دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Comedy and Ideology in the Cinema of Abdolreza Kahani: A Žižekian Reading of Asb Heyvan-e Najibi Ast and Bikhod va Bijehat کمدی و ایدئولوژی در سینمای عبدالرضا کاهانی: خوانشی ژیژکی از دو فیلم اسب حیوان نجیبی است و بی‌خود و بی‌جهت 9696 10.22124/ira.2026.33581.1092 FA ابوالفضل دهقانی زاده دانشجوی کارشناسی ارشد فلسفه هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور،ایران سهیلا منصوریان استادیار گروه آموزشی فلسفه هنر، دانشکده هنر، دانشگاه دولتی نیشابور، نیشابور، ایران . هاشم حسینی دانشیار گروه آموزشی پژوهش هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران. 0000-0003-4084-8981 ابوالقاسم دادور استاد تمام. گروه آموزشی پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. حسین غفاری جوشقان استاد تمام. گروه آموزشی زیبایی‌شناسی، دانشکده فلسفه، دانشگاه لومونوسف، مسکو، روسیه. Journal Article 2026 05 18 <strong>Background: </strong>In contemporary film studies, comedy is commonly understood either as a mode of entertainment or as a cinematic form capable of social criticism through satire, irony, and exaggeration. Within Iranian cinema, the films of Abdolreza Kahani have frequently been analyzed from sociological and realist perspectives, especially regarding representations of the urban middle class, economic instability, family fragmentation, and everyday crises. Nevertheless, these approaches often overlook the ideological mechanisms operating beneath comic situations. The present study is grounded in the assumption that comedy in Kahani’s cinema cannot be reduced merely to social satire or realism; rather, it functions as a space in which ideological contradictions become visible through repetition, absurdity, failed communication, and laughter itself. Drawing upon the psychoanalytic and ideological theories of Slavoj Žižek, this article examines how comedy in Kahani’s films reproduces fantasy, organizes desire, and sustains ideological enjoyment (jouissance). Žižek conceptualizes ideology not simply as a system of false consciousness, but as a structure of fantasy that allows subjects to continue participating in social reality despite recognizing its inconsistencies and instabilities. From this perspective, comedy becomes especially significant because it simultaneously exposes the fragility of symbolic authority and enables subjects to endure that fragility through enjoyment. The films Asb Heyvan-e Najibi Ast (2010) and Bikhod va Bijehat (2011) offer particularly rich material for such analysis because both films depict unstable social relations, failed communication, and crises of symbolic order through comic and absurd situations rather than tragic resolution.<br /><strong>Objectives</strong>: The primary objective of this research is to provide a Žižekian interpretation of comedy in the cinema of Abdolreza Kahani by focusing on the interrelation between ideology, fantasy, desire, and symbolic authority. More specifically, the study aims to demonstrate that comedy in Kahani’s films does not function primarily as a liberating critique of social contradictions, but rather as a mechanism through which such contradictions become manageable and tolerable. Another objective is to analyze how laughter emerges from the collapse or instability of authority, the failure of language, and the persistence of fantasy within fragmented social conditions. Through a comparative reading of Asb Heyvan-e Najibi Ast and Bikhod va Bijehat, the article seeks to identify two distinct but interconnected forms of ideological operation. In the first film, ideology functions through the performative reproduction of authority despite its lack of real institutional foundation; in the second, ideology survives through postponement, repetition, exhaustion, and the management of unresolved crisis in the absence of a stable symbolic center. The research also intends to contribute to philosophical film studies in Iran by applying Žižekian concepts such as the Big Other, fantasy, jouissance, symbolic lack, and the Real to close cinematic analysis. In doing so, the article challenges dominant assumptions that comedy necessarily possesses emancipatory or critical functions and instead argues that comic enjoyment may itself participate in the reproduction of ideological structures.<br /><strong>Method</strong>: This study adopts a qualitative, interpretive, and philosophical-analytical methodology grounded in psychoanalytic film theory and Žižekian ideology critique. The research is based on close formal and textual analysis of two films by Abdolreza Kahani: Asb Heyvan-e Najibi Ast (2010) and Bikhod va Bijehat (2011). Rather than treating the films merely as sociological reflections of Iranian society, the article approaches them as cinematic structures through which ideological fantasy becomes visible. The theoretical framework combines Žižek’s reinterpretation of Lacanian psychoanalysis with concepts related to desire, fantasy, ideology, jouissance, symbolic order, and the Real. The analysis focuses on cinematic elements such as fragmented dialogue, bodily gestures, repetition, pauses, spatial congestion, comic timing, sound overlap, and narrative suspension. Particular attention is paid to moments in which language fails, authority becomes performative, or characters continue participating in unstable social relations despite recognizing their incoherence. In Asb Heyvan-e Najibi Ast, scenes involving fake police authority, extortion, and symbolic intimidation are interpreted through Žižek’s theory of ideological fantasy. In Bikhod va Bijehat, the analysis centers on failed communication, domestic exhaustion, repetitive arguments, and suspended decision-making, all of which reveal the collapse of symbolic coherence and the weakening of the Big Other.<br /><strong>Result</strong>: The findings demonstrate that comedy in Kahani’s cinema functions as a complex ideological mechanism rather than merely a critical or entertaining genre. In Asb Heyvan-e Najibi Ast, symbolic authority persists despite lacking institutional legitimacy because subjects continue acting “as if” authority were real. The protagonist produces obedience not through legal power, but through gestures, performance, tone of voice, and symbolic signs associated with authority. The comic effect emerges from the gap between the emptiness of authority and the persistence of belief in its performance. The film therefore illustrates a specifically Žižekian logic of ideology: subjects are aware of the falseness of authority, yet continue reproducing it because such participation sustains fantasy and prevents confrontation with instability. In Bikhod va Bijehat, by contrast, even performative authority has weakened. Language becomes fragmented and ineffective, communication turns repetitive and circular, and characters remain trapped within unresolved crises. Here, comedy arises not from exaggerated authority but from the absurd continuation of social interaction despite the collapse of symbolic coherence. The findings further suggest that laughter in Kahani’s cinema does not necessarily create critical distance; instead, it often becomes part of the mechanism through which subjects tolerate contradiction, lack, and symbolic failure.<br /><strong>Conclusion</strong>: This study concludes that comedy in the cinema of Abdolreza Kahani operates as a privileged site for the manifestation of ideology, fantasy, and symbolic instability in contemporary Iranian society. Through a Žižekian framework, the research demonstrates that laughter in Kahani’s films is deeply connected to the maintenance of ideological structures rather than functioning solely as critique or resistance. In Asb Heyvan-e Najibi Ast, comedy emerges through the performative circulation of fake authority, while in Bikhod va Bijehat, it emerges through exhaustion, failed communication, and the suspension of meaningful action. In both films, subjects continue participating in unstable symbolic structures despite recognizing their emptiness and inconsistency. The article therefore argues that Kahani’s cinema reveals ideology not as external deception, but as a structure of enjoyment embedded within ordinary interactions, comic repetitions, and everyday forms of crisis management. Ultimately, the study proposes that comedy in Kahani’s films represents one of the clearest manifestations of political truth in contemporary cinema: a condition in which subjects know the instability of the system, yet continue participating in it nonetheless. این پژوهش به بررسی نسبت میان کمدی، ایدئولوژی و منطق میل در دو فیلم «اسب حیوان نجیبی است» و «بی‌خود و بی‌جهت» ساختۀ عبدالرضا کاهانی می‌پردازد.  مسئلۀ اصلی مقاله آن است که کمدی در این آثار چگونه از سطح سرگرمی فراتر می‌رود و به فضایی برای بازنمایی بحران‌های روزمره، اختلال در روابط اجتماعی و تداوم مناسبات ایدئولوژیک تبدیل می‌شود. تا جایی که بررسی‌ها نشان می‌دهد، بخش عمدۀ پژوهش‌های مربوط به سینمای کاهانی بیشتر بر جنبه‌های اجتماعی و واقع‌گرایانۀ آثار او متمرکز بوده‌ و کمتر به پیوند کمدی با مفاهیمی چون میل، لذت و فانتزی توجه کرده‌اند. ازاین‌رو، مقالۀ حاضر با بهره‌گیری از خوانش اسلاوی ژیژک از ایدئولوژی، فانتزی و ژوئیسانس، می‌کوشد منطق کمدی را در نسبت با بحران نظم نمادین تحلیل کند. انتخاب این دو فیلم نیز به دلیل تفاوت آن‌ها در بازنمایی اقتدار، زبان و روابط جمعی صورت گرفته است؛ به‌گونه‌ای که یکی بر اجرای اقتدار جعلی و دیگری بر فرسایش گفتار و تعلیق کنش تمرکز دارد. روش پژوهش کیفی و مبتنی‌بر تحلیل صحنه‌محور است. در این چارچوب، عناصری چون میزانسن، ریتم تکرار، بدن، اختلال گفتار، هم‌پوشانی دیالوگ‌ها و الگوهای کنش روزمره بررسی می‌شود. تحلیل فیلم «اسب حیوان نجیبی است» نشان می‌دهد که اقتدار، حتی در غیاب پشتوانۀ واقعی، از خلال ژست‌های بدنی، لحن گفتار و فانتزی اطاعت بازتولید می‌شود. در مقابل، «بی‌خود و بی‌جهت» فضایی را ترسیم می‌کند که در آن تکرار گفت‌وگوهای نیمه‌تمام و تعویق تصمیم‌گیری، امکان تثبیت هرگونه نظم پایدار را مختل می‌سازد. نتایج پژوهش حاکی از آن است که کمدی در این دو فیلم تنها در خدمت تولید خنده یا انتقاد اجتماعی قرار ندارد، بلکه بستری برای تجربه و تحمل بحران‌های روزمره فراهم می‌کند. بر این اساس، مقاله پیشنهاد می‌کند که کمدی در سینمای کاهانی را می‌توان صورتی از مواجهه با فقدان، بی‌ثباتی و استمرار وضعیت ایدئولوژیک در زندگی روزمره دانست.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 From Frame to Gaze in Rear Window: Surveillance, Truth, and the Language of Hitchcockian Cinema از قاب تا نگاه در پنجره پشتی: بازنمایی نظارت و حقیقت در زبان سینمایی آلفرد هیچکاک 9276 10.22124/ira.2025.31922.1077 FA آفرین عباسی گروه آموزشی پژوهش و تاریخ هنر، دانشگاه تربیت مدرس، تهران، ایران علی اصغر فهیمی فر دانشیار، گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران Journal Article 2025 10 08 <strong>Introduction: </strong>Visual language serves as a universal form of communication that transcends words, expressing meaning through imagery, symbolism, and perceptual cues. Alfred Hitchcock’s Rear Window stands as one of the most exemplary works illustrating how visual storytelling can evoke suspense, emotion, and philosophical contemplation. Rather than relying on dialogue, the film draws its power from elements such as mise-en-scène, composition, lighting, and camera movement—all of which direct the viewer’s gaze and shape their psychological engagement. The narrative centers on Jeff, a temporarily immobilized photographer who observes the lives of his neighbors from his apartment window. This confined yet revealing perspective becomes a vehicle for exploring voyeurism, surveillance, gender relations, and the blurred boundaries between perception and reality. The present study examines Hitchcock’s visual strategies in Rear Window and interprets their significance for cinematic language, audience psychology, and cultural discourses surrounding observation and power.<br /><strong>Theoretical Background: </strong>Alfred Hitchcock’s Rear Window has been widely examined within academic discourse as a pivotal work at the intersection of cinematic form, spectatorship, and social theory. John Belton (2000) underscores the film’s complex engagement with voyeurism, emphasizing how Hitchcock compels the audience to share in the protagonist’s act of looking, thereby implicating the viewer in the moral and psychological dimensions of surveillance. From a cognitive perspective, David Bordwell (1985) interprets the film as an active process of visual interpretation, wherein spectators construct meaning through prior experience and perceptual inference. Kevin S. Brennan (2018) extends this analysis through a formalist lens, identifying Hitchcock’s precise manipulation of framing and camera movement as key mechanisms for generating suspense and audience involvement. Guinó et al. (2003) situate Rear Window within a broader sociological framework, suggesting that the narrative mirrors real-world limitations in interpreting social behaviors from fragmentary visual cues. Furthermore, Michel Foucault’s (1977) theories of surveillance and power relations offer a critical framework for understanding the film’s depiction of observation as a mode of control, connecting cinematic representation to societal concerns about visibility, authority, and discipline. Complementing these perspectives, cultural analyses have examined Rear Window in relation to postwar constructions of masculinity and the psychological underpinnings of voyeuristic desire (Cambridge University Press, 1999). Collectively, these theoretical approaches establish a multidisciplinary foundation for the present study, framing Rear Window not only as a landmark in film aesthetics but also as a penetrating commentary on the ethics of watching and the dynamics of social interaction.