@article{ author = {Shahbazi, Ramti}, title = {Lefebvre\'s "environmental" rhythm mining mechanism in cinematic expression based on a look at two movies «The Still Life» & « The Wind Will Carry Us»}, abstract ={ The Eco cinema does not have a long life in the field of environmental criticism studies. In the same lifetime, there have been few sources, each of which has tried to come up with a definition, But in conclusion, it can be concluded that almost any film from wildlife documentaries to poetic fiction films that have used the ecosystem in their narrative expression can fit into this field. Iranian cinema is no exception to this definition. Therefore, in order to achieve a tangible analysis in this field, Henry Lefebvre's views in the field of two rhythms of enviromental life have been expressed and then we have tried to find a connection between these two rhythms with aesthetic elements in a cinematic work to analyze cinematic works related to Provide the ecosystem. The present article refers to Henry Lefebvre's theories about  everyday life and its relation to environmental conditions, which is based on the method of library information collection, qualitative method and descriptive-analytical nature, to answer the question that How does Sohrab Shahid Sales in the film »the Still Life«  and Abbas Kiarostami's film film "The Wind Will Carry Us" create meaning from the contrast between the two rhythms desired by Lefebvre and highlight the environmental symbolic implications in this regard? It seems that in » TheStill Life « the ecological rhythm has become a kind of aesthetic rhythm, and in »The Wind Will Carry UsK, »ecosystem« has been found as a metaphor for the evolution of functional character. The result is that both films have proven the hypotheses and put the rhythm and socio-cultural way of life as a way to achieve an aesthetic look.}, Keywords = {Abbas Kiarostami, