian artists' engagement with modernist aesthetics has simultaneously reflected anachronistic attributes, thereby influencing the expression of modern identity. Using a descriptive-analytical approach, we analyze Esfandiari's art in the broader context of Iranian society's complex journey through modernity and tradition. Theoretical Background: Modern Iranian art, shaped significantly by interactions with Western aesthetics, developed through the gradual adoption of formal elements of modernist art without necessarily internalizing its philosophical foundations. This anachronism is inherent in the works of artists who, while embracing Western techniques, sought to express local themes deeply rooted in Iranian culture and heritage. Such a clash between external form and internal substance marks a significant departure from Western art, which often aligns form with content in pursuit of contemporary relevance. Iranian modernist painters, including Esfandiari, therefore exemplify an "untimely" art form—one that embodies modernist visual styles but is imbued with culturally and historically resonant symbols and themes. Objectives and Research Questions: This research aims to explore the extent to which Iranian modernist paintings, particularly those by Esfandiari, embody anachronistic characteristics. Key questions include: How do Esfandiari’s paintings reflect the tensions between Iran’s pre-modern heritage and modernist aesthetics? In what ways does his work offer insights into the broader cultural implications of modernity within Iran? What role does anachronism play in shaping the identity of modern Iranian art? Hypotheses: We hypothesize that Ahmad Esfandiari’s work demonstrates a nuanced form of modernist expression that is both time-bound and timeless. Through selective incorporation of traditional elements within a modernist framework, Esfandiari and his contemporaries articulate a form of modernity that is distinctively Iranian—rooted in history yet responsive to contemporary realities. This hypothesis suggests that Iranian modernist art represents a hybrid identity that is neither fully traditional nor entirely modern. Data Collection: This study employs a qualitative approach, using library and archival resources to review existing literature on Iranian modernist art and anachronism. Key sources include seminal texts on Iranian modernity, art theory, and cultural criticism, alongside specific analyses of Esfandiari’s work and interviews with art historians. Primary artworks were also examined to provide contextual and interpretive insights into the visual and thematic components of Esfandiari's pieces. Analysis and Discussion: Introduction to Modernity and Iranian Art The integration of modernity into Iranian society introduced numerous cultural, political, and artistic shifts, reshaping the foundational elements of Iranian identity. Art became a significant vehicle for grappling with these transformations, as artists sought ways to reconcile their cultural heritage with the allure of Western-style progress and expression. Esfandiari’s art, emerging within this historical framework, reflects the broader societal endeavor to reconcile inherited artistic traditions with the new possibilities introduced by modernist techniques. Anachronism in Iranian Modern Art Anachronism in Iranian modern art is characterized by the conscious choice to utilize traditional subject matter, motifs, and aesthetic principles in ways that reflect contemporary social issues and individual expression. Esfandiari’s works, for instance, often depict rural scenes or folk subjects but are imbued with the stylistic influences of movements such as Impressionism and Expressionism. This selective blending of old and new elements not only preserves cultural memory but also reinterprets it, bringing past narratives into present concerns. Case Study: Ahmad Esfandiari Esfandiari’s paintings, like "The Gleaners" and "The Shrine," serve as representative examples of Iranian modernist art’s anachronistic quality. His use of traditional rural themes speaks to an Iranian ethos, yet his adaptation of Western styles such as Impressionism represents a departure from classical Persian art. "The Gleaners," for example, captures the vibrancy of rural life, with bold colors and strong forms reminiscent of Post-Impressionism. However, the underlying subject—a collective of laborers working together in the field—speaks to themes of community, tradition, and resilience that resonate deeply with Iran’s cultural heritage. Similarly, "The Shrine" portrays a funeral scene with mourners, blending Esfandiari’s influences from both Western modernism and Persian symbolism, creating a work that embodies both individual artistic exploration and cultural nostalgia. The Role of the State and Sociopolitical Context The Iranian state’s ambivalent support for modernist art during Esfandiari’s era further contributed to the anachronistic nature of the art. While the state initially encouraged Western-style modernization, its lack of sustained support left artists like Esfandiari navigating between unsupported innovation and a deep-seated cultural conservatism. This precarious position amplified the sense of untimeliness in their work, as their artistic language remained stranded between a yearning for modern expression and a commitment to traditional values. Conclusion and Insights: The anachronism within Esfandiari's work and that of his contemporaries reflects the broader cultural and existential tensions within Iran’s engagement with modernity. Iranian modernist artists, in their quest for a new visual language, inadvertently preserved elements of their traditional past, which simultaneously served as a constraint and an inspiration. Esfandiari’s art encapsulates this duality, where attempts to innovate through form and technique remain bound by a cultural framework that resists complete transformation. This study concludes that Iranian modernist art should be viewed as a unique hybrid, one that reflects both the enduring legacy of Persian cultural identity and the inevitable influence of Western modernity. هنر معاصر پس از گذار از اوج فرمالیسم، همواره به‌دنبال بیان موضوعی جدید و اندیشه‌پردازی بوده است. هنرمند به شناسایی و نمایشی از حقیقت در صوری متفاوت روی می‌آورد و در پی تلاش برای معاصر بودن است؛ اما معاصریت او، در نابهنگامی ابداع هنری نهفته است. او با مشاهده و پذیرش تاریکی‌های زمانه خود، آنها را می‌شکافد و حل آن را با نوعی دگرگونی شکلی و ارتباط با دیگر زمان‌ها، بر پایه نوعی اضطرار پاسخ می‌دهد. این نابهنگامی، کمک به بازشناسی راه‌حل‌هایی که از دل تاریکی‌ها درآمده‌اند و هیچ‌وقت نمی‌توانند به ما برسند، اما پیوسته به سوی‌مان می‌آیند را می‌دهد. با ورود مدرنیته به ایران، دگرگونی و تحول رویدادهای هنری و اندیشه‌ای مختلف پدیدار شد. تضاد بین هنر سنتی و مدرنیته، باعث کشاکش بین آنها شد و هنر نوگرا چنین شکل گرفت و به طنین روزگار خود پرداخت. اما این طنین، به تجلی نابهنگامی در آثار هنر نوگرا ختم شد. پژوهش حاضر به بررسی مفهوم نابهنگامی در نقاشی نوگرای ایران، با تمرکز بر آثار احمد اسفندیاری، می‌پردازد. هدف اصلی تحقیق آن است که چگونگی تلاقی عناصر سنتی و مدرنیستی در نقاشی‌های نوگرای ایرانی و تاثیر آن بر هویت معاصر هنری ایران را واکاوی کند. سؤالات تحقیق عبارت‌اند از: چگونه مفهوم نابهنگامی در آثار احمد اسفندیاری و دیگر هنرمندان نوگرای ایرانی به‌کار رفته است؟ تا چه میزان این آثار توانسته‌اند هم‌زمان بیانگر مضامین بومی و حامل ویژگی‌های مدرنیستی باشند؟ و چه ارتباطی میان نابهنگامی هنری و بحران هویت فرهنگی در ایران معاصر وجود دارد؟ این پژوهش با رویکرد توصیفی ـ تحلیلی و بهره‌گیری از منابع کتابخانه‌ای و آرشیوی انجام شده است. یافته‌ها نشان می‌دهد که با ورود مدرنیته به ایران، هنرمندان نوگرا ضمن استفاده از سبک‌ها و تکنیک‌های مدرن، کوشیده‌اند تا به بازنمایی عناصر بومی بپردازند. این تلاش برای همزیستی بین گذشته و حال به‌ نوعی نابهنگامی هنری انجامیده که بازتاب‌دهنده دوگانگی‌های فرهنگی و هویتی جامعه ایرانی است. آثار احمد اسفندیاری به‌عنوان نمونه‌ای از این روند، تلفیقی از سبک‌های مدرن و مضامین سنتی را نشان می‌دهند که در عین حال نوآوری و وفاداری به فرهنگ بومی را منعکس می‌کنند.

https://ira.guilan.ac.ir/article_8134_b2af08aea631a02117e36a0dfef17a0e.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 11 06 Khele: The Calling Tradition of the Talesh People as a Cultural Bridge in Their Soundscape خِلِه: سنت فراخوانی مردم تالش، پیوندی فرهنگی با طبیعت 75 92 8136 10.22124/ira.2024.28496.1032 FA میترا جهاندیده دانشجوی دکتری اتنوموزیکولوژی، دانشگاه ملی استرالیا، کنبرا، استرالیا Journal Article 2024 09 19 Background: Talesh-a-Khele is a calling tradition of the Talesh people in Iran, rooted in the geographic and occupational demands of farming, ranching, and maritime life. Taleshi women and men use khele to communicate with each other or their animals and to deter wild animals. Beyond its practical functions, khele is also performed to express personal emotions in response to the natural environment. Objectives: In this study, I explore the significance of khele in the everyday life of the Talesh people. By analyzing various performance practices of khele, I aim to examine how this traditional call reflects local lifestyle and cultural values, expresses emotions, and aids in understanding the formation of meaning through sound. Additionally, I investigate how khele embodies shared meanings within the community and reveals the link between memory construction, sound, and place. In the literature review section of this article, I introduce "calling tradition" as a broad umbrella term for outdoor communicative calls. This approach aims to recognize diverse calling practices across communities, deepen our understanding of these traditions, and offer a more inclusive perspective to academic discourse (Jahandideh 2023). Methodology: To address my research questions, I developed an ethnographic ensemble as my methodological approach. The ensemble involved twelve months of ethnographic fieldwork, including observational ethnography (Barz and Cooley 2008), netnography (Kozinets 2020), soundscape recording (Schafer 1977), both individual (Stone and Stone 1981; Foddy 1993; Kvale 1996; Babbie 2014) and walking interviews (Aduonum 2021; Evans and Jones 2011) in the living and working environments of the Talesh people in Iran from 2021 to 2022. Result: This study examined how khele engages with the everyday and occupational life of the Talesh people, reflecting their lifestyle and cultural values, and serves as a means of emotional expression. I identified and analyzed three practices of khele: practical khele for communicating with people, practical khele for communicating with animals, and emotional khele for expressing personal feelings. I emphasized that khele is a significant communicative medium in the Talesh region. Participants' memories reveal how khele intertwines with daily life, connecting to lifestyle, social relationships, and culture. Childhood memories show that khele has long been used to gather friends, foster neighbourly bonds, and build togetherness. Khele also facilitates family communication across countryside distances, helping closeness and coordination. The act of responding to khele forms a sense of being connected and a shared experience, enhancing a collective identity. This communal bond builds a supportive environment where individuals feel a shared responsibility for each other's well-being. I explored the cultural practices of the rural Talesh community and their relationship with animals. I found that khele serves as both a form of communication and an expression of affection towards animals. Additionally, its use to scare off wild animals highlights the community’s practical understanding of animal behaviour. The Talesh rural community relies on its cultural practices and traditional knowledge to manage conflicts arising from interactions with the natural world. These actions create a sense of belonging and control over their environment. Furthermore, I explained that in some cases, khele is an inner voice that encourages individuals to express emotions related to their surroundings or memories of rural life. The research participants’ accounts show how khele captures the emotional and cultural spirit of Taleshi life, helping individuals express themselves, preserve cultural heritage, and stay connected with their community and surroundings through the performance of khele. Conclusion: My research shows how khele helped me study the process of memory construction for the Talesh people and its engagement with place and sound. For my research participants, khele is more than just communication; it represents cultural identity, social relationships, and emotional connections to the past and present. The performance of khele reflects happiness, gratitude, and customs related to appreciating nature. Khele acts as a vessel of memories tied to childhood, neighbourhood, togetherness, and social gatherings, strengthening bonds and connecting people with the natural environment. It evokes the Taleshi lifestyle and revives family and childhood memories, holding significant cultural value. تالشه‌خله، سنت فراخوانی مردم تالش بوده که منشأ شکل‌گیری آن محیط جغرافیایی و نیاز شغلی دامداران و کشاورزان تالش است. اهالی محلی برای برقراری ارتباط با افراد یا حیوانات اهلی، دور کردن حیوانات وحشی، همچنین مرور خاطرات گذشته و بیان احساسات شخصی در واکنش به محیط اطراف به اجرای خله می‌پردازند. در این مطالعه، نویسنده به بررسی اهمیت خله در زندگی روزمرۀ روستاییان تالش می‌پردازد و نگاهی بر این موضوع دارد که یک سنت فراخوانی چگونه ارزش‌های فرهنگی‌محلی را بازتاب می‌دهد و به شکل‌گیری معانی از طریق صدا کمک می‌کند. داده‌های این پژوهش با استفاده از دوازده ماه تحقیق میدانی در سال‌های 1400 و 1401 شامل اتنوگرافی، نت‌نوگرافی، ضبط‌ صدای محیطی، مصاحبه‌ فردی و مصاحبه‌ در حین پیاده‌روی جمع‌آوری شده است. طراحی این روش‌شناسی این امکان را برای نویسنده فراهم آورده تا با تمرکز بر تالشه‌خله به بررسی نقش آن در ساختن معانی، خاطرات، روابط اجتماعی و تعامل با محیط بپردازد. یافته‌های این پژوهش با معرفی سه شیوۀ اجرایی خله در فضای باز (خله به‌منظور برقراری ارتباط با افراد و حیوانات، نیز به‌منظور بیان احساسات شخصی) نشان می‌دهد که این آوای فراخوانی نه‌تنها ابزاری برای برقراری ارتباط است، بلکه بازتابی از هویت تالش، پیوندهای اجتماعی و ارتباط با طبیعت است. خله حس هویت جمعی و مسئولیت‌پذیری را درون جامعه روستایی تالش تقویت می‌کند و در عین‌حال نشان از محبت به حیوانات و ابتکار جامعه محلی در یافتن راه‌حل‌های کاربردی برای غلبه بر چالش‌های محیطی دارد. علاوه‌بر این، خله وسیله‌ای است برای بیان احساساتی که روح زندگی روستایی تالش را به تصویر می‌کشد و به حفظ خاطرات و سنت‌ها کمک می‌کند.

https://ira.guilan.ac.ir/article_8136_4e29c9c350b149c0fbea0b664011fd36.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 11 19 An analysis of the representation of the crisis management method in Iran in the Noon Khe 2 series تحلیلی بر بازنمایی شیوه مدیریت بحران در ایران در سریال نون خ 2 93 118 8160 10.22124/ira.2024.28469.1031 FA مهدی برنافر استادیار گروه شهرسازی، دانشکده معماری و هنر دانشگاه گیلان، رشت، ایران Journal Article 2024 09 15 Background: Many TV series are produced to be shown on national TV channels. TV series can represent the current conditions in society or criticize existing problems. The influence of presence and the form of message transmission on television is such that it can attract the audience with all kinds of tricks and methods, and in this way, it is the most influential and effective factor in the transformation of public awareness and identity. On the other hand, due to its geographically vulnerable situation, Iran is one of the countries that has always been involved in losses and casualties caused by natural disasters. However, this issue has only been represented in a few TV series. In this research, the second season of the Noon Khe series, which deals with the representation of the Kermanshah earthquake in 2017, is studied as a case study to investigate the way that the crisis management process is represented in this series. In the fall of 2017, a severe earthquake with a magnitude of 7.3 on the Richter scale occurred near Azgole and 35 km north of the cities of Sarpol Zahab and Qasr Shirin in Kermanshah province, as a result of which about 600 people lost their lives, about 10,000 were injured, and about 70,000 were displaced. People became homeless. In the second season of the Noon Khe series, the subject of the Kermanshah earthquake is discussed humorously and reflects the problems that arise for the earthquake victims. In this research, by placing the subject of the second season of the Noon Khe series, the researcher relies on the themes and elements related to the crisis management process. Objectives: The main question of this research is how the crisis management process is depicted in the second season of the Noon Khe series. The purpose of this article is to investigate the representation of the steps and process of post-earthquake crisis management and its critical view in the Nun Khe 2 series. Method: The research employs a descriptive research method along with content analysis. The data analysis is qualitative in nature. Data collection is conducted through archival methods and film analysis tools. In this study, every scene from the series was observed and analyzed. Visual signs were extracted, and information was gathered accordingly. Result: Crisis management consists of three main phases: before the disaster (which involves prevention and preparedness), during the disaster (which focuses on coping with the crisis), and after the disaster (which includes rescue and relief efforts, temporary shelter, temporary accommodation, and rehabilitation). Analyzing the Noon Khe 2 series in the context of the crisis management cycle reveals that this series primarily emphasizes themes related to the aftermath of the earthquake, particularly concerning temporary accommodation. Conclusion: The series highlights the challenges faced by earthquake victims, including temporary housing, mental and psychological issues, health problems, the spread of infectious diseases, and, importantly, the unfulfilled promises of officials. To convey these issues effectively, the series employs humorous language and intertwines a main storyline with sub-stories to engage the audience. In the end, it is suggested that considering the huge capacity of television series to represent the situation and convey concepts to the general audience, as well as considering Iran's vulnerability to crises caused by various natural and human disasters, more series should be made with the subject of natural and human disasters. Also, the representation, criticism, and analysis of various measures related to the crisis management cycle, along with the use of educational points in the form of monologue or dialogue (such as what was shown in the second season of the Noon Khe series), can lead to an increase in public awareness regarding this issue. In addition, since a large part of the officials of the country are also viewers of television programs, criticizing the managerial-executive performance in the form of making series based on reality, humor, or fictional stories based on the planned topics, can lead to the improvement of their performance in future crises. هرساله سریال‌های تلویزیونی زیادی برای نمایش در رسانه ملی ساخته می‌شوند که در این میان سریال‌های طنز از استقبال بیشتری برخوردار هستند. سریال‌ها می‌توانند بازنمایی‌کنندۀ شرایط موجود در جامعه باشند یا به نقد مشکلات موجود بپردازند. از سوی دیگر، کشور ایران به‌دلیل قرارگیری در موقعیت جغرافیایی آسیب‌پذیر، یکی از کشورهایی است که همواره با خسارات و تلفات ناشی از وقوع بحران‌های طبیعی درگیر بوده است. با این‌حال این موضوع تنها در تعداد معدودی از سریال‌های تلویزیونی بازنمایی شده است. در این پژوهش فصل دوم سریال نون خ که به بازنمایی موضوع زلزله سال 1396 کرمانشاه می‌پردازد، به‌عنوان نمونه موردی جهت بررسی نحوه بازنمایی فرایند مدیریت بحران در این سریال مورد مطالعه قرار می‌گیرد. از نظر فرایندی، مدیریت بحران شامل سه فاز اصلی پیش از وقوع سانحه (پیشگیری و آمادگی در برابر بحران)، حین وقوع سانحه (مقابله) و پس از وقوع سانحه (شامل امداد و نجات، سرپناه موقت، اسکان موقت و بازسازی و بازتوانی) است. تحلیل سریال نون خ 2 بر اساس چرخه مدیریت بحران نشان می‌دهد که در این سریال بازنمایی مضامین مرتبط با مدیریت بحران، متمرکز بر فاز پس از وقوع سانحه و خصوصاً مرحله اسکان موقت است. در این راستا سریال به بازنمایی مسائل و مشکلات زلزله‌زدگان در قالب شیوه اسکان موقت، مشکلات روحی و روانی آسیب‌دیدگان، مسائل بهداشتی و شیوع بیماری‌های واگیردار و از همه مهمتر وعده‌های مسئولین می‌پردازد. برای بازنمایی این مسایل سریال از زبان طنز، انتخاب یک خط داستانی اصلی به‌عنوان درون‌مایه و همچنین خرده‌داستان‌ها برای همراه نگهداشتن مخاطب خود استفاده می‌کند.

https://ira.guilan.ac.ir/article_8160_ba2b8da273112d00082232cb8acc9629.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 08 Manifestations of Myth in Art: An Investigation of Ritual Tools and Vessels in the Yasna Ceremony جلوه‌هایی از اسطوره در هنر: بررسی برخی ظروف آیینی در مراسم یسناخوانی 119 138 8214 10.22124/ira.2024.28829.1034 FA صبا لطیف پور استادیار گروه تاریخ هنر، پژوهشکده هنر، فرهنگستان هنر، تهران، ایران 0009-0000-4803-0901 Journal Article 2024 10 30 Background: Comprehending the thought processes of people from earlier periods has become a significant concern for modern humans. By exploring the mindset of ancient humans and understanding the differences, similarities, and trajectories of their lives and beliefs, we can also unravel many of the complexities that reside within contemporary human nature. This objective has fueled archaeological research and the study of ancient cultures, which have garnered substantial attention today. Since "art," in its universal definition, has served as one of the primary means for humans to express their inner desires and beliefs from the earliest times until now, studying artistic works is one of the best ways to understand ancient thought. Additionally, ancient humans developed beliefs, rituals, myths, and customs to seek peace and connect with the world's complexities—a process that continues today. This research aims to explore and introduce the thoughts of people who once lived in this country by focusing on three key areas: religious beliefs, myths, and artistic works. Numerous intellectual movements have emerged globally that connect myth and ritual, culminating in the establishment of the "Myth and Ritual School" in 20th-century Europe, where scholars engaged in discussions and exchanges on these topics. A significant part of the available information about Zoroastrianism and its doctrines relies on secondary sources, such as accounts by non-Zoroastrian writers in Greek, Latin, Syriac, Armenian, Arabic, or even Persian. Direct reference to the Avesta and the actual practice of religious rituals is comparatively rare. Thus, first-hand examination of texts, customs, and rituals holds special importance. In line with this approach, the present study aims to explore the ideas and beliefs underlying sacred tools and vessels used in Zoroastrian rituals by analyzing their shapes, forms, and artistic manifestations. The focus will be on the Yasna ceremony, which continues to be performed in Iran. However, given the scarcity of resources on the subject, attention will also be directed toward Yasna rituals held by Parsees in India, as well as those previously performed in Iran. Method: The methods employed include observation, study, and mythological, ritualistic, and artistic analysis. The observation or fieldwork section focuses on examining the Yasna recitation rituals in Tehran, Iran. This category also includes capturing images and conducting interviews with the Mobeds (Zoroastrian priests) who perform the ceremonies, carried out by the author. In the library research section, we have explored the intellectual background that contributed to the formation of the current Avesta recitation rituals and the tools used within them. Finally, the analytical section seeks to uncover the myths embedded behind the appearance of ritual vessels and tools. Conclusion: According to the Myth and Ritual Theory, the rituals of any ancient society play a crucial role in expressing the myths, thoughts, and worldviews of its people. By applying this theory to Zoroastrian religion and rituals, it becomes possible to explore and draw conclusions about this particular mindset. Zoroastrian rituals, especially their liturgical ceremonies, are highly meticulous and demanding, requiring specific tools, vessels, actions, and prayers for their proper execution. One way to approach the profound essence of Zoroastrian thought is by studying the ritual vessels and instruments. Although it may seem unusual at first glance, each item used in Zoroastrian rituals, as well as every ritual act associated with them, has a mythological background. In summary, they represent a symbolic form of a greater truth and even assist in establishing cosmic order. با در نظر گرفتن این امر که هنر در طول تاریخ همواره یکی از قالب‌هایی بوده که بشر تفکرات خود را از طریق آن منعکس می‌ساخته است، یکی از راه‌های شناخت اندیشه‌های انسان در دوره‌های گذشته بررسی آثار هنری برجای‌مانده است. آثار هنری کاربردی یا به‌عبارتی ابزارهایی با جلوه‌های هنری از مفیدترین سوژه‌های بررسی برای تدقیق در اندیشه بشر در طول تاریخ هستند. هدف پژوهش حاضر درک اندیشه‌های اساطیری دین زرتشتی از طریق بررسی ظروف مورد استفاده در آیین‌ یسناخوانی است که یکی از مهم‌ترین آداب دینی جمعی زرتشتیان به‌شمار می‌آید. پرسش‌های پژوهش عبارتند از اینکه ابزار آیینی در مراسم خوانش یسنا چه اندیشه‌های اساطیری را برای ما آشکار می‌کنند؛ و اینکه چگونه می‌توان از پس نمودهای عینی اندیشه‌ها در مراسم مذکور به باورهای نهفته در آنها پی برد. روش‌های مورد استفاده عبارتند از مطالعه میدانی: شرکت در مراسم خواندن اوستا، تهیه عکس از ابزارها و مصاحبه با موبدان برگزارکننده مراسم؛ مطالعه کتابخانه‌ای: بررسی پیشینه باورهای زرتشتی، شناخت اساطیر زرتشتی؛ و در نهایت بررسی تحلیلی برای شناخت شیوه‌های جلوۀ اسطوره‌ها و باورها در ابزار آیینی است که در متن مقاله پس از معرفی هر کدام از ابزار آیینی آمده است. با بررسی‌های انجام‌شده امکان درک اسطوره‌های جاری در اندیشه پیروان آیین زرتشتی از ابتدای شکل‌گیری این دین و آیین‌هایش از طریق مطالعه ظروف مذکور تا حد زیادی ممکن شد. از یافته‌های تحقیقی می‌توان به این اشاره کرد که زرتشتیان چگونه در آیینی که آن را راهی برای کمک به برقراری نظم جهانی می‌دانسته‌اند، عناصری را گنجانده‌اند که در راستای هدف برگزاری آن مراسم، یعنی همان برقراری نظم کیهانی باشد. آیین‌های زرتشتی و به‌خصوص آیین‌های نیایشی آن، آیین‌هایی بسیار پرزحمت و دقیق‌اند و به ابزار و آلات و ظروف و اعمال و نیایش‌های خاصی برای برگزاری آنها نیاز است. شاید در نگاه اول عجیب به‌نظر برسد اما هرکدام از قطعات موجود در آیین‌های زرتشتی و نیز هریک از اعمال آیینی مرتبط با آنها از پیشینه‌ای اساطیری برخوردار است و درواقع شکلی نمادین از حقیقتی عظیم‌تر محسوب می‌شود.

https://ira.guilan.ac.ir/article_8214_5be97cf906cd520b034950ef5047e50a.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 08 A Study of the Musical Instruments of Neo-Ilamite مطالعه‌ای در شناخت سازهای ایلامِ نو 139 152 8215 10.22124/ira.2024.29130.1038 FA مهشید فراهانی دانشجوی مرکز مطالعات فرهنگ‌های دستنویس دانشگاه هامبورگ، هامبورگ، آلمان Journal Article 2024 12 01 Abstract: Research on ancient Elamite music is scarce, with significant studies such as Sepideh Khaksar’s thesis titled "A Musicological Approach to the Ancient Remains and Music of Ancient Elam" (Khaksar, 2008) and Javier Alvarez-Mon’s "Royal Elamite Orchestra of Madaktu" (Alvarez-Mon, 2017) being among the few available. Previous studies on Elamite music span from the 3rd millennium BCE to the 1st millennium BCE without a clear chronological distinction. This research, however, focuses on the music of Elam within a more specific time frame. These two key studies delve into Elamite music and its nuances, providing the framework for this article's exploration. Studying the history of music in different periods helps us understand the cultural evolution of musical practices and the reasons behind the transformations in musical trends over time. The history of Iranian music can be divided into two broad categories: the pre-Islamic and Islamic periods. The pre-Islamic period itself can be subdivided into 1. The Elamite period and 2. The post-Elamite period. While significant studies on the history of Islamic-era music have been conducted recently, pre-Islamic studies mostly focus on the periods following Elam, particularly the Sassanian era. Unfortunately, research into Elamite music, which significantly influenced subsequent musical periods, has been overlooked. Elamite music must be studied through archaeological and ancient remains. These remains provide insights into the instrumentation and performance contexts, but the actual musical systems of Elam remain elusive. Unlike neighboring Mesopotamian civilizations, where numerous texts about music are preserved, no such texts exist in Elamite cuneiform inscriptions. This lack of documentation may be attributed to the persistent wars between the Elamites and their neighbors, leading to political instability, and most Elamite cuneiform inscriptions are devoted to warfare, divine worship, and economic matters. Considering these challenges, this article aims to explore the musical instruments used in Elam between 1200 and 500 BCE, the final period of Elamite civilization, to shed light on the region’s musical practices. History of Elam: Human settlement in southwestern Iran dates back to approximately 8000 BCE. The fertile land and climatic conditions of the region encouraged early settlement. Over time, these settlements grew, leading to the development of cities. However, due to limited archaeological evidence, the cultural history of this period remains difficult to reconstruct. The mid-4th millennium BCE marks the beginning of urbanization in Elam. By the early 3rd millennium BCE, the region entered the historical period with the development of writing and the formation of cities. Elam consisted of two primary regions: Susa and Anshan. Various rulers controlled one or both of these regions. The civilization reached its peak in the 3rd millennium BCE, during which the Elamites invented the Elamite script and cylinder seals, initiating the formation of centralized states. The heart of Elam was the city of Susa, which housed both the governmental center and trade hubs with neighboring civilizations. Elamite history can be divided into two major periods: prehistory (4000–2900 BCE) and history (2900–640 BCE). Elam’s historical phase began with the advent of writing and lasted until the collapse of the last Elamite king, Humban-Haltash, who was defeated by the Assyrian king Ashurbanipal in 640 BCE. Archaeological Findings Depicting Musical Instruments: Ancient artifacts from the 1st millennium BCE, featuring musical instruments, are more diverse compared to earlier periods. Among these are bronze vessels, sculptures from the Kolda Farah site, and drinking vessels, all adorned with depictions of musicians. The Bronze Cup of Arjan: A notable artifact discovered in 1982 in Arjan, near Behbahan, is a bronze cup that contains engravings of different scenes, one of which depicts a celebratory victory feast with musicians. In one of the engraved bands, two harpists and a lyre player can be identified, accompanied by