<br /><strong>Research Objectives and Questions: </strong>The primary objective of this study is to examine how Rear Window employs visual elements to navigate the interplay between observation, reality, and ethical reflection on privacy. The key research questions are: How do mise-en-scène, lighting, camera movement, and framing contribute to suspense and ethical tension? In what ways does the film spatially reflect the division between public and private spheres? How does the spectator’s identification with the protagonist complicate notions of participation and responsibility in acts of looking?<br /><strong>Hypotheses: </strong>It is hypothesized that Hitchcock’s use of restricted camera perspectives and compositional strategies not only intensifies narrative suspense but also challenges conventional ethics of spectatorship, highlighting the tension between casual observation and intrusive surveillance. Additionally, these visual strategies are proposed to reflect broader sociocultural anxieties surrounding authority, visibility, and resistance within mediated spaces.<br /><strong>Data Collection: </strong>The research employs a qualitative, interpretive methodology grounded in close, scene-by-scene visual analysis. Selected sequences were chosen for their narrative centrality and recurrence of visual motifs associated with spatial framing, lighting dichotomies, and sound orchestration. Supplementary materials include screenplay passages, critical reviews from the period, and scholarly discussions addressing Hitchcock’s cinematic techniques.<br /><strong>Discussion: </strong>The analytical findings illustrate that Rear Window operates as a meta-cinematic investigation into acts of looking and being looked at. The spatial structure—organized through a network of apartment windows—becomes a symbolic device that delineates physical and psychological boundaries while simultaneously fostering connections emblematic of modern urban existence, oscillating between intimacy and alienation. Variations in lighting and color intensity articulate emotional tension and moral complexity, blurring distinctions between everyday observation and concealed voyeurism. The film’s auditory design—comprising environmental sounds and intentional silences—amplifies its atmosphere of vigilance and uncertainty. The spectator’s identification with Jeff’s gaze situates the audience within an ethically ambiguous position of shared surveillance, compelling reflection on the limits of visual access and the morality inherent in observation. The narrative’s climax forces recognition of the social and psychological consequences of such acts. Extending beyond aesthetic interpretation, this discussion integrates Foucault’s theories of power and surveillance to elucidate how Hitchcock translates the mechanics of control and visibility into cinematic form. The film’s engagement with these ideas presages contemporary discourses on digital transparency, data collection, and mediated presence.<br /><strong>Conclusion: </strong>This research offers an interdisciplinary reading of Rear Window within the context of Persian film scholarship, contributing a nuanced understanding of its visual logic and conceptual sophistication. The study contends that the film transcends its suspense genre to emerge as a philosophical exploration of perception, authority, and interpretation. By transforming a confined apartment setting into a locus of visual and ethical inquiry, Hitchcock demonstrates cinema’s capacity to express complex psychological and sociocultural issues without reliance on dialogue. The findings substantiate the initial hypotheses: the restricted perspective aligns the viewer with the protagonist’s investigative gaze, provoking interpretive engagement while anticipating ongoing debates about privacy and control. Moreover, the portrayal of gender interactions reveals Hitchcock’s subtle critique of social power structures. Ultimately, Rear Window endures as a seminal text for examining cinematic language, perceptual psychology, and the politics of surveillance, with its interrogation of who observes, who is observed, and what meaning is derived from observation remaining critically relevant to both film studies and contemporary society. مسئلۀ اصلی این پژوهش بررسی چگونگی استفاده آلفرد هیچکاک از زبان تصویر برای بازنمایی مفاهیم نظارت، ادراک و روان‌شناسی تماشاگر در فیلم پنجره پشتی است. زبان تصویر به‌عنوان یکی از بنیادین‌ترین ابزارهای ارتباطی در هنر، نقشی تعیین‌کننده در انتقال معنا، احساس و تجربۀ ادراکی دارد. هیچکاک با بهره‌گیری از عناصری چون میزانسن، نورپردازی، ترکیب‌بندی و حرکت دوربین، توانسته است بدون تکیه بر دیالوگ، مفاهیم پیچیدۀ روان‌شناختی و اجتماعی را به‌تصویر کشد. فیلم پنجره پشتی نمونه‌ای برجسته از سینمای دیداری است که در آن مفاهیمی مانند کنجکاوی، قدرت نگاه، و مرز میان واقعیت و خیال در ساختاری تعلیق‌آمیز و معمایی بازنمایی می‌شوند. این پژوهش با رویکردی کیفی و میان‌رشته‌ای انجام شده و با تکیه بر روش‌های تحلیل بصری، نشانه‌شناسی و سبک‌شناسی، به واکاوی نحوۀ استفاده از عناصر دیداری برای ایجاد تعلیق و مشارکت ذهنی مخاطب می‌پردازد. تحلیل روایت و روان‌شناسی بصری نیز در جهت بررسی هدایت نگاه تماشاگر و تجربۀ ادراکی او به‌کار گرفته شده است. یافته‌ها نشان می‌دهد که هیچکاک با محدود کردن زاویه دید به فضای آپارتمان جف، مخاطب را در موقعیت شخصیت اصلی قرار داده و او را درگیر فرایند مشاهده و کشف حقیقت می‌کند. استفاده از نورهای سایه‌دار، قاب‌بندی‌های چندلایه و حرکت‌های دقیق دوربین، نه‌تنها حس تعلیق را تقویت کرده بلکه تماشاگر را به مشارکت فعال در روایت فرا می‌خواند. در نهایت، فیلم پنجره پشتی فراتر از یک اثر معمایی، تأملی فلسفی درباره ماهیت تماشاگری، محدودیت ادراک انسانی و پیامدهای اخلاقی نظارت ارائه می‌دهد. این پژوهش نشان می‌دهد که تصویر، به‌عنوان زبان مستقل سینما، توانایی منحصربه‌فردی در بیان مفاهیم پیچیدۀ روان‌شناختی و اجتماعی دارد و همچنان می‌تواند الهام‌بخش مطالعات معاصر در حوزه‌ی سینما و فرهنگ باشد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 A Systematic Review of Mobile Technology-Based Music Education Models الگوی آموزش موسیقی مبتنی‌بر فناوری‌های سیّار: یک مرور نظام‌مند 8828 10.22124/ira.2025.30237.1056 FA راشد محمدیان گروه آموزش علوم تربیتی، دانشگاه فرهنگیان، تهران، ایران مهدی واحدی دانشیار گروه تکنولوزی اموزشی ، دانشکده روانشناسی و علوم تربیتی، دانشگاه علامه طباطبائی، تهران ، ایران زهرا جامه بزرگ دانشیار گروه تکنولوزی اموزشی ، دانشکده روانشناسی و علوم تربیتی، دانشگاه علامه طباطبائی، تهران ، ایران آزاد الله کرمی استادیار دانشگاه فرهنگیان کردستان، سنندج، ایران Journal Article 2025 03 31 <strong>Background:</strong> Recent developments in music education suggest that the use of mobile technologies can overcome the temporal, spatial, and structural limitations of traditional methods. The question that arises is whether a structured and organized model has been designed for integrating mobile technologies into music education. Traditional music education, while possessing many positive attributes, also has drawbacks and limitations. One significant limitation is that scheduling options may be more restricted, as students are typically confined to teachers within their geographical vicinity. Additionally, the costs associated with in-person classes are higher in many cases compared to other methods. Overall, attending physical classes is not feasible for everyone due to various constraints, including time, age, geography, and financial factors (Gherheș et al., 2021). Given the numerous challenges that traditional, face-to-face education faces in today's era, professionals in this field are continually seeking solutions to address these issues. Generally, three approaches to music education can be identified: traditional education (face-to-face and in-person), blended education (combining in-person and online learning while utilizing technology), and online education (completely technology-based). Some studies have acknowledged the positive effects of the blended approach on music learning compared to other methods (Cruywagen & Potgieter, 2020; Jenkins & Crawford, 2021).<br /><strong>Objectives:</strong> Given the aforementioned details, it is essential to explore a method for teaching music using technology. Therefore, this research emphasizes the non-traditional approach based on technology and mobile learning, aiming to meet the needs of a significant number of individuals interested in learning music who, for various reasons, are unable to attend blended or face-to-face classes. The subsequent discussion will address the impacts of such an approach in the field of music education. The importance of conducting a systematic review on mobile technology-based music education is paramount, especially in light of the increasing integration of mobile technologies into daily life and education. Traditional music education methods are becoming inadequate for many learners who cannot attend in-person classes due to various constraints. This study aims to address this gap by identifying and analyzing mobile technology-based music education models developed between 2010 and 2024. The focus will be on evaluating their effectiveness, benefits, and challenges, ultimately highlighting the critical role of this approach in advancing music education.<br /><strong> </strong><strong>Method:</strong> To outline the research background, the PRISMA method-based systematic review was used. The review was conducted with four main objectives: (1) identifying music education models based on mobile technologies, (2) analyzing these models, (3) identifying challenges and barriers, and (4) providing improvement suggestions. Initially, studies with a high degree of similarity were reviewed to ensure the novelty and innovative aspects of the research. Subsequently, related studies were extracted and analyzed to provide a research background. After conducting a comprehensive search across databases such as Scopus, ProQuest, ERIC, Web of Science, Magiran, NoorMags, Civilica, Irandoc, and Jihad Daneshgahi, covering the period from 2010 to 2024 for English articles, 544 articles were identified, 23 of which met the criteria for in-depth analysis. The sources also included scholarly research articles, peer-reviewed academic journals, conference proceedings, doctoral dissertations, and theses.<br /><strong>Result:</strong> The results indicated a variety of models in virtual music education, music education games based on mobile technologies, blended and smart learning environments, and deep learning algorithms. The findings also revealed the positive impact of integrating mobile technologies with music education on student engagement, flexibility, access to diverse resources, collaborative learning, skill development, and music comprehension. The design of educational models should include components such as the use of instructional design models, alignment of learning objectives, the use of multimedia, development of rich, interactive, and multifaceted content covering theoretical concepts, historical knowledge, technical skills, and musical works. It should also provide opportunities for feedback and interaction between teachers and students, integrate elements of gamification and game-based learning to maintain motivation, and consider individual differences. However, challenges such as infrastructural issues, limited access to technology, lack of teacher preparedness and skills, and reduced student motivation in online classes, as well as limitations of virtual education and technology integration, were noted. To improve the situation, further research, technical infrastructure development, teacher training, and financial support are necessary. The results indicate that research on mobile technology-based music education models has primarily been conducted in Asian countries, with China leading with eight studies, followed by Turkey with seven studies, and Iran with three studies. Additionally, a few studies were carried out in Western countries, including Australia (two studies), the United States (two studies), and Finland (one study). Overall, it can be concluded that East Asian countries, particularly China, have the largest share of research in the area of mobile technology-based music education models. Studies highlight the necessity of a focused approach when shifting from traditional to online music education, taking into account teaching methods, technology, and students' skills to improve learning outcomes. In Iran, significant research gaps exist, as many studies concentrate on music's impact on other fields rather than on advancing music education strategies. Notably, Mohammadian's thesis on educational software for music learning is particularly relevant to this research.