dancers. This cup is currently housed in the National Museum of Iran. The Kolda Farah Rock Carvings: The Kolda Farah site near Ahvaz contains several rock carvings that depict religious ceremonies and royal audiences, including scenes with musicians. In one of these, three musicians are shown playing instruments in front of a king during a sacrificial ritual. The instruments depicted include harps and other stringed instruments. Bronze Drinking Cups from Lorestan: These cups, found in Lorestan, feature depictions of musicians playing a lyre and a long-necked lute at royal feasts. These artifacts date from the 6th century BCE and are currently held in the Museum of Fine Arts in Lyon and the Louvre Museum in Paris. Musical Instruments Identified: Based on the aforementioned archaeological finds, the musical instruments identified in Elamite art include: Chang Long-necked lute Lyre Wind instruments Analysis of Musical Instruments: The Harp: Several artifacts, including the Arjan Cup, Lorestan bronze goblets, and the Kolda Farah rock carvings, depict harps. The harps shown in these artifacts have a bent shape, although the precise number of strings remains unclear due to the stylized nature of the depictions, these instruments were likely portable and relatively light, making them suitable for both performance and transport. The Long-necked Lute: The bronze drinking cups found in Lorestan depict musicians playing a long-necked lute, a stringed instrument common in the ancient Near East. The lute’s detailed representation of the cups suggests it was a prominent instrument in Elamite music. Lyres: Lyres are also depicted in several artifacts, including the Kolda Farah carvings. These instruments are shown being played by musicians at royal events and religious ceremonies, indicating their importance in Elamite culture. Conclusion: While the Elamites did not leave behind written texts about their music, archaeological evidence provides a glimpse into their musical practices. The depictions of harps, long-necked lutes, and lyres on various artifacts suggest a rich musical tradition. Despite the challenges posed by the absence of written music or detailed descriptions, these findings offer valuable insights into the role of music in ancient Elam, especially in religious and royal contexts. Further research into these artifacts can help us understand the broader cultural and social functions of music in the ancient Elamite civilization. بخشی از ریشه‌های موسیقی ایران را در طول تاریخ باید در غرب ایران و در تمدن ایلام جست‌وجو کرد. برای شناخت این موسیقی لازم است هر آنچه نشانی از موسیقی ایلامی بر خود دارد مورد مطالعه قرارگیرد. از دوره‌های تاریخی مختلف ایلام ساز کاملی به‌دست نیامده است تا بر اساس آن بتوان به مطالعه موسیقی این منطقه پرداخت. در میان الواح ایلامی نیز متنی در مورد موسیقی وجود ندارد. برای مطالعه موسیقی ایلام باید به بررسی آثار باستانی و نقوش برجسته‌ای پرداخت که روی آنها نقشی از ساز ترسیم شده‌است. نقوش برجسته کول‌فرح، جام ارجان و جام‌های برنزی به‌دست‌آمده از لرستان مهم‌ترین منابع مطالعاتی در موسیقی این دوره‌اند. این آثار باستای اطلاعاتی در مورد سازهای چنگ‌های افقی و عمودی و همچنین لوت دسته‌‌بلند در خود دارند. تعداد تارهای نقش‌شده روی سازها، شیوه دست‌گرفتن ساز و جزئیات نقش‌شده در بدنه ساز می‌تواند دید بهتری از صنعت ساخت ساز در این دوره به‌دست دهد. مطالعه موسیقی این دوره از آن جهت اهمیت دارد که با ورود آریایی‌ها به این منطقه و ایجاد نخستین امپراتوری، باعث گسترش موسیقی و سازهای این حوزه در تمام فلات ایران شدند. بررسی وضعیت موسیقیِ دوره تاریخیِ منتهی به حضور آریایی‌ها در ایران می‌تواند در شناسایی وضعیت موسیقی فلات ایران در دوره‌های بعدی نقش مهمی داشته باشد. در این مقاله سعی بر آن است تا با توجه و بررسی آثار باستانی که تا کنون به‌دست آمده، نمایی از موسیقی آخرین دوره حضور ایلامی‌ها در تاریخ نشان دهد.

https://ira.guilan.ac.ir/article_8215_d0595002a26ac280f1a47a436344d9d0.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 08 A Discourse Analysis of the Evolving Perception of Ney Players and Makers Regarding Innovation from 2000 to 2020 in Iran تحلیل گفتمان نوازندگان و سازندگان ساز نی با محوریت نوآوری در دهه‌های هشتاد و نود شمسی در ایران: مطالعه موردی «نی شش‌دانگ» حسین عمومی 153 172 8216 10.22124/ira.2024.29171.1039 FA سجاد پورقناد کارشناسی ارشد اتنوموزیکولوژی، گروه آموزشی اتنوموزیکولوژی، دانشکده موسیقی، دانشگاه هنر ایران، تهران، ایران سید پوریا نصیری کارشناسی ارشد، گروه آموزشی آهنگسازی، دانشکده موسیقی، دانشگاه هنر ایران، تهران، ایران Journal Article 2024 12 05 Background: Accepting or rejecting innovations and changes in the arts, particularly in music, has always been a challenge that can shape new directions for the future. To understand the challenges and opportunities ahead, it is essential to analyze the current perspectives of the expert community alongside the historical trends in their attitudes toward innovation. This highlights the importance of research such as that conducted here. Full Range Iranian Ney, also called “Ney-e Shesh Dang" in Farsi, is one of the designs to improve the technique of the Ney, introduced by Hossein Omoomi. Hossein Omoomi addressed the issue raised by Hossein Dehlavi of the lack of regular performance of the songs and Hossein Omoomi addressed the installation of a key inspired by Western wind instruments. Objectives: This study aims to classify Iranian musical discourses into distinct generations by elucidating the perspectives of Ney producers and musicians (performers) regarding the innovation of this instrument within historical contexts. Furthermore, it aims to identify influential discourses and assess the prospects of embracing changes in the design of the Ney instrument. Among the inquiries in this study are: 1) What are the commonalities among Iranian music's Ney players, and from what discourses do they originate? 2) Which discourses within the community of Ney players can be categorized chronologically by generation? 3) What are the trends that have gained popularity over time and Which one has the dominant role? 4) What logic in the modern era is predicated on the tendency to win? Method: This research employs a quantitative research and analytical method. Data collection involves both library research and empirical studies. In the quantitative section, the researchers surveyed Ney producers who had a reputation in the Ney-playing community, as well as musicians who had recorded and performed a great deal of music, and therefore had a national reputation for presenting works with Ney. After completing the survey, 24 professional Ney performers and makers were introduced to the full-range Ney. To gauge the level of acceptance of the instrument, the researchers used three items - agree (yes), abstain, and oppose (no). Literature review: Based on past research, three dominant discourses, including "International classical music discourse,” “Iranian classical music discourse,” and "Iranian traditional music discourse,” and one sub-discourse, known as “Sub-discourse of modernity based on Iranian musical tradition,” have been identified within the cultural music community in Iran, which categorizes Ney players and instrument makers within these discourses. The three opinions of instrument players about inventions and modifications to their instruments have not yet been the subject of any research. As evident from searches in scientific article databases, research on a similar topic to this study, namely the opinions of musicians regarding innovation and changes in a musical instrument, has not been documented so far. Results: This research indicates that first-generation, second-generation, and third-generation Ney players exhibit a discernible behavioral shift. The first-generation representative, Hasan Kasaei, is not particularly interested in changing the Ney, and second-generation musicians are generally opposed to altering the instrument's structure. However, third-generation musicians are very interested in changing the Ney and are particularly drawn to the Hossein Omoomi design. In addition to this, some members of the group feel that these changes are insufficient, while others propose more changes, like "Ney with more keys" and "metal Ney with full keys design," among other ideas. Conclusion: In conclusion, most first and second-generation musicians are more in line with the "sub-discourse of modernity based on the tradition