<br /><strong>Conclusion: </strong>This systematic review shows that despite the rapid growth of mobile technologies, their application in music education requires greater richness and coherence. Studies demonstrate the design of various models in this area, but challenges such as weak infrastructure, insufficient teacher readiness, limited student engagement, and poorly designed content persist. However, there are rich opportunities for personalized learning, simulating safe environments, and providing real-time feedback through intelligent algorithms. To realize this potential, it is essential to develop learning models and train professional teachers. There is also a need for policies to improve internet access and online tools. Finally, recommendations and opportunities are discussed, focusing on teacher education and the development of localized models aligned with learning needs. تحولات اخیر در آموزش موسیقی نشان می‌دهد که استفاده از فناوری‌های سیّار می‌تواند بر محدودیت‌های زمانی، مکانی و ساختاری روش‌های سنتی غلبه کند. سؤالی که پیش می‌آید این است که آیا مدلی مدون و ساختارمند برای تلفیق فناوری‌های سیّار در آموزش موسیقی طراحی شده است؟ پژوهش حاضر یک مرور نظام‌مند جهت بررسی الگوهای آموزش موسیقی مبتنی‌بر فناوری‌های سیّار است. این مطالعه از دستورالعمل‌های پریزما برای مرور نظام‌مند پیروی می‌کند. مرور نظام‌مند بر اساس چهار هدف شامل 1- شناسایی الگوهای آموزش موسیقی مبتنی‌بر فناوری‌های سیّار 2- تحلیل الگوهای آموزش موسیقی 3- شناسایی چالش‌ها و موانع و 4- ارائه پیشنهادات بهبود، انجام شد. پس از انجام یک جست‌وجوی جامع از طریق چندین پایگاه داده شناخته‌شده در بین سال های 1390-1403 (برای مقالات انگلیسی از 2010 تا 2024)، 544 مقاله شناسایی شد که از میان آنها 23 مقاله معیارهای تجزیه و تحلیل عمیق را داشتند. بر اساس نتایج، الگوهای متنوعی در زمینه آموزش مجازی موسیقی، بازی‌های آموزشی موسیقی مبتنی‌بر فناوری سیّار، محیط‌های یادگیری تلفیقی و هوشمند و الگوریتم‌های یادگیری عمیق به‌کار گرفته شده‌اند. همچنین یافته‌ها نشان‌دهنده تأثیرات مثبت یکپارچه‌سازی فناوری‌های سیّار و آموزش موسیقی بر تعامل دانش‌آموزان، انعطاف‌پذیری، دسترسی، توسعه مهارت و درک موسیقی است. با این‌حال، چالش‌هایی در مورد زیرساخت، آمادگی معلم، انگیزه دانش‌آموز در کلاس‌های آنلاین، محدودیت‌های آموزش مجازی و ادغام فناوری وجود دارد. در نهایت پیشنهادات و فرصت‌های ارائه‌شده بر آموزش معلمان، توسعه مدل‌های بومی‌سازی‌شده همسو با نیازهای یادگیری، بهبود دسترسی و تحقیقات بیشتر متمرکز هستند.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Examining the “Borderscape” Approach in Landscape Photography as a Critical Strategy: A Case Study of Richard Misrach’s “Border Cantos” Series بررسی رویکرد «چشم‌انداز مرزی» در عکاسی منظره به‌مثابه استراتژی انتقادی با نمونه‌کاوی مجموعه عکس «کانتوهای مرز» اثر ریچارد میزرک 9313 10.22124/ira.2025.31815.1074 FA سونا مویدزاده دانشگاه هنر تهران، دانشکده پردیس بین المللی فارابی، تهران ، ایران محمد خدادادی مترجم زاده دانشیار گروه عکاسی، دانشگاه هنر تهران Journal Article 2025 09 29 <strong>Introduction</strong>: Borders, as geopolitical phenomena, not only serve as dividers of nation-state sovereignty but also play a prominent role in shaping spaces, places, and human relations. Major developments in global politics over recent decades have fostered an interdisciplinary interest in borders, and many visual and interdisciplinary artists have engaged with the theme of borderscapes in their work. Although the concept and approach of the “borderscape” largely align with the framework of political geography, it presents borders as non-territorial, mobile spaces based on human flows and interactions. In this perspective, a border is not understood as a fixed location but rather as a dynamic and fluid landscape that extends beyond the demarcation line, traversing peripheral areas and territorial continuities, a landscape that is not confined to a specific space and is continually transforming and being redefined. Within this perspective, the study and analysis of landscape photographs of border walls and fences, as artistic objects, requires an examination of the factors that shape the geography of the border through the enclosure of spaces. Landscape photography, by capturing borderscapes as security spaces, represents violence and population control, and creates the possibility for a critical and ethical examination of border walls and fences as security apparatuses of the state.<br /><strong>Objectives and Research Questions: </strong>The objective of this research is to examine the approach of the borderscape in landscape photography as a critical strategy for revealing violence and generating ethical reflection in the audience. This research attempts to answer the following two questions: How does landscape photography reveal the latent violence in the borderscape? How does the borderscape, in landscape photography, enable the possibility of ethical reflection for the audience?<br /><strong>Case Study: </strong>In order to address the research questions, the United States–Mexico border wall, as a prominent example of organized violence, provides an appropriate context for examining borderscape photographs. The focus of this research is the examination and analysis of the series of photographs, Cantos of the Border, by Richard Misrach as a concentrated case study. This series is an interdisciplinary project prepared in collaboration with Guillermo Galindo, a Mexican multimedia artist, and aims to provide a critique of the policies and campaigns for constructing the wall during the presidency of Donald Trump. The project consists of two main sections, an exhibition and a project book, each designed to provide a comprehensive experience of the borderscape. In this research, the focus is on analyzing selected images from the project book, and the analysis is conducted using a critical aesthetic approach. The critical aesthetic approach, with a focus on the emotional and affective experience of the border, enables the revelation of hidden dimensions of violence in borderscapes and creates a context for eliciting ethical reflection in the audience.<br /><strong>Methodology: </strong>The present study is qualitative in nature, based on a fundamental objective, and was conducted using a descriptive-analytical method. The research data were organized theoretically from library and documentary sources, and the images were collected from electronic resources. In this study, drawing on theoretical texts and previous research, the concept of the “borderscape” is examined. The United States–Mexico border wall was selected as a prominent case for examining this approach, as it has been both a site of structural violence and a stage for multiple artistic representations. The research population comprises the works of the photographic series Cantos of the Border by Richard Misrach. From this series, three images were purposefully selected because they possessed the greatest visual capacity for critical aesthetic analysis in terms of composition, ambient light, and the form of natural and human-made elements. Additionally, these images, by featuring appropriate signs as Foucaultian apparatuses of security, demonstrate the distribution of power, control, and surveillance within the borderscape.<br /><strong>Results: </strong>The results indicated that landscape photography provides an effective framework for visualizing the violence and surveillance mechanisms embedded in the borderscape. The dual nature of the borderscape, by revealing and enabling the simultaneous experience of binary oppositions such as “self and other,” “security and threat,” and “presence and absence,” creates a context for critical reflection and the consideration of political and ethical issues for the audience. Analysis of three photographs from Richard Misrach’s Cantos of the Border revealed that through the use of critical aesthetic strategies and the display of tension between visual beauty and structural violence, Misrach transforms the borderscape into a field of inquiry, resistance, and ethical reflection. This approach aligns with Michel Foucault’s concept of “security apparatuses”; Misrach presents walls, fences, and border patrol markers as security apparatuses to reveal both the limitations of the border and the lived experiences of those inhabiting or traversing these spaces. Furthermore, he enacts a form of political performance within the realm of landscape photography, demonstrating that the walls are not merely fixed structures but complex sites of emotion, rupture, trauma, and resistance. In his works, aesthetics and politics coexist closely, enabling the use of imagery for critical examination and the representation of the complexities of power and violence at the border. The study of Cantos of the Border shows that Misrach portrays the U.S.-Mexico border not as a static space, but as a dynamic and challenging landscape where aesthetics functions as a strategy for political resistance and critique. پژوهش حاضر با هدف بررسی رویکرد چشم‌انداز مرزی در عکاسی منظره به‌عنوان یک استراتژی انتقادی در آشکارسازی خشونت و ایجاد تأمل اخلاقی در مخاطب صورت گرفته است. این پژوهش با گرایشی میان‌رشته‌ای می‌کوشد به پرسش-های ذیل‌ پاسخ دهد: عکاسی منظره چگونه خشونت نهفته در چشم‌انداز مرزی را آشکار ‌می‌کند؟ چشم‌انداز مرزی چگونه در عکاسی منظره امکان تأمل اخلاقی در مخاطب را فراهم می‌آورد؟ در راستای پاسخ به این پرسش‌ها، دیوار مرزی آمریکا-مکزیک به‌‌عنوان نمونه‌ای شناخته‌شده در ارتباط با سیستم‌های کنترل و نظارت مرزی انتخاب شده است. بدین لحاظ، پژوهش بر مجموعه عکس «کانتوهای مرز» اثر ریچارد میزرک متمرکز است؛ این مجموعه در قالب پروژه‌ای میان‌رشته‌ای و با همکاری هنرمند چندرسانه‌ای گیلرمو گالیندو، در نقد سیاست‌های مرزی دونالد ترامپ تهیه شده است. تحلیل در این پژوهش بر تصاویر برگزیده کتاب پروژه و با بهره‌گیری از رهیافت زیبایی‌شناسی انتقادی صورت گرفته است. پژوهش به شیوۀ کیفی و به روش توصیفی-تحلیلی سامان یافته و داده‌ها از منابع کتابخانه‌ای گردآوری شده‌اند. یافته‌ها نشان می‌دهند که عکاسی منظره در بستر چشم‌انداز مرزی، ظرفیت قابل‌توجهی در آشکارسازی خشونت‌های نامرئی و سازوکارهای نظارتی دارد و امکان فهم مرزها را به‌عنوان مکان‌هایی برای نقد سیاسی و ملاحظات اخلاقی فراهم می‌کند. تحلیل مجموعه عکس «کانتوهای مرز» نشان داد که میزرک با بهره‌گیری از ماهیت دوگانۀ چشم‌انداز مرزی و تضاد میان زیبایی‌شناسی دیداری و خشونت ساختاری مرز، تجربه‌ای تنش‌آلود از فضا در مخاطب ایجاد می‌کند و مرز را به عرصه‌ای برای پرسش‌گری و تأمل اخلاقی بدل می‌کند. همچنین مشخص شد که عکاسی او با بازنمایی محدودیت‌های مرزی و بازتاب تجربه‌های زیستۀ افراد درگیر با این فضاها، نوعی پرفورمنس سیاسی را در قالب عکاسی منظره به اجرا می‌گذارد و چشم‌انداز مرز را نه فضایی ایستا، بلکه عرصه‌ای پویا، پیچیده و مملو از قدرت، گسست و مقاومت نمایان می‌سازد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Music, Identity, and Globalization in Bandar Abbas: An Interdisciplinary Study of Acculturation in Hybrid Musical Bands موسیقی، هویت و جهانی‌شدن در بندرعباس: مطالعه‌ای بین‌رشته‌ای درباره فرهنگ‌پذیری در گروه‌های موسیقی هیبریدی 9730 10.22124/ira.2026.33782.1107 FA صبا اسمعیلی ششده گروه موسیقی، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران کیوان آقامحسنی استادیار گروه موسیقی، دانشکدۀ معماری و هنر، دانشگاه گیلان، رشت، ایران Journal Article 2026 06 07 <strong>Background: </strong>Due to its unique geographical location, BandarAbbas has always been one of Iran's most important ports, serving as a hub of cultural and commercial exchange between local inhabitants and various migrants from Africa, India, Portugal, and Spain. Throughout history, this region has experienced continuous exposure to trade, migration, and maritime flows, transforming it into a kind of “Global city” where local and transnational cultural patterns are in constant contact. These interactions have given rise to musical acculturation. However, most research on the music of southern Iran has adopted a historical approach, with less attention paid to contemporary developments and cultural interactions in urban contexts. Consequently, many dimensions related to the formation of urban popular music and the mutual influence of different cultures have remained understudied. The study of BandarAbbas's music is significant because it offers a living example of how hybrid identity is formed in the context of globalization, an identity which is not defined by the negation of tradition but by its redefinition in encounter with international musical currents.<br /><strong>Objectives: </strong>This research aims to examine the process of musical acculturation in BandarAbbas and its impact on the creation of hybrid genres, focusing on groups such as Leyva, Mamboleyva, Damahi, Jalboat, and Gargop. It seeks to answer the main question: How has the process of musical acculturation led to the formation of hybrid genres in the popular music of BandarAbbas, and what role has this process played in shaping the contemporary musical identity of the region? By analyzing contemporary musical pieces, from Leyva and Mamboleyva to Damahi, Jalboat, and Gargop, the study demonstrates how local musicians have created a new form of artistic identity through the creative fusion of local music with global musical currents such as reggae, jazz, and flamenco.<br /><strong>Method: </strong>This research is qualitative in terms of analysis and descriptive-analytical in nature. Data collection was carried out through library resources, fieldwork, and oral sources. Field studies were based on the researcher's presence among local informants and veteran artists. This was achieved by locating gathering places of artists and musicians through snowball sampling and conducting structured and semi-structured interviews with them. Additionally, musical activities were observed, and specific pieces were analyzed for hybrid characteristics based on theoretical frameworks of acculturation and hybridity strategies.<br /><strong>Result: </strong>The first signs of acculturation and hybridity in BandarAbbas date back to the early decades of the 20th century with the introduction of the oud from the southern Persian Gulf. A second wave occurred in the early 1960s, led by Ebrahim Monsefi (Rami), who popularized the guitar. Groups like Liwa (formed in 1969) pioneered the use of drums and guitars combined with local rhythms such as the Dohol-Kaser. Leyva's “Jooti Sefid” blended local rhythms with reggae, not jazz as commonly mislabeled. Mamboleyva (formed around 1999) revived Leyva's legacy, further integrating Latin intervals and African rhythms. What distinguishes the activities of the <strong>Mamboleyva</strong> group is its <strong>revivalist approach</strong>. Mamboleyva can be regarded as the reviver of the <strong>Leyva group</strong> and of <strong>Bandarabbasi hybrid music</strong>. One dimension of revival is related to the <strong>agency and desire for change among musicians</strong><strong>.</strong> These individuals engage in revival driven by <strong>personal, political, or social motivations</strong><strong>.</strong> In many cases, revival and revivalist movements in music adopt an <strong>anti‑modernist orientation</strong>. However, it appears that the revival of the Leyva group by Mamboleyva follows an <strong>orientation toward modernism</strong>, rather than opposing it. Contemporary groups include Damahi (formed 2013), whose piece “Divaneh” combines BandarAbbas rhythmic patterns with jazz and flamenco hand-clapping. Jalboat (formed later), whose “Fahmet Boba Bala” blends local dialect with jazz and reggae, using rhythmic modulation, and Gargop (formed 2019), whose “Rang-e Sehr” mixes reggae and jazz with local elements, exhibiting a strategy of distortion. These groups have faced challenges, including censorship, concert permit issues (Damahi is officially banned due to political stances), and the risk of instability due to conflicting cultural policies. Despite this, audience acceptance was evidenced by a sold-out “Show Bandari” concert (December 2024) with approximately 1,300 tickets sold.<br /><strong>Conclusion: </strong>The process of acculturation and hybridity in BandarAbbas's music demonstrates the dynamism and flexibility of this genre. From Gholamali Tavasoli's “Jooti Sefid” to Damahi's “Divaneh”, this music represents a continuous process of change. It shows that Hormozgani identity is not a static heritage to be preserved in a museum but a dynamic process that constantly reinvents itself at the intersection of African and reggae rhythmic patterns, Arabic and jazz intervals, Western instrumentation, and local dialect. While these groups have successfully entered Iran's mainstream popular music and even gained international recognition (Damahi performed at the London Jazz Festival and in Canada), they face structural pressures and governmental constraints. The hybrid music of BandarAbbas has built an identity in which being local is not an obstacle to globalization but rather the most important path to joining global culture. It serves not only as a symbol of cultural diversity but also as a model for musical and cultural coexistence. بندرعباس، به دلیل موقعیت جغرافیایی ویژه، همواره به‌عنوان یکی از مهم‌ترین بنادر ایران، محل تبادل فرهنگی و تجاری میان بومیان و مهاجران مختلف از کشورهای آفریقا، هند، پرتغال و اسپانیا بوده است. این تعاملات، منشأ شکل‌گیری فرهنگ‌پذیری موسیقایی در منطقه شده‌اند. پژوهش حاضر روند فرهنگ‌پذیری موسیقایی در بندرعباس و تأثیر آن در خلق گونه‌های هیبریدی یا دورگه را با تمرکز بر گروه‌هایی چون لیوا، مامبولیوا، داماهی، جالبوت و گارگپ بررسی کرده است. این گروه‌ها با بهره‌گیری از سازهای غیر ایرانی مانند درامز و گیتار و ترکیب آن‌ها با ریتم‌های موسیقی محلی، آثاری نوآورانه خلق کرده‌اند که افزون‌بر حفظ هویت بومی، قابلیت ارائه در سطح بین‌المللی یافته‌اند. موسیقی این گروه‌ها در دهۀ ۱۳۹۰ ه.ش. به بخشی از جریان اصلی موسیقی مردم‌پسند ایران تبدیل شد. این پژوهش به شیوة‌ تحلیل کیفی و با مرور پیشینۀ تاریخی و مصاحبه با هنرمندان بومی و مشاهده فعالیت‌های موسیقایی انجام شده است. تحلیل روند شکل‌گیری موسیقی هیبریدی در بندرعباس، از دهه‌های ابتدایی قرن بیستم تا امروز، نشان‌دهندۀ آن است که موسیقی در این منطقه صرفاً یک پدیده زیبایی‌شناختی نبوده، بلکه به‌عنوان ابزاری برای بروز هویت فردی و جمعی عمل کرده است. موسیقی هیبریدی بندرعباس، از «جوتی سفیدِ» غلامعلی توسلی تا «دیوانه» داماهی، فرایندِ مداومِ تغییر است. این گونه نشان می‌دهد که هویت هرمزگانی نه یک میراث ایستا برای حفاظت در موزه، بلکه یک روند پویا  است که در تلاقی ریتم‌های آفریقایی و رگی، فواصل عربی و جَز، سازبندی غربی و گویش بومی، مدام خود را بازسازی می‌کند. نتایج نشان می‌دهد که موسیقی هیبریدی بندرعباس با بهره‌گیری از ظرفیت ریتم بومی و پیوند با سبک‌های جهانی مانند جز و رِگِی، توانسته است هویتی بسازد که در آن، محلی‌بودن مانعی برای جهانی‌شدن نیست.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 The Knowledge System and Musical Discourse in The History of Music in Iran: A Qualitative Analysis of Ruhollah Khaleqi’s Thought in the Light of Foucault’s Discourse Theory نظام دانایی و گفتمان موسیقایی در کتاب سرگذشت موسیقی ایران؛ تحلیلی کیفی از اندیشه روح‌الله خالقی در پرتو نظریه گفتمان فوکو 9603 10.22124/ira.2026.33197.1086 FA علیرضا عزیزی گروه پژوهش هنر، دانشکده هنر، دانشگاه نیشابور، نیشابور، ایران. زهره طاهر استادیار مدعو گروه پژوهش‌هنر، دانشکده هنر، دانشگاه دولتی نیشابور، نیشابور، ایران. Journal Article 2026 03 22 <strong>Background: </strong>Sarghozasht-e Musiqi-ye Iran by Ruhollah Khaleqi is one of the foundational texts in the historiography of Iranian music, yet its importance exceeds the limits of conventional historical narration. The book may be read as an effort to formulate a modern system of musical knowledge in Iran. Rather than merely recounting musicians, styles, and historical developments, Khaleqi organizes Iranian music into a coherent field of knowledge through classification, explanation, educational argument, and cultural valuation. In this sense, the work participates in the making of what may be called a modern Iranian musical episteme.<br />This study approaches Khaleqi’s work through Michel Foucault’s discourse theory in order to show that Sarghozasht-e Musiqi-ye Iran is not only a documentary account of music history, but also a discursive intervention in the formation of “national music” in modern Iran. From a Foucauldian perspective, discourse does not simply reflect reality; it produces the conditions under which certain statements become acceptable as truth. Accordingly, Khaleqi’s language, categorizations, and institutional commitments can be understood as mechanisms for defining what counts as legitimate musical knowledge in twentieth-century Iran. The historical background of this process is the broader cultural modernization of late Qajar and Pahlavi Iran, when questions of national identity, scientific knowledge, institutional education, and modern cultural policy became increasingly central. Within this context, music was redefined from a mainly oral and master-apprentice practice into an object of writing, teaching, analysis, and national representation.<br />Previous studies have mostly examined Khaleqi as a composer, educator, or cultural reformer. Other works have discussed the discourse of Iranian traditional or national music in broader sociological terms, but fewer studies have analyzed Sarghozasht-e Musiqi-ye Iran itself as a discourse-producing text. This research addresses that gap by focusing on the epistemic structure of the book and by interpreting Khaleqi’s project as part of the intertwined relationship of knowledge, power, and cultural identity.<br /><strong>Objectives: </strong>The main objective of this research is to analyze the epistemic and discursive structure of Ruhollah Khaleqi’s musical thought in Sarghozasht-e Musiqi-ye Iran. More specifically, the study seeks to answer the following question: how did Khaleqi, through the production of a distinct discursive order, contribute to the formation of the concept of national music in Iran?<br />A second objective is to examine how Khaleqi transformed musical knowledge from an oral and experiential tradition into a written, teachable, and institutionally legitimized body of knowledge. The research also asks how his work links music with broader concepts such as science, education, nationhood, authenticity, and modernity. The underlying hypothesis is that Khaleqi’s contribution was not limited to preserving or narrating Iranian music; rather, he played a central role in constructing a modern regime of musical truth in which the “national musician” emerged as a new knowing subject.<br /><strong>Method: </strong>This study adopts a qualitative method based on Foucauldian discourse analysis. The corpus of analysis consists primarily of the two volumes of Sarghozasht-e Musiqi-ye Iran, supplemented by Khaleqi’s notes, theoretical writings, and selected secondary studies on Iranian music and discourse. Data were collected through documentary research and close reading of the text. <br />The analysis focused on three interconnected levels. First, it examined the language of the text: key terms such as “scientific music,” “national music,” “authenticity,” and “education” were studied as discursive markers that define the boundaries of valid knowledge. Second, it explored the institutional dimension of Khaleqi’s project, especially the role of music education and the establishment of the National Music Conservatory in legitimizing a new musical order. Third, it analyzed the production of subjectivity, asking how the text imagines and constructs the ideal modern Iranian musician as a disciplined, knowledgeable, and nationally conscious subject.<br />The study is theoretically grounded in Foucault’s concepts of discourse, power/knowledge, and the production of truth. Rather than treating Khaleqi’s book as a transparent historical source, it reads it as an active site of knowledge production, where historical narrative, pedagogy, and cultural ideology intersect.<br /><strong>Result: </strong>The findings show that Khaleqi played a decisive role in shifting Iranian musical knowledge from a traditional oral context into the realm of writing, theory, and institutional education. In Sarghozasht-e Musiqi-ye Iran, music is no longer presented only as an inherited art of performance; it is redefined as a field of systematic knowledge that can be classified, documented, taught, and evaluated. This transformation is one of the clearest signs of the emergence of a modern musical discourse in Iran.<br />The analysis also demonstrates that Khaleqi’s discourse is structured around a distinction between legitimate and non-legitimate forms of musical knowledge. By privileging concepts such as scientific method, notation, disciplined training, and cultural refinement, he creates a hierarchy in which written, teachable, and analytically grounded music gains epistemic authority. In Foucauldian terms, this constitutes a system of truth: a set of discursive rules through which certain statements about Iranian music become valid and others become marginal (Foucault, 1980).