of Iranian music" than with the discourse of "traditional Iranian music" when it comes to "presenting their musical works" by examining their perspectives and performances at the same time. However, their views are based on the discussion of "traditional Iranian music" when it comes to the substitution of instruments. Hossein Omoomi is the only one among them who genuinely seeks change. The evolution has been on Iranian instruments (Ney, Tombak, and Daf) and can be considered representative of the Vaziri school or the discourse of "Iranian classical music." Hasan Kasaei, a representative of the first generation, along with Abdul Naqi Afsharnia and Jamshid Andalibi from the second generation, are the only other individuals whose views align with "the small discourse of modernity based on the tradition of Iranian music." The primary factor influencing the opinions of successive generations of Iranian Ney instrument players is the hegemony of discourses and the musicians' adherence to the dominant discourse of each decade. In the decades that followed, the "Iranian classical music" discourse (Vaziri school) replaced the dominant discourse of the second generation, "traditional Iranian music," which was hostile to innovation and change in any area of Iranian music, including instrumentation. The musicians of Iran's third generation have carried on with this strategy up to this point. It is impossible to overlook the role that academic institutions, conservatories, cultural and artistic hubs, orchestras, and national policy-making organizations like the Ministry of Culture and Arts and the Iranian National Radio and Television play in the political system when it comes to developing, strengthening, learning, or changing discourses. Ultimately, what is discernible at this point is the resolve of the third generation of Ney instrument musicians and instructors regarding the necessity of enhancing this instrument's structure. The third generation, in contrast to the preceding generations, is concerned with the advancement of music rather than the unquestionable preservation of Iranian music's generalities and specifics. This generation eliminates current barriers and flaws while upholding Iranian music's positive aspects. Future research can benefit from the diverse perspectives of Ney musicians and producers that were captured in this study. این پژوهش با تحلیل نظریات نوازندگان و سازندگان ساز نی در مواجهه با تغییرات حسین عمومی بر روی ساز که با نام «نی شش‌دانگ» شناخته می‌شود، به تحول دیدگاه در جامعه نی‌نوازان ایران و دسته‌بندی گفتمانی آنان با محوریت مقولة ابداع در ساز پرداخته شده است. روش پژوهش پیمایشی ـ توصیفی بوده و ابزار گردآوری اطلاعات شامل پرسش‌نامه و منابع اسنادی است. از جمله پرسش‌های این پژوهش عبارتند از: 1- چه گرایش‌هایی در میان نی‌نوازانِ ایرانی در ارتباط با مقولة ابداع و نوآوری در نی وجود دارد و هرکدام زادۀ چه گفتمان‌هایی هستند؟ 2- چه گفتمان‌هایی از نظر زمانی قابل دسته‌بندیِ نسلی، در جامعۀ نی‌نوازان است؟ 3- کدام گرایش‌ها در بستر زمان رواج بیشتری داشته‌اند و کدام گرایش را در زمان حال می‌توان، گرایش غالب دانست؟ و 4- گرایش پیروز در عصر حاضر، وابسته به چه منطق‌هایی است؟ هدف این پژوهش، شرح اجمالی تغییرات حسین عمومی بر روی ساز نی و واکاوی گرایش نوازندگان نی به اجرا با «نی شش‌دانگ» و مقولة «ابداع» در نسل‌های مختلف با توجه به هژمونی گفتمان‌های موسیقی کلاسیک ایران است که در این راستا نظر برخی از نوازندگان و سازندگان خبره که شامل 24 نفر است، مورد ارزیابی قرار گرفته است. عطف به مطالعات پیشین، سه گرایش گفتمانی و یک خرده‌گفتمان در جامعه فرهنگی موسیقی ایران شناسایی شده است که براین اساس، نوازندگان و سازندگان نی در این گفتمان‌ها قابل رده‌بندی هستند. منطق این طبقه‌بندی، هژمونی و هم‌زمانی گفتمان‌ها از نظر تاریخی با دوران زیست و فعالیت نوازندگان و سازندگان نی و بر مبنای نوع نگاه آنان به موضوع ابداع و تغییر در این ساز است. براساس یافته‌ها، تفاوت‌های نسلی، ارتباط مستقیمی با هژمونی گفتمانی زمانة‌ نوازندگان نی داشته و تغییرات بر روی ساز، برخلاف نسل قدیم، برای نسل سوم قابل‌قبول است. بررسی کلیدواژه‌های موجود در گفته‌های دو نسل از نوازندگان نشان داد، تغییر محسوسِ گفتمانی در میان نسل‌های دوم و سوم قابل ‌شناسایی است و گفتمانِ فرادست امروز در ارتباط با ابداع در ساز نی، گفتمانِ «موسیقی کلاسیک ایرانی» است.

https://ira.guilan.ac.ir/article_8216_01b2e999309fd0d4c10d9208c2072d08.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 17 Representation of the Image of the Enemy in the Stone Reliefs of Bahram II Sassanid and Ashurbanipal II بازنمایی تصویر دشمن در نقوش‌برجستۀ سنگی بهرام دوم ساسانی و آشوربانیپال ‌دوم 173 194 8244 10.22124/ira.2024.28928.1036 FA ایلناز رهبر استادیار گروه هنر، دانشکده عمران، معماری و هنر، دانشگاه آزاد اسلامی واحد علوم و تحقیقات، تهران، ایران ندا اخوان اقدم دانشیار پژوهشکده هنر، فرهنگستان هنر، تهران، ایران تارا حجتی کارشناس‌ارشد پژوهش‌هنر، دانشکده عمران، معماری و هنر، دانشگاه آزاد اسلامی واحد علوم و تحقیقات، تهران، ایران Journal Article 2024 11 10 Introduction: This article presents a comparative study of how the enemy is portrayed as human beings in stone reliefs depicting the victories of Bahram II over the Kushans, representing the civilization of ancient Iran, and Ashurbanipal II over the Elamites of Mesopotamian civilization. The research focuses on examining the similarities and differences in the representation of the enemy as depicted in human form within these stone reliefs. The purpose of this study is to gain a deeper understanding of wars and how they are represented in artworks, while identifying common signs and symbols present in the two pieces. The image of the enemy in the form of a human being in both artworks is presented as murdered, captured, and wounded. In the stone relief which is attributed to Bahram II, victory over enemies is depicted more symbolic. The king is in the center of the image and the enemies and other motifs are placed in the margins. In the stone relief of Ashurbanipal II the war scene and victory over enemies are more realistic and the motifs are depicted with more details. The purpose of art in these two artworks is to exhibit the power of the kings and intimidate the enemies. Problem Statement: In this text, stone reliefs of the victory of Bahram II over Kushans and the victory of Ashurbanipal II over Elamites have been described. The opinions of researchers were also mentioned. The effect of Assyrian art on Sassanid art in these artworks is obvious and that is the reason that we have chosen these two stone reliefs. Presenting the image of the enemy in the stone reliefs and responding to the question of the similarities and differences of the image of the enemy between the two cultures is the problem statement of this research. Background: Numerous studies have been conducted on the artworks of ancient Iran and Mesopotamia, but so far no research has been done on depicting images of enemies in the form of human beings. Generally, the motifs of these artworks have been divided into different contents, such as religious and nonreligious themes. According to these researches, the Impact of Mesopotamian art on the art of ancient Iran is obvious. The artists use these Mesopotamian art elements which coordinate with Iranian art consciously (Rezaeenia, 2008). An enemy is also mentioned as the origin of evil in all the texts (Mirfakhrai, 2012). Methods: The research is descriptive-analytical and comparative. The method of data collection is library-based. The method of data analysis is qualitative. Features and general characteristics of the artworks have been examined according to the images. Result: In Sassanid and Assyrian dynasties motifs in artworks are used for displaying degraded enemies. We see some mutual motifs like a line of prisoners and the severed heads of the enemies in these artworks. As artists have always been influenced by each other at all times and places, different tribes who gained power in Mesopotamia have also been affected by each other. Moreover, the impact of the art of Assyria on the art of Sassanid is obvious. Dynamism, realism, and violence in Assyrian art are more eminent than the art of Sassanid. In the art of both civilizations Depicted figures do not correspond to reality. این پژوهش به بررسی و مطالعۀ تطبیقی تصویر دشمن انسانی در نقوش‌برجستۀ‌ سنگی پیروزی بهرام دوم ساسانی بر کوشانی‌ها از تمدن ایران باستان و پیروزی آشوربانیپال بر عیلامی‌ها از تمدن بین‌النهرین می‌پردازد. در بررسی دو نقش‌برجسته یکی از دورۀ‌ ساسانیان و دیگری از دورۀ آشور سعی شده است نقاط اشتراک و افتراق در این دو اثر نمایش داده شوند. هدف از این پژوهش آشنایی با جنگ‌ها، نحوۀ بازنمایی آنها و یافتن نمادها و نشانه‌های مشترک بین دو نقش‌برجسته است. دشمنان منقوش در این دو نقش‌برجسته در حالت‌‌های کشته، اسیر، زخمی و به‌تسلیم درآمده دیده می‌شوند. در نقش‌برجستۀ بهرام دوم ساسانی که پیروزی بر دشمن را به‌صورت نمادین نشان می‌دهد، پادشاه در مرکز صحنه و دشمنان و سایر نقوش در حاشیۀ اثر دیده می‌شوند. در نقش‌برجستۀ منتسب به آشوربانیپال صحنۀ جنگ و پیروزی بر دشمن واقع‌گرایانه و با جزئیات به‌تصویر کشیده شده است. با توجه به موضوع تحقیق می‌توان این سؤال را مطرح کرد: شباهت‌ها و تفاوت‌های بازنمایی تصویر دشمن در دو نقش‌برجسته منتسب به بهرام دوم ساسانی و آشوربانیپال دوم کدام‌اند؟ نحوۀ بازنمایی دشمن در دو نقش‌برجسته ساسانی و آشور و بررسی تفاوت و شباهت‌های بین دو فرهنگ مذکور مسئله این پژوهش است. نتیجه‌ نشان می‌دهد که هدف هنر و هنرمند در آثار مورد بررسی نشان‌دادن عظمت و قدرت پادشاهان و مرعوب‌کردن دشمنان است. در هنر هر دو دوره‌ از قراردادهای تصویری برای پَست نشان‌دادن دشمن استفاده شده است. در بررسی آثار، نقوش و قراردادهای تصویری مشترک مانند صف اسرا و سرهای بریدۀ دشمنان در هر دو دوره ساسانی و آشور مشاهده می‌شوند. پویایی، واقع‌گرایی و خشونت اعمال‌شده نسبت به دشمن در هنر آشور بیشتر از هنر ساسانی است؛ با این‌حال در هنر هر دو دوره وقایع منقوش در آثار هنری عیناً منطبق با واقعیت نیستند. در این پژوهش از روش تحقیق توصیفی-تحلیلی، تطبیقی و تاریخی استفاده شده است.

https://ira.guilan.ac.ir/article_8244_fbc30283006c28009e49b5b25d4ee7b7.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 17 Historiography, De-familiarization and Discourse Analysis of Personal Photos in the Contemporary Period تاریخ‌نگاری، آشنایی‌زدایی و تحلیل گفتمان عکس‌های شخصی در دوره معاصر 195 216 8245 10.22124/ira.2024.29172.1040 FA امید مسعودی فر عضو هیات علمی دانشگاه پیام نور حامد مسعودی فر دانش آموخته کارشناسی ارشد علوم سیاسی Journal Article 2024 12 05 Introduction: Since the arrival of the photography industry in Iran, this technique has become one of the most important platforms for conveying meaning to the audience. The widespread use of photos in administrative affairs in society and people's interest in recording personal moments has led to the expansion of personal photography over the course of 180 years. Every picture is a text and you can use text criticism techniques for it and examine it Inter-textually with other texts. The photo is not neutral and has meaning. By analyzing the discourse, it is possible to read and reveal the obvious and hidden meanings of the photo, as well as the ideology hidden in it, and the reproduction of the discourse in the photo, especially social and family photos. The hermeneutics of text criticism can also be used in the interpretation of the photo. In this research, the analytical aspects of personal photos and personal memorabilia in recent decades have been discussed from the perspective of history, de-familiarization and discourse analysis Research Objective: The problem of the research is to investigate how the hidden historical elements, discourse and ideology are revealed in the photographs, and used de-familiarization and analysis of the discourse for photo analysis. An attempt has been made to investigate how personal and family photos can be a platform for analyzing the history and time of photos and how to look beyond seeing a personal photo and compare it in historical and literary inter-textually and discourse analysis, historical elements. He recovered that period and revealed the hidden discourse and ideas in the photo, and then analyzed the content and discourse according to the historical context and documents. Research Methodology: In this research, a number of personnel and personal photos in the contemporary period were examined with the method of qualitative and documentary research after using de-familiarization and Fairclough's discourse analysis method. Results: The results of the research showed that elements of people's photos that were mentioned about personal photos (clothing, make-up, etc.) can also be used to extract the history of memorial and family photos. De-familiarization methods in photographic images (especially advertising and industrial photography) include the following: a) Shifting b) Reversal c) exaggeration and highlighting d) Composition e) Using visual Figures such as allusion, paradox, metaphor, and symbol. With the following assumptions, one should analyze the discourse of the photo and look at the photo and the photographer: 1- The attitude of the audience and the viewer of the photo depends on his life in the world. 2- The dimensions of photo analysis are layered 3- The whole picture should be seen as a meaningful whole, which meaning is transferred to the picture either from inside the picture or outside it or both. 4- Sources of power (cultural, social, political, etc.) arising from the subjects of the photo or the context of the photo, or the environment of the photo can be traced in the images. 5-No photo is neutral. 6- Worldview, ideology and photographer's work (photographer's signature) can be recognized in most cases in the photo openly or secretly. Today, the majority of people in society are busy taking photos of themselves; others, and the surrounding environment with their smartphone cameras, or watching the photographed images, but these photos can be used to understand the time and its discourses. Each photo carries its meaning to the present and the future and reflects a discourse. De-familiarization of the photograph of Nader Shah's tomb in this research with the method of suspending familiar concepts made the concepts hidden in the photograph such as the rise and fall of Farah Izadi to be investigated and revealed. by analyzing the formal elements of the photo subjects, it is possible to analyze the historical period of the photo and analyze the physical elements around the subject to the environmental changes during the period and analyze the discourse of the form and content of personal and family photos to the ideology and hidden discourse in the context and Photo time achieved. In fact, every photo is a historical text that can be read and reviewed by going to its hidden layers. Norman Fairclough uses three levels in discourse analysis: description, interpretation, and explanation. The level of interpretation includes the processes that cause the production and consumption of images. In this section, interpretive hermeneutics can also be used. However, the level of explanation is the discourse meaning and the social context that creates the image and reproduces it. In the photo analyzed in this research to analyze the discourse (Soldier and his brother) at the level of interpretation of the concepts of inter-textually and hermeneutics, it can be seen that it marks the beginning of the modern period in Iran's administrative history, but intergenerational support and love has also continued. At the explanatory level, the photo of the soldier and his brother reveals the discourse of compulsory service and its reproduction. از ورود صنعت عکاسی به ایران، این فن به یکی از مهم‌ترین بسترهای انتقال معنا به مخاطب تبدیل شده است. فراگیر شدن استفاده از عکس در امور اداری در جامعه و علاقه مردم به ثبت لحظات شخصی باعث گسترش عکاسی شخصی در طی 180 سال شده است. هر عکس یک متن است و می‌توان فنون نقد متن را برای آن به‌کار برد و در بینامتنیت با متون دیگر بررسی نمود. عکس خنثی نیست و بارِ معنایی دارد . با تحلیل گفتمان می‌توان معانی آشکار و پنهان عکس و همچنین ایدئولوژی نهان‌شده در آن و بازتولید گفتمان موجود در عکس به‌خصوص عکس‌های اجتماعی و خانوادگی را بازخوانی و آشکار نمود. در تفسیر عکس نیز همچنین از هرمنوتیک نقد متن می‌توان بهره گرفت. مسئله پژوهش حاضر، بررسی چگونگی آشکار شدن عناصر تاریخی، گفتمان و ایدئولوژی پنهان در عکس‌ها با روش آشنایی‌زدایی و تحلیل گفتمان است. در این پژوهش با روش تحقیق کیفی و اسنادی، تعدادی عکس‌های پرسنلی و شخصی در دوره معاصر بعد از آشنایی‌زدایی با روش تحلیل گفتمان فرکلاف بررسی می‌شوند. نتایج پژوهش نشان می‌دهد با تجزیه عناصر فرمی سوژه‌های عکس می‌توان به دوره تاریخی عکس و تحلیل عناصر کالبدی اطراف سوژه به تغییرات محیطی در طی دوره و تحلیل گفتمان فرم و محتوای عکس‌های شخصی و خانوادگی به تاریخ دوره، ایدئولوژی و گفتمان پنهان در زمینه و زمانه عکس دست‌ یافت. درحقیقت هر عکس یک متن تاریخی است که با گذر به لایه‌های پنهان آن می‌توان لابه‌لای سطور آن را خواند و بازبینی نمود.