<br />Another major finding is that power in Khaleqi’s discourse does not function through direct domination, but through educational and cultural institutions. The conservatory, the pedagogical text, and the broader cultural apparatus of modern music become mechanisms for organizing musical knowledge and training new subjects. In this framework, the “national musician” appears as a new epistemic subject: someone who must master tradition, internalize scientific order, and embody national cultural consciousness. Thus, Khaleqi’s project links music not only to art, but also to nation-building and the reproduction of cultural identity.<br />Finally, the study suggests that Sarghozasht-e Musiqi-ye Iran should be understood as more than a history book. It is a discursive text in which music, knowledge, and national identity are mutually produced. Its lasting influence on music education, scholarship, and criticism in Iran indicates that the epistemic order articulated by Khaleqi has continued well beyond his own historical moment.<br /><strong>Conclusion: </strong>This research concludes that Ruhollah Khaleqi was one of the most influential figures in the formation of modern Iranian musical knowledge. Through Sarghozasht-e Musiqi-ye Iran, as well as through educational institution-building, he helped transform Iranian music into a modern field of knowledge connected to science, pedagogy, and national identity. His work made it possible to think of music not simply as an aesthetic or performative practice, but as a legitimate cultural discourse.<br />From a Foucauldian perspective, Khaleqi’s significance lies in his role as a producer of discourse: he organized concepts, established norms of legitimacy, and contributed to the emergence of a knowing musical subject within a modern national framework. Therefore, Sarghozasht-e Musiqi-ye Iran may be read as a foundational text in the reproduction of musical knowledge through the intersection of power, education, and identity. The study ultimately shows that the history of music in modern Iran cannot be separated from the history of discourse, and that Khaleqi’s work remains central to understanding how national music was epistemically and institutionally constructed. کتاب «<em>سرگذشت موسیقی ایران</em>» اثر روح‌الله خالقی، صرفاً یک روایت تاریخی از موسیقی ایران نیست، بلکه تلاشی نظری برای صورت‌بندی دانش موسیقایی در ایران مدرن به‌شمار می‌رود. مسئله اصلی این پژوهش بررسی این است که خالقی چگونه از طریق ایجاد یک گفتمان معرفتی، در شکل‌گیری و بازتعریف مفهوم «موسیقی ملی» ایران نقش ایفا کرده است. پرسش اصلی پژوهش آن است که خالقی چگونه از طریق ایجاد نوعی گفتمان معرفتی، بر شکل‌گیری مفهوم موسیقی ملی در ایران تأثیر گذاشت؟ هدف پژوهش، تحلیل ساختار معرفتی و گفتمان موسیقایی خالقی با تکیه بر نظریه گفتمان میشل فوکو و تبیین نقش این اثر در تولید نظام دانایی موسیقایی و بازتعریف هویت نظری موسیقی ملی ایران است. این پژوهش با رویکردی کیفی و مبتنی بر تحلیل گفتمان فوکویی انجام شده است. داده‌ها از طریق مطالعه اسنادی شامل دو جلد کتاب «<em>سرگذشت موسیقی ایران</em>»، مقالات، یادداشت‌ها و سایر آثار مرتبط خالقی گردآوری شده‌اند. یافته‌ها نشان می‌دهد که خالقی با نهادینه‌سازی آموزش موسیقی و تدوین مبانی نظری آن، دانش موسیقایی را از سنت شفاهی به حوزه نوشتار و علم منتقل کرده است. او با تأسیس هنرستان موسیقی ملی و نگارش این اثر، گفتمانی آموزشی و فرهنگی ایجاد کرده که در آن «موسیقی‌دان ملی» به‌عنوان سوژه‌ای نوین شکل می‌گیرد. در این گفتمان، قدرت از طریق دانش و نهادهای آموزشی اعمال شده و به بازتولید هویت فرهنگی منجر می‌شود. بر این اساس، «<em>سرگذشت موسیقی ایران</em>» را می‌توان متنی دانست که در آن دانش موسیقایی در پیوند با قدرت و هویت ملی بازتولید می‌شود. خالقی به‌عنوان یکی از چهره‌های کلیدی، نقش مهمی در شکل‌گیری نظام دانایی موسیقایی ایران مدرن داشته است؛ نظامی که آثار آن همچنان در حوزه آموزش، پژوهش و نقد موسیقی ایران تداوم دارد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Revisiting Multisensory Aesthetics in Contemporary Islamic Art: Embodied, Postcolonial, and Phenomenological Approaches to the Intangible بازخوانی زیبایی‌شناسی چندحسی در هنر معاصر جهان اسلام؛ رویکردهای بدن‌مندانه، پسااستعماری و پدیدارشناسانه به امر ناملموس 9168 10.22124/ira.2025.31732.1072 FA سیده محبوبه مقیم نژادحسینی گروه هنر، دانشگاه آزاد اسلامی واحد قائمشهر، قائمشهر، ایران سید مهران مقیم نژادحسینی گروه هنر، دانشکده مطالعات علوم نظری، دانشگاه هنر ایران، تهران، ایران Journal Article 2025 09 19 <strong>Abstract: </strong>This study revisits multisensory aesthetics in contemporary Islamic art, foregrounding the role of non-visual senses—sound, touch, smell, and taste—in artistic experience and meaning-making. Traditional historiography of Islamic art, dominated by ocularcentrism, has marginalized embodiment and the intangible. Employing postcolonial, embodied, and phenomenological frameworks, the article analyzes how contemporary Muslim artists transcend visual media to reconfigure sensory paradigms in cultural, ritual, and digital contexts. Through qualitative, context-sensitive comparison of artworks from Iran, Turkey, Egypt, Pakistan, Malaysia, and Morocco, it argues that multisensory art redefines Islamic aesthetics while resisting mono-sensory modernism. Findings reveal that embodiment and overlooked senses, intertwined with technology and historical memory, reconstruct the intangible and generate concepts like "sensory journey," "perceptible aura," and "tactile aesthetics." These insights expand Islamic art studies, positioning art as a site for reviving suppressed collective memories.<br /><strong>Introduction: </strong>Recent scholarship on contemporary Islamic art has embraced the "sensory turn," shifting from visual-centric analyses to multisensory and embodied inquiries. Christiane Lange (2022) calls to historicize senses in the Islamic world, critiquing ocularcentrism for sidelining olfaction, tactility, and audition. Nilay Ergin (2014) and Patricia Blessing (2022) similarly advocate re-readings of non-visual patterns. Yet a comprehensive framework that integrates postcolonial and phenomenological approaches under an embodied lens to analyze multisensory contemporary Islamic art is missing—a gap this study addresses. Key questions are: (1) How do artists use auditory, tactile, and olfactory media to forge multisensory experiences? (2) How does embodiment reshape subjectivity, identity, and postcolonial resistance? The study advances (i) a theoretical model for multisensory Islamic art analysis; (ii) a poststructural critique of visual hegemony; and (iii) links between digital technologies and sensory legacies.<br /><strong>Methodology: </strong>This qualitative research uses context-sensitive comparative analysis of selected contemporary Islamic artworks. Purposive criteria include: (i) emphasis on non-visual media (sound, touch, olfaction/gustation); (ii) representation of postcolonial identity and resistance; (iii) innovation blending digital technologies with Islamic sensory heritage. Data come from sensory analyses, artist statements, critiques, archives, and field observations where possible. The analytical framework synthesizes Merleau-Ponty’s embodied phenomenology, postcolonial theory (Said, Bhabha, Spivak), and multisensory aesthetics (McLuhan, Howes), with triangulation through historical sources and expert consultations.<br /><strong>Literature Review:</strong><br />Sensory Aesthetics in Art<br />The sensory turn challenges ocularcentrism, emphasizing multisensory complexity (Howes, 2005). Laura Marks’s work on haptic visuality and tactility extends to multisensory media, while Enfoldment and Infinity links new media to Islamic motifs. Howes’s sensory ethnography and Classen’s cross-cultural mappings are foundational. McLuhan frames media as sensory extensions and Salter examines interactive installations. Unlike cinema- or ethnography-focused studies, this research applies these frameworks to contemporary Islamic art with an emphasis on resistance.<br />Postcolonial Studies on Islamic Art<br />Said’s Orientalism reveals Western discursive control; Nochlin critiques colonial fantasy in 19th-century painting; Naficy theorizes accented embodiment in diasporic cinema. This study flips the lens to center Muslim artists’ multisensory agency as counter-discourse.<br />Gaps and Innovations<br />Existing literature lacks an integrated model merging multisensory aesthetics, embodiment, and postcolonial critique for contemporary Islamic art. Innovations here include combining Benjamin’s notion of aura with haptic theories, foregrounding resistance through non-visual senses, and tracing technology–memory interactions that reconstruct the intangible.<br />Theoretical Framework<br />Multisensory Aesthetics<br />This framework contests visual primacy (Jay, 1993) and treats art as an interplay of senses (Howes; Marks). Haptic visuality, Islamic auditory and olfactory traditions, and digital mediations form analytic nodes.<br />Embodied Phenomenology<br />Merleau-Ponty positions the body as the primary locus of perception; sensory immersion evokes bodily memory. Naficy’s accented embodiment and Rancière’s distribution of the sensible inform readings of multisensory resistance.<br />Postcolonial Sensory Experience<br />Orientalist discourses exoticize non-visual senses; multisensory art reclaims heritage, giving voice to subaltern memory and trauma. The synthesis treats multisensory practices as political embodiment that reconstructs intangible Islamic heritage.<br />Historical Sensory Precedents in Islamic Culture<br />From the 8th–14th centuries, sacred spaces like Isfahan’s Jameh Mosque integrated geometry, acoustics, and light. Calligraphy implies tactile rhythm. Philosophers (e.g., Suhrawardi) and Sufi practices (sama) fused motion, sound, and scent. Ritual uses of attars and poetic forms mediated spiritual senses—precedents that contemporary artists rework.<br />Analysis of Selected Works<br />Using sensory historiography, selected works highlight non-visual resistance, heritage revival, postcolonial embodiment, and digital sacrality:<br /> <br />Chadi El-Tayeb (Morocco), Perfumes of Exile (2022): An olfactory sequence (rosewater → petroleum → tear gas) embodies colonial memory and enacts "olfactory resistance."<br />Fereshteh Tehrani (Iran), Echoes of Silence (2021): 364 speakers recreate suppressed female recitations; bone-conduction and spatial sound enact sonic embodiment.<br />Zohra Bukhari (Pakistan), Eve’s Table (2020): A gustatory performance using laddu cultivates "gustatory solidarity."<br />Ahmad Matin (Malaysia), Touching Light (2023): Haptic gloves and AR simulate calligraphic touch, fusing Suhrawardi’s light with digital tactility.<br />These works model alternative Islamic modernities, redefining sacrality and reclaiming intangible heritage through multisensory practice.<br /><strong>Discussion and Findings: </strong>Multisensory art reconstructs intangible collective memories and rituals by mobilizing overlooked senses as cultural carriers, activating embodied memory. The selected works—shown in international venues such as the Islamic Arts Biennale—demonstrate how multisensory strategies resist sensory hierarchies, enact postcolonial subjectivities, and bridge technology with ritual memory. Concepts emergent from the analysis (e.g., "sensory journey," "perceptible aura," "tactile aesthetics") provide tools for future research and curatorial practice. این پژوهش با هدف بازخوانی زیبایی‌شناسی چندحسی در هنر معاصر جهان اسلام، به بررسی نقش حس‌های غیر‌ بصری (صدا، لامسه، بویایی، چشایی) در خلق معنا و تجربه هنری می‌پردازد. تاریخ‌نگاری سنتی هنر اسلامی عمدتاً تحت سلطه نگاه بصری شکل گرفته و نسبت به بدن‌مندی، تجربه حسی و امر ناملموس بی‌توجه بوده است. این مقاله می‌کوشد با بهره‌گیری از رویکردهای پسااستعماری، بدن‌مندانه و پدیدارشناسانه، راهی برای تحلیل تجربه حسی در هنر معاصر مسلمانان بگشاید؛ جایی که هنرمندان با عبور از رسانه‌های صرفاً بصری، به بازآفرینی الگوهای زیبایی‌شناختی چندحسی در بسترهای فرهنگی، آیینی و دیجیتال می‌پردازند. روش تحقیق، کیفی و مبتنی‌بر تحلیل تطبیقی آثار هنرمندان معاصر منتخب از کشورهای اسلامی است. فرضیۀ اصلی پژوهش آن است که هنر چندحسی، نه‌تنها راهی برای بازتعریف تجربه زیبایی‌شناختی اسلامی در عصر معاصر است، بلکه به‌مثابه شکلی از مقاومت فرهنگی در برابر روایت‌های تک‌حسی و مدرنیستی عمل می‌کند. یافته‌های پژوهش نشان می‌دهند که بدن‌مندی و حس‌های فراموش‌شده، در تعامل با فناوری‌های نوین و حافظه تاریخی، بستری را برای بازسازی امر ناملموس فراهم می‌آورند. در این چارچوب، مفاهیمی چون «سفر حسی»، «آئورا درک‌پذیر»، و «زیبایی‌شناسی لمسی» به عنوان ابزارهای مفهومی جدید، افق‌هایی نو برای مطالعات هنر اسلامی معاصر می‌گشایند و هنر را به میدانی برای احضار دوباره صداهای سرکوب‌شدۀ حافظه جمعی بدل می‌سازند.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 The Sensuous Manifestation of the Idea in Cinema Based on Hegel’s Idealist Art تجلی حسی ایده در سینما بر اساس هنر ایدئالیستی هگل 9732 10.22124/ira.2026.33608.1094 FA مهدی خسروی دینارعالی گروه سینما، دانشکده هنر، دانشگاه سوره، تهران، ایران سید محمد‌‌‌مهدی موسوی مهر استادیار دروس عمومی، دانشگاه صداوسیما، تهران، ایران Journal Article 2026 05 19 <strong>Introduction</strong><strong> </strong><strong>:</strong> Hegel's philosophy of art occupies a central position within his broader system of absolute idealism. In his view, art is not merely an aesthetic endeavor but one of the absolute pillars of Spirit. It stands alongside religion and philosophy as a primary mode through which humanity comprehends the truth. Hegel defines the highest vocation of art as the sensuous manifestation of the Idea. However, he also posits that not all forms of art successfully achieve this dialectical unity of concept and object. In the contemporary era, the question arises of whether cinema, as a modern, technologically mediated art form, can serve as a medium for the emergence of Hegelian ideal art. This research aims to explore how cinematic forms and narratives can materialize Hegelian concepts. Specifically, it investigates how cinema facilitates self-recognition by bringing abstract philosophical ideas into the realm of sensuous visual and narrative experience. By moving beyond the thesis of the death of art, the study argues that cinema engages in a form of cinematic philosophizing, capturing the complex dialectic between human determinacy and the Absolute Idea.<br /><strong>Background</strong><strong>:</strong> The literature review indicates a noticeable scarcity of independent research focused specifically on Hegelian ideal art. In the Persian academic context, available resources are largely limited to translations of Hegel's introduction to his lectures on aesthetics. The concept of ideal art as utilized in this research is not confined merely to Hegel's formal aesthetic discussions or his classification of art into symbolic, classic, and romantic periods. Instead, it represents a comprehensive synthesis of his diverse philosophical perspectives. Among the limited related literature, a notable study is a paper by Shahsavan Safian and Hatam published in twenty fourteen. This study investigates the historical trajectory of the relationship between art and truth. It traces this connection from the perspectives of Plato and Aristotle to Kant and Baumgarten. The study ultimately demonstrates how Hegel reestablishes the fundamental link between art and truth. It concludes that in Hegelian philosophy, art and truth are profoundly interdependent. The current research builds upon this foundational understanding to apply these concepts specifically to the cinematic medium and fill the existing gap regarding the sensuous manifestation of the Idea in modern film.<br /><strong>Methodology: </strong>This research adopts a qualitative, library-based, and descriptive-analytical methodology. The study is conducted in two primary stages. In the first stage, the fundamental concepts of Hegelian aesthetics are extracted, described, and systematized using primary philosophical texts and authoritative secondary sources. Key concepts include ideal art, the sensuous expression of the Idea, the role of Spirit, determination, situation, action, and the estrangement of the familiar. In the second stage, this theoretical framework is applied as an analytical lens to Michael Haneke's acclaimed film The White Ribbon. The narrative structure, visual form, and thematic elements of the film are critically analyzed to demonstrate how abstract philosophical concepts are translated into concrete cinematic language. The methodology ensures a rigorous structural mapping between Hegel's philosophical requirements for ideal art and the aesthetic achievements of Haneke's cinema.<br /><strong>Findings: </strong>The analysis of The White Ribbon reveals a profound alignment with Hegelian aesthetics. Set in a fictional German village on the eve of World War I, the film meticulously portrays a rigid, disciplinary Protestant society. The findings indicate that the microaggressions, strict punishments, and everyday repressions in the village are not isolated incidents. They represent the divisions that constitute a terrifying whole, which is the overarching Spirit of early twentieth-century fascism. Through the lens of Zizek's theory of violence, the film masterfully illustrates how objective systemic violence creates an environment where subjective physical violence inevitably erupts. This dynamic perfectly embodies the Hegelian sensuous manifestation of the Idea. The abstract ideological roots of totalitarianism are rendered visible and palpable through the chilling actions of the village children. Furthermore, Haneke's directorial style successfully achieves the Hegelian defamiliarization of the familiar. By presenting brutal psychological realities behind the pristine facade of rural life, the film forces the audience out of passive consumption into active dialectical reflection. The situation and action in the film are intricately linked, showing how human determinacy operates within historical constraints. This fulfills Hegel's criteria for art that reveals deep philosophical truths.<br /><strong>Conclusion:</strong> The study concludes that cinema possesses a unique and powerful capacity to realize Hegelian idealism in the modern age. By maintaining the dialectical unity of form and content, cinema prevents art from degenerating into empty formalism or superficial content reductionism. The White Ribbon exemplifies how film can act as a mirror for the Spirit, reflecting the complex and often dark realities of human determinacy to society. The cinematic medium surpasses traditional art forms in its ability to embody the sensuous manifestation of the Idea through its integration of visual, auditory, and temporal dimensions. Ultimately, the research demonstrates that cinema facilitates a profound self-recognition for humanity. It proves that, rather than being subsumed by philosophy, modern cinema can philosophize through its own sensuous means. It reveals the hidden truths of the human condition, ideological violence, and historical unfolding. هگل با طرح مفاهیمی پیچیده، ایدئالیسم فلسفی خود را وارد میدان هنر می کند و هنر را در کنار دین و فلسفه از ارکان نظام فکری خود می‌داند. وی هنر را بیان حسی ایده می‌داند اما از نظر او هر هنری به این توفیق نائل نمی‌شود. این تحقیق با رویکردی کیفی، با نظر به منابع کتابخانه‌ای و روش توصیفی تحلیلی به این مسئله پاسخ می‌دهد. تحقیق پیش‌رو در تلاش است با بررسی و واکاوی مفاهیمی مانند موقعیت، کنش، بیان حسی ایده، امر مأنوس و امر نامأنوس، شاعرانگی، تعیّن‌بخشی و مفاهیمی دیگر نسبت هریک از آن‌ها را با هنر به‌خصوص سینما مشخص کند و به این پرسش پاسخ دهد که سینما چگونه و از طریق چه ویژگی‌هایی می‌تواند بستری برای بیان حسی ایده مطلق و درنهایت ظهور هنر اید‌ئالیسم از منظر هگل باشد. این تحقیق با رویکردی کیفی، با نظر به منابع کتابخانه‌ای و روش توصیفی تحلیلی به مسائل مطرح پاسخ می‌دهد. در گام نخست به توضیح و تبیین مؤلفه‌های مهم فلسفه هنر هگل پرداخته می‌شود و در گام بعدی چگونگی ظهور این امر یعنی بیان حسی ایده در سینما با مطالعه فیلم روبان سفید ذکر می‌شود. نتیجه اینکه سینما می‌تواند با نظر به عدم گسست هنر و حقیقت از فرم‌زدگی و محتوا‌زدگی هنر جلوگیری و همچنین باتوجه به جایگاه تعیّن‌بخش انسان و بازتاب آن به انسان از پیش‌پا افتادگی هنر فراروی کند و درنهایت هنر ایدئالیسم را در سینما بروز دهد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 A Psychological Reinterpretation of the Characters in The Man Outside through the Six Components of Adlerian Individual Psychology بازخوانی روان‌شناختی شخصیت‌های نمایشنامه «بیرون، پشت در» با تأکید بر مؤلفه‌های شش‌گانۀ روان‌شناسی فردی آدلر 9729 10.22124/ira.2026.33611.1095 FA معین رواقی کارشناسی ارشد پژوهش هنر، دانشکده هنر، موسسه آموزش عالی فردوس، مشهد، ایران جواد امین خندقی استادیار گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران Journal Article 2026 05 20 <strong>Background:</strong> Wolfgang Borchert’s The Man Outside is a notable work of post-World War II German drama, depicting the return of a traumatized war veteran to a society marked by alienation and rejection. In this play, the protagonist faces a society that neither understands his suffering nor is willing to reintegrate him. The play therefore allows for an examination of the psychological consequences of war, including dislocation, existential failure, and social estrangement. The present study analyzes the characters in Borchert’s The Man Outside through six core components of Alfred Adler’s individual psychology. This framework is relevant because Adler explains human behavior through concepts such as fictional goals, striving for superiority, feelings of inferiority and compensation, social interest, style of life, and the creative self, which make it possible to read the characters’ psychological condition within a fractured postwar world.<br /><strong>Objectives:</strong> This research investigates how the characters’ psychological breakdown in The Man Outside can be explained through the six main components of Adler’s individual psychology within the broader context of postwar trauma, failed reintegration, and existential disorientation. The main research question is: How can the characters in Wolfgang Borchert’s The Man Outside be analyzed through the six components of Adler’s individual psychology?<br /><strong>Method:</strong> This study is qualitative, descriptive-analytical, and interpretive. The research data were gathered through library-based and documentary research. The methodological approach is based on an interpretive Adlerian reading of the play and its broader postwar implications.<br /><strong>Results:</strong> The findings show that in Wolfgang Borchert’s The Man Outside, war is not limited to physical destruction or historical events; rather, it acts as a force that affects the characters’ psychology, relationships, moral choices, and sense of existence. The drama unfolds in a postwar world marked by rejection, alienation, silence, and loss of meaning; a world in which the end of military conflict gives rise to a deeper crisis in both individual and collective life. The play demonstrates that return from the battlefield does not necessarily mean restoration to life. At the same time, the play frames Beckmann’s experience not as an isolated psychological collapse, but as a broader symptom of a society unable to confront guilt, responsibility, and moral failure after war. This shows that postwar trauma emerges through both inner breakdown and collective estrangement. Instead, the survivor faces a world of closed doors, in which family structures have collapsed, social belonging has disappeared, death no longer offers release or meaning, and God no longer appears as a source of response.<br />Beckmann, as a representative postwar figure, confronts the loss of home, family, love, vocation, social acceptance, and even the possibility of meaningful death. In this work, war undermines the possibility of returning to ordinary life, fractures individual and collective identity, disrupts memory and time, and continues violence through indifference, denial, and social exclusion. An Adlerian analysis further shows that the central psychological crisis of the drama lies in the collapse of fictional goals, the intensification of feelings of inferiority, diminished social interest, and the weakening of the creative self. These Adlerian components do not operate separately; rather, they form a reciprocal chain in which the collapse of fictional goals, diminished social interest, intensified inferiority, and the weakening of the creative self reinforce Beckmann’s psychological and social breakdown. Beckmann’s attempt to recover moral dignity and responsibility fails in the face of social rejection, guilt, and the defensive denial of other characters. Beckmann remains committed to responsibility, truth-telling, and the search for meaning; however, postwar society, through forgetfulness and denial, ultimately deprives him even of this possibility. Borchert’s play thus presents war as a force that damages not only the physical world but also the human psyche, interpersonal relations, and the possibility of reconstructing life’s meaning in an unstable postwar world.<br /><strong>Conclusion:</strong> Wolfgang Borchert’s The Man Outside presents war not simply as a historical event, but as a destructive force that changes the survivor’s sense of self, identity, and human relationships. The play shows that returning from the front does not necessarily mean reintegration into life, since the traumatized survivor enters a civilian society that has lost the capacity to understand his suffering. From the perspective of Adlerian individual psychology, Beckmann’s crisis is rooted in intensified feelings of inferiority, guilt, lack of belonging, and the weakening of the creative self. His inability to imagine a meaningful future goal leads to disorientation, isolation, and psychological exhaustion. Ultimately, Borchert’s work serves as both a literary and psychological warning: a person may survive war and yet remain excluded from human community and from a stable sense of self. Beckmann’s crisis is therefore not merely an individual pathology, but a sign of postwar society’s inability to readmit the wounded survivor. The Adlerian model can also be applied to the analysis of traumatized characters in other postwar dramas. This also strengthens the study’s wider comparative relevance. نمایشنامۀ «بیرون، پشت در» اثر وولفگانگ بورشرت، از شاخص‌ترین آثار ادبیات نمایشی پس از جنگ جهانی دوم، مسئلۀ بازگشت انسان جنگ‌زده به جهانی بیگانه و طردکننده را محور قرار می‌دهد و پیامدهای روانی و اجتماعی جنگ را در وضعیت بکمان بازنمایی می‌کند. در این اثر، ناتوانی جامعه در درک و بازپذیری بکمان، بحران هویت، انزوا و گسست او از اجتماع را تشدید می‌کند. پژوهش حاضر می‌کوشد شخصیت‌های این نمایشنامه را بر پایۀ مؤلفه‌های شش‌گانۀ روان‌شناسی فردی آلفرد آدلر تحلیل کند. این پژوهش با تکیه بر روان‌شناسی فردی آلفرد آدلر، چگونگی بازنمایی بحران روانی انسان پساجنگ را بر اساس احساس حقارت، تلاش برای برتری، علاقۀ اجتماعی، شیوۀ زندگی، غایت‌مندی رفتار و منِ خلاق تبیین می‌کند. پژوهش حاضر از نظر هدف، کاربردی و از حیث روش، توصیفی ـ تحلیلی است. داده‌ها<strong> </strong>با اتکا به منابع کتابخانه‌ای و اسنادی و از طریق استخراج و تحلیل شواهد متنی گردآوری و با رویکردی کیفی و تفسیری بر پایۀ مؤلفه‌های یادشده تحلیل شده‌اند. شخصیت بکمان نمود فشردۀ انسانی است که در پی جنگ، دچار تشدید احساس حقارت، فروپاشی هدف‌های خیالی، زوال علاقۀ اجتماعی و اختلال در شیوۀ زندگی شده است. تلاش او برای بازیابی کرامت و مسؤلیت اخلاقی در برابر طرد اجتماعی، احساس گناه و شیوۀ دفاعی و انکارگر دیگر شخصیت‌ها ناکام می‌ماند و منِ خلاق او را تضعیف می‌کند. یافته‌ها نشان می‌دهد این مؤلفه‌ها به‌صورت زنجیره‌ای، فروپاشی روانی و اجتماعی بکمان را تشدید می‌کنند. «بیرون، پشت در» جنگ را نه فقط عامل ویرانی بیرونی، بلکه منشأ فروپاشی درونی انسان معرفی می‌کند. بحران بکمان نشانۀ ناتوانی جامعۀ پساجنگ در بازپذیری انسان آسیب‌دیده است؛ جامعه‌ای که با طرد، انکار و بی‌اعتنایی، خشونت جنگ را در شکلی اجتماعی و روانی تداوم می‌بخشد. الگوی آدلری نیز می‌تواند برای تحلیل شخصیت‌های آسیب‌دیدۀ دیگر نمایشنامه‌های پساجنگ به‌کار رود.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Exploring the Role of Media Literacy in Advancing Holistic Education within the Iranian Educational System مطالعۀ نقش سواد رسانه‌ای در تحقق تربیت تمام‌ساحتی در نظام آموزشی ایران 9731 10.22124/ira.2026.33833.1108 FA جعفر باقری گروه دکتری تخصصی فلسفه تعلیم و تربیت، دانشگاه آزاد اسلامی، واحد ساری، مازندران، ایران وحید فلاح گروه فلسفه تعلیم و تربیت، دانشگاه آزاد اسلامی، واحد ساری، مازندران، ایران عین‌الله مظلومی استادیار، گروه فلسفه، واحد ساری، دانشگاه آزاد اسلامی، ساری، ایران Journal Article 2026 06 08 <strong>Background: </strong>The unprecedented expansion of digital media and communication technologies has significantly transformed contemporary educational environments. Students today are no longer influenced solely by formal educational institutions; rather, a substantial part of their knowledge, attitudes, values, identity formation, and social behaviors is shaped through continuous interaction with digital platforms, social networks, online communities, and diverse media content. Consequently, the media have become one of the most influential contexts of learning, socialization, cultural transmission, and value formation. In response to these transformations, educational systems are increasingly required to equip learners with competencies that enable them to critically understand, evaluate, interpret, and engage with media messages. Media literacy has emerged as a key concept in addressing these challenges. However, within many educational contexts, media literacy is frequently interpreted as a set of technical skills related to media use or as a protective strategy against the risks associated with digital environments. Such interpretations tend to neglect its broader educational, ethical, cultural, and developmental dimensions. At the same time, holistic education, as emphasized in the Iranian educational system, seeks the balanced development of learners across cognitive, ethical, social, aesthetic, physical, economic, and technological dimensions. Therefore, investigating the relationship between media literacy and holistic education has become an important theoretical and educational concern.<br /><strong>Objectives: </strong>The present study aims to examine the role of media literacy in the realization of holistic education within the Iranian educational system. More specifically, it seeks to identify the conceptual and educational mechanisms through which media literacy can contribute to the achievement of holistic educational goals. The study also attempts to move beyond technical and protection-oriented interpretations of media literacy and to redefine it as a cross-disciplinary educational competence capable of connecting different dimensions of student development. In this regard, media literacy is considered not only as the ability to access and use media, but also as the capacity to analyze media messages, recognize hidden meanings, evaluate sources, understand media power relations, and participate responsibly in digital culture. By doing so, the research provides a theoretical framework for understanding the educational value of media literacy within contemporary learning environments.<br /><strong>Method: </strong>This study was conducted using a qualitative approach and a descriptive-analytical method. Data were collected through documentary and library research, including books, scholarly articles, theoretical literature on media literacy, educational philosophy, holistic education, and relevant educational policy documents in Iran. The collected materials were examined through conceptual analysis and theoretical interpretation. Rather than focusing on empirical measurement, the study concentrated on clarifying the conceptual foundations of media literacy and analyzing its relationship with the principles and dimensions of holistic education. Through a systematic review and analytical synthesis of the literature, the study explored how media literacy may function as an educational competence that supports the integrated development of learners.<br /><strong>Result: </strong>The findings indicate that media literacy should not be viewed merely as a technical skill or an independent educational subject. Instead, it functions as a cross-disciplinary competence that operates across multiple educational dimensions. The analysis identified four major mechanisms through which media literacy contributes to holistic education: critical thinking, ethical responsibility, social participation, and creative production. These mechanisms enable learners to critically evaluate information, make responsible decisions regarding media use, engage constructively in social and civic interactions, and participate creatively in media environments. In addition, media literacy strengthens students’ ability to distinguish between reliable and unreliable information, resist manipulation, understand the ideological and cultural dimensions of media messages, and develop a more reflective relationship with digital technologies.<br />The findings further demonstrate that media literacy cannot be confined to the scientific and technological dimension of education. Its influence extends to ethical development through responsible media behavior, to social development through informed participation and communication, and to aesthetic development through the interpretation and production of media content. Moreover, the study revealed that protection-oriented and skill-based approaches, although valuable, address only a limited aspect of media literacy. A more comprehensive educational perspective is required—one that integrates cognitive, ethical, social, cultural, emotional, and creative capacities. From this perspective, media literacy serves as a bridge connecting the various dimensions of holistic education and facilitates the development of learners who can navigate complex media environments in an informed, responsible, critical, and reflective manner.<br /><strong>Conclusion: </strong>The study concludes that media literacy possesses significant educational potential for advancing holistic education in the Iranian educational system. Its value lies not only in enabling students to access and use media effectively, but also in fostering critical judgment, ethical awareness, social responsibility, cultural understanding, and creative engagement. Therefore, media literacy should be understood as a cross-disciplinary educational competence rather than a purely technical or protective skill. Integrating media literacy into educational philosophy, curriculum design, teaching practices, teacher training, and school culture can strengthen the realization of holistic education by promoting the balanced development of learners across multiple dimensions. Ultimately, the study suggests that media literacy can serve as an important educational foundation for preparing students to participate actively, responsibly, creatively, and critically in contemporary media-rich societies. گسترش رسانه‌های دیجیتال، محیط تربیتی دانش‌آموزان را دگرگون کرده است. با این‌حال، سواد رسانه‌ای در نظام آموزشی غالباً به مهارت‌های فنی یا رویکردهای محافظتی محدود شده و ظرفیت آن در تحقق تربیت تمام‌ساحتی کمتر مورد توجه قرار گرفته است. ازاین‌رو، پرسش اصلی پژوهش آن است که سواد رسانه‌ای از چه مسیرهایی می‌تواند در تحقق تربیت تمام‌ساحتی نقش‌آفرین باشد؟ هدف پژوهش حاضر، تبیین نسبت مفهومی و تربیتی میان سواد رسانه‌ای و تربیت تمام‌ساحتی و بررسی ظرفیت‌های سواد رسانه‌ای برای ایفای نقش به‌عنوان بستری در تحقق اهداف تربیتی نظام آموزشی ایران است. همچنین پژوهش می‌کوشد با عبور از تلقی مهارت‌محور و محافظتی، جایگاه سواد رسانه‌ای را به‌عنوان شایستگی‌ای میان‌ساحتی در فرایند تربیت بازتعریف کند. پژوهش حاضر با رویکرد کیفی و روش توصیفی ـ تحلیلی انجام شده است. داده‌های پژوهش از طریق مطالعه‌ی اسنادی و کتابخانه‌ای و بررسی منابع علمی مرتبط با سواد رسانه‌ای، تربیت تمام‌ساحتی و اسناد تحولی نظام آموزش‌وپرورش گردآوری شده و با استفاده از تحلیل مفهومی و استنتاج نظری مورد بررسی قرار گرفته‌اند. یافته‌ها نشان داد که سواد رسانه‌ای به یک ساحت خاص محدود نمی‌شود، بلکه از طریق چهار سازوکار اصلیِ تفکر انتقادی، مسؤلیت اخلاقی، مشارکت اجتماعی و تولید خلاقانه، با ساحت‌های مختلف تربیت پیوند برقرار می‌کند. همچنین روشن شد که رویکردهای محافظتی و مهارت‌محور فقط بخشی از کارکردهای سواد رسانه‌ای را پوشش می‌دهند و برای تحقق ظرفیت کامل آن کافی نیستند. سواد رسانه‌ای زمانی می‌تواند در تحقق تربیت تمام‌ساحتی نقش مؤثر داشته باشد که به‌عنوان شایستگی‌ای میان‌ساحتی در منطق برنامه‌های تربیتی ادغام شود. در این صورت، دانش‌آموز از مصرف‌کنندۀ منفعل رسانه به کنشگری آگاه، مسؤل و خلاق تبدیل می‌شود و امکان پیوند میان ساحت‌های شش‌گانۀ تربیت فراهم می‌شود.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 kaging as a Cultural Commodity (Case Study of Isfahan Gaz Packaging) بسته‌بندی به‌مثابه‌ کالای فرهنگی (مطالعه‌ موردی: بسته‌بندی گز اصفهان) 9659 10.22124/ira.2026.32863.1082 FA منصور کلاه کج دانشیار، دانشکده هنر، دانشگاه شهید چمران اهواز، اهواز، ایران فهیمه طحان دانشجوی کارشناسی ارشد پژوهش هنر، دانشکده هنر، دانشگاه شهید چمران اهواز، اهواز، ایران Journal Article 2026 02 05 <strong>Introduction: </strong>In the contemporary world, packaging has become, beyond its protective and economic function, a cultural medium that carries signs, symbols, and identity narratives. As one of the Iranian souvenirs, Isfahan Gaz has cultural value both as an economic commodity and as a covering that represents collective memory in an objective form. The present study aims to investigate the extent to which Isfahan Gaz packaging has been able to represent elements of Iranian national identity and Isfahan local identity.<br /><strong>Research background: </strong>Amini Harandi et al. (2014), in an article titled “Reforming Gaz Packaging by Modified Atmosphere Packaging Method,” which was conducted on Gaz packaging technology in Iran, emphasized technical aspects such as increasing product shelf life and improving transportation conditions. The findings of this group of studies show that the main attention of manufacturers is on the industrial functions of packaging rather than its cultural aspects. Karimipour and Sharifzadeh (2017), in a study titled “Culture-based Components in Iranian Handicraft Packaging Design,” also show that packaging designers in the field of handicrafts have focused more on national symbolic elements such as Islamic motifs and Kufic script, while local signs have been given less priority. This study highlights the lack of attention to regional and urban identities in packaging design. In an article titled “The Use of Iranian-Islamic Visual Motifs in the Design and Identity of Iranian Export Food Industries Packaging (Tea, Pistachio, Saffron),” Hammam (2019) emphasizes that packaging is one of the elements that give identity and represent culture and nationality. The main finding of the research shows that in the graphic design of Iranian food industry packaging, there is a lack of use of Iranian and Islamic visual elements, and at the same time, the use of these elements can significantly improve the quality and originality of packaging designs. The author also presented several proposed food packaging designs based on Iranian-Islamic motifs and various forms in this study. Zaryabi and Abeddoost (1400), in an article titled “Investigating the Reflection of National Identity in Iranian Packaging Design with Emphasis on the Component of Persian Calligraphy (Case Study: Selected Food Product Packagings of the Iranian Graphic Design Biennial 'Silver Cypress') analyzed the selected samples of the Iranian Graphic Biennial. The findings of this study show that Persian calligraphy, especially Nastaliq calligraphy, and modern typography methods are the most important indicators of representing Iranian identity in product packaging and can strengthen national distinction and identity in the global market.<br /><strong>Conclusion: </strong>The present study sought to answer the question of to what extent and by using which signs, the packaging of Isfahan Gaz has been able to represent elements of Iranian national identity and Isfahan local identity. This research was conducted using Debord's three-fold theoretical framework of "representation", Baudrillard's "symbolic value," and Appadurai's "social life of the object". The analysis of 10 packaging samples based on defined indicators (patterns, colors, gender, durability, power of representation, and value migration) led to the following findings:<br />1- Predominance of national identity over local identity<br />In most of the samples studied (7 out of 10), signs of national identity - including Islamic motifs, Nastaliq script, turquoise, azure, and gold colors - were dominant. Specific signs of Isfahan's local identity (such as images of historical monuments or city-specific handicrafts) were present in only 3 samples (a metal box with images of monuments, a hardbox with an enameled container, and a cashmere chest). This means that Isfahan's Gaz packaging, despite its regional naming, is more concerned with representing "general Iranian identity" than "specific Isfahan identity". This finding is consistent with the results of previous studies (Karimipour and Sharifzadeh, 2017) that pointed to the dominance of national symbols in handicraft packaging.<br />2- Direct relationship between gender and durability with display power and value migration<br />The analysis showed that there is a direct relationship between “gender of packaging" and " display power” from Debord’s perspective, as well as “social lifespan of the object” from Appadurai’s perspective. Packaging made of highly durable wood and metal both had stronger display power and were transformed into lasting objects (jewelry boxes, permanent vases, decorative frames) after consumption. In contrast, cardboard and plastic packaging, in addition to having weaker display power, were immediately discarded and lacked value migration. This finding confirms that packaging design with an emphasis on material durability can transform a fleeting consumer product into a lasting cultural product.<br />3- Symbolic value beyond use value<br />According to Baudrillard's theory, in luxury items (wooden, metal, with handicrafts), the real value of the product was determined not by the weight or quality of the Gaz, but by the symbolic value of their packaging. Symbols such as enameling, cashmere, inlay, and knotting convey concepts such as "heritage", "authenticity", "handicraft", and "luxury", and the buyer of these products is in fact exchanging "signs of prestige and authenticity", not simply a traditional delicacy. بسته‌بندی در جهان معاصر فراتر از کارکرد محافظتی و اقتصادی، به رسانه‌ای فرهنگی تبدیل شده است که حامل نشانه‌ها، نمادها و روایت‌های هویتی است. گز اصفهان به‌عنوان یکی از سوغات ایرانی، هم در قامت یک کالای اقتصادی و هم به‌مثابه پوششی که خاطره جمعی را در هیئتی عینی بازنمایی می‌کند، دارای ارزش فرهنگی است. پژوهش پیشِ‌رو با هدف بررسی این پرسش انجام شده است که بسته‌بندی گز اصفهان تا چه اندازه توانسته است عناصر هویت ملی ایرانی و هویت محلی اصفهان را بازنمایی کند. این مطالعه با رویکرد کیفی و از طریق تحلیل محتوای بصری ۱۰ نمونه از بسته‌بندی‌های گز اصفهان که به‌روش هدف‌مند از برندهای شاخص بازار انتخاب شده‌اند، انجام گرفته است. چارچوب نظری پژوهش بر سه دیدگاه «نمایش» گی دبور، «ارزش نشانه» ژان بودریار و «زندگی اجتماعی شیء» آپادورای، استوار است. یافته‌ها نشان می‌دهد که بسته‌بندی‌های گز اصفهان از نشانه‌های هویت ملی (نقوش اسلیمی، خوش‌نویسی نستعلیق، رنگ‌های طلایی و لاجوردی) به‌میزان قابل‌توجهی بهره برده‌اند، اما نشانه‌های خاص هویت محلی اصفهان (مانند بناهای تاریخی، صنایع دستی شاخص شهر) به‌طور محدودتر و عمدتاً در بسته‌بندی‌های لوکس نمود یافته است. نتیجه پژوهش حاکی از آن است که هرچه بسته‌بندی از صنایع دستی اصیل و مواد با دوام (چوب، فلز، ترمه) بهره گرفته باشد، قدرت نمایش، ارزش نشانه‌ای و زندگی اجتماعی ثانویه بیشتری یافته و از یک کالای مصرفی صِرف به یک کالای فرهنگی ماندگار تبدیل می‌شود. این یافته‌ها می‌تواند راهنمای طراحان و تولیدکنندگان در جهت تقویت پیوند میان هویت محلی و ملی در طراحی بسته‌بندی سوغات باشد.

دانشگاه گیلان پژوهش‌های میان‌رشته‌ای هنر 3060-7043 4 1 2026 06 22 Critical Examination of Musa Maroofi’s Radif in the Educational Repertoire in Persian Classical Music (Case Study: Daramad Gushes in the Shur Dastgah) آسیب‌شناسی ردیف موسی معروفی در کارگان آموزشی موسیقی دستگاهی (مطالعه موردی: گوشه‌های درآمد از دستگاه شور) 9733 10.22124/ira.2026.33691.1098 FA مهدی علومی عضو هیأت علمی گروه موسیقی، دانشکده هنر و معماری، دانشگاه گیلان، رشت، ایران Journal Article 2026 05 25 <strong>Background:</strong> This study critically examines the radif compiled by Mūsā Ma'rūfī, one of the most extensive collections of Persian classical music, in order to uncover the reasons behind its limited adoption as an educational repertoire in Iranian music pedagogy. By comparing Ma'rūfī's radif with the radif of Mirza Abdullah, as narrated by Noor-Ali Boroumand, the research investigates the structural and pedagogical differences that have led to Ma'rūfī’s compilation being overshadowed by Mirza Abdullah's radif in academic settings. <br /><strong>Objective:</strong> For more than fifty years, the radif of Mirza Abdullah has served as the cornerstone of Iranian music education, has been taught extensively at the University of Tehran, and has been recognized as the main reference repertoire in the academic study of Persian music. In contrast, Ma'rūfī’s radif, which features 465 musical sections (gūshes) across seven dastgahs (modal systems) and five avazes (sub-modal systems), remains less prominent, even though its scope is nearly double that of Mirza Abdullah's radif. The central question this research addresses is: why has Ma'rūfī's radif, despite its comprehensive content, not achieved the same recognition and usability in educational contexts? <br />Through the comparative analysis of gūshes such as "Daramad-e Shur," the study identifies key factors: Ma'rūfī's radif suffers from excessive segmentation, unnecessary repetition, and a lack of coherent melodic development, all of which impede memorization and comprehension. Conversely, Mirza Abdullah's radif, with 256 gūshes, offers concise phrasing, logical melodic structure, and thematic consistency, making it more aligned with the cognitive capacities of learners and the pedagogical requirements of Iranian music education. <br />Historical accounts reveal that Ma'rūfī’s radif was compiled during collaborative sessions with eminent musicians, including Noor-Ali Boroumand, Ali Akbar Shahnazi, and Abolhasan Saba. These efforts aimed to standardize nomenclature, melodic phrasing, and stylistic subtleties. However, discrepancies in melodic organization and differing interpretations among these maestros resulted in a repertoire that, while musically rich, lacked pedagogical focus. For example, gūshes such as "Kereshmeh" in Ma'rūfī’s radif feature intricate subdivisions that, rather than contributing to clarity, complicate their educational usability. <br /><strong>Method: </strong>Methodologically, the study utilizes musical transcription and analytical tools, leaning heavily on comparative discussions between Daramad sections in both radifs. Ma'rūfī’s radif reveals a tendency to adopt vocal melodies and include multiple variations within gūshes, which diverges from the compact and focused nature of instrumental radifs, as exemplified by Mirza Abdullah’s version. For instance, the introductory melodic movements of Daramad-e Shur in Ma'rūfī’s radif include influences from vocal radifs, which lack the streamlined progression typical of the instrumental framework essential for teaching purposes. <br /><strong>Conclusion:</strong> In conclusion, the research underscores the importance of brevity, thematic consistency, and logical melodic progression as crucial elements in designing educational radifs. While Ma'rūfī’s radif provides an expansive catalog of melodies, its organizational challenges and overextended content limit its practicality in educational settings. Mirza Abdullah’s radif, by adhering to these principles, establishes itself as a highly effective and accessible repertoire that balances musical intricacy with pedagogical utility. This comparative assessment sheds light on the structural and thematic qualities that distinguish Mirza Abdullah’s radif as the academic standard and highlights the difficulties in adapting Ma'rūfī’s compilation for similar purposes. <br />The multiple doubling of gūshes in a famous musical Radif in the presentation and introduction of a gūshe can, on the one hand, cause a lack of understanding and accurate reception of the melodic content of that gūshe, and on the other hand, it reduces the ability to memorize it to a great extent.<br />In MirzaAbdullah’s radif, they go to the narration of Borumand, which is generally introduced with the titles of the first to the sixth Daramad; in each gūshe, a melodic theme specific to the Daramad is presented.<br />The first daramad (Mirza Abdallah) has an ascending melodic movement, followed by the introduction of its melodic movement and its distinct sound base. The second Daramad begins with a melody with a certain poetic weight, and then parts of the first melody are repeated. The third Daramad, titled "Kereshmeh," has the special rhythm of the gūshe of "Kereshmeh" and the specific melodic movement of that gūshe. The fourth Daramad, titled Rohab, starts with the fourth interval (characteristic of the gūshe of Rahab) and continues. The fifth Daramad titled Ouj has an ascending movement at the beginning, and its melodies are generally performed in the second wave, and part of it has the rhythmic movement of Kaereshmeh gūshe. The sixth Daramad, at the beginning of which there is a downward melodic movement, indicates that the collection of income ends in this gūshe.<br />In the famous Musa Marofi radif, which contains fourteen gūshes with the titles of Daramad and introduction, it is not possible to separate the gūshes like Mirza Abdullah's radif. The gūshe titled Daramad is a collection of melodies that are sung in vocal Radifs (Karimi and Davami). The gūshe with the title of Shour Daramad in a famous radif, except for the beginning and ending sentences, its melodic movement in the text of the gūshe corresponds to the radif of Mirza Abdallah. But it seems that the sentences do not have the solidity of the melodic movement in the radif of Mirza Abdullah. پژوهش حاضر در تلاش است تا با بررسی ساختار ماهیت موسیقایی ردیفِ سازی موسیقی ایرانی به روایت موسی معروفی، به علل عدم توفیق این روایت به‌عنوان رپرتوار آموزشی، دست یابد. این امر از طریق مقابله با ردیفِ سازی میرزاعبدالله به روایت نورعلی برومند صورت گرفته است. امروزه پس از گذشت بیش از پنجاه سال از آموزش ردیفِ سازی میرزاعبدالله به‌عنوان ردیف مرجع، این ردیف به‌عنوان اصلی‌ترین ردیف، جهت آموزش و سرمایه ذهنی موسیقی‌دان ایرانی پذیرفته شده است. ردیف روایت موسی معروفی که یکی از پر تعدادترین ردیف‌ها از نظر تعداد گوشه در بین روایت‌های مختلف ردیف است، این توفیق را نیافته است که به‌عنوان کارگان آموزشی مرجع در نظر گرفته شود. پژوهش حاضر درصدد یافتن پاسخ برای این پرسش است که دلایل عدم استفاده از ردیف موسی معروفی در امر آموزش موسیقی ایرانی چیست. یافته‌ها نشان می‌دهد مبانی فراگیری ردیف و مبنای حرکت ملودی گوشه‌ها با محتوای آنچه در ردیف معروفی وجود دارد (در مقایسه با ردیف میرزاعبدالله) دارای آشفتگی، و همچنین مضاعف‌سازی گوشه‌ای یکسان، در مواردی موجب سردرگمی در درک و دریافت محتوای اصلی گوشه‌ها می‌شود. در این پژوهش از طریق مقابله آوانگاری گوشه درآمد شور (در دو ردیف معروفی و میرزاعبدالله) به بررسی و تحلیل این مدعا پرداخته شده است.