https://ira.guilan.ac.ir/article_8245_f239780e3398ea09e89c4e59382a13c2.pdf

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 2 2 2024 12 20 Three Examples of Woman Songs from Moghan Plain (Moghanlu Clan) Vocal Texts and the Reconstruction of Ancient Beliefs سه نمونه از آوازهای کارِ زنان دشت مُغان (طایفۀ مغانلو) متون آوازی و بازسازی باورهای کهن 217 234 8252 10.22124/ira.2024.28848.1035 FA مریم قرسو استادیار گروه موسیقی دانشکده هنرهای زیبا، دانشگاه تهران، تهران، ایران سونا خانی کارشناسی ارشد اتنوموزیکولوژی، دانشگاه هنر، تهران، ایران Journal Article 2024 10 31 Introduction: The subject of this study is three examples of work songs in the women's community among the people of Moghan. Moghan Plain is an extensive green area in the north of Azerbaijan. By being present in the tribal society and the possibilities of people's life in the body of rural life, women make the difficulty of daily tasks easier with music and draw a narrative of their local environment in it, which we examine and analyze here as a text in a human and ethnic context. Research Methodology: Our research method combines fieldwork and library study. The fieldwork was carried out in two consecutive weeks in the Moghan area. We talked with some local experts about women's music, especially in the section related to the songs of the work. Research purpose and question: So far, no research has been done on women's music and singing in Moghan, and everything that has been written about the Moghan people is mostly related to historical issues, language, culture, and myths. Here we introduce the main sources because one of the questions of the present study which are related to the antiquity of the beliefs and rituals of the Turks, and this is something that we should talk about by relying on authentic historical documents. Analysis and Discussion: Three examples of songs performed in work situations by the women of Moghan are introduced here. The first is an example of a lullaby performed by a woman in the interior of the house in the form of a solo song. The second example is singing that women sing outside the house while waving Mashk, and the third example is singing especially for women during the performance of the ritual of Samanu Pazan in the reception of Nowruz, which is performed by a soloist accompanied by other women. All three examples are performed in a two- or three-tone context and with a simple melodic circulation. The content and text of these songs evoke themes that will be studied during this research along with the study of musical structure. Each song consists of short, recurring melodic figures, which can have a variety of variations in proportion to the different poems. The performance tone of each piece can vary according to the performance position and the physical movement related to the work. The content of the reading texts is precisely related to the work that is being done, and in the simplest case, it can be a description of the situation – the difficulty or the ease and beauty of doing the work, praying for good and blessings and health. Our revelation beyond the text of the songs of the work in the Moghan in this study is a novel subject that we will discuss in detail in future studies. These three pieces of music are each sung at specific times and during work. One of the important points in the study of work songs is that we do not call every type of music a work song, and the work song is a song that is related to the performance context and the theme of the song, and in studying these cases, we will see that all three examples studied contain themes related to the work that is being done. Conclusion: Here we will see that there are several similar and common characteristics in them. First, these songs are sung in a two-tone and three-tone context. So we can define their nature within the scope of the discourse of songs. The second issue is the importance of tempo and its relationship with body movements when singing songs. The more movement and faster the work is required, the faster the tempo of the musical performance will be, and these two, i.e. the movement of the body and the tone of the performance of singing and music, are directly related to each other. The third point is related to the themes discussed in the lyrics of the work. In these cases, we can see that all three songs evoke issues related to the work in progress. Wishing the child good health and well-being in singing lullabies, or creating a sense of security in the child, is one of the prominent themes in lullabies. But about the song of Mashk and the song that is sung while cooking Samanu, an important point becomes clear. While singing, the singer speaks to the material of his work: He tells the milk that it must be turned into oil and asks Samanu to bring them blessings and happiness. This view can be rooted in the animistic view, which is one of the very ancient views in pre-religious thoughts, and it is something that can be considered a fact in the studies of ancient cultures in proving the antiquity of ritual beliefs among these peoples. موضوع این پژوهش بررسی سه نمونه از آوازهای کار در جامعۀ زنان در میان مردم دشت مُغان است. دشت مُغان منطقه‌ای سرسبز و گسترده در شمال آذربایجان است. زنان با حضور در جامعۀ طوایفی و امکانات زندگی مردمی در بدنۀ زندگی روستایی دشواری کارهای روزانه را با موسیقی سهل‌تر کرده و روایتی از زیستِ بومی خود را در آن ترسیم می‌کنند که در این پژوهش، این امر موسیقایی به‌مثابه یک متن در بستری انسانی و قومی مورد بررسی و تحلیل قرار می‌گیرد. تا کنون پژوهشی درباۀ موسیقی و آوازِ زنان در دشت مُغان انجام نشده و هر آنچه دربارۀ مردم مغان نوشته شده است، بیشتر به موضوعات تاریخی، زبان، فرهنگ و اسطوره‌ها ارتباط پیدا می‌کند. یکی از پرسش‌های پژوهش حاضر، به قدمت باورها و آئین‌های ترکان بازمی‌گردد و این امری است که می‌بایست با تکیه بر اسناد معتبر تاریخی از آن بررسی کرد. در مقالۀ حاضر سه نمونه از آوازهای اجراشده در موقعیت‌های کاری توسط زنان دشت مُغان معرفی می‌شوند. نخستین مورد یک نمونه لالایی است که توسط زنی در فضای اندرونی خانه و به‌صورت تک‌خوانی اجرا می‌شود. نمونۀ دوم آوازی است که زنان در فضای بیرون از خانه و هنگام تکان‌دادن مشک می‌خوانند و نمونۀ سوم آوازخواندن مخصوص زنان در هنگام اجرای آئین سمنوپزان در استقبال نوروز است که توسط یک تک‌خوان و با همراهی زنان دیگر اجرا می‌شود. هر سه نمونه در بستر دو یا سه نغمه‌ای و با گردش ملودی ساده اجرا می‌شوند. محتوا و متن این آوازها متبادرکنندۀ مضامینی هستند که در طی این پژوهش در کنار مطالعۀ ساختار موسیقایی مورد بررسی قرار خواهند گرفت.

https://ira.guilan.ac.ir/article_8252_15e701a480d20b3e647f6803a511f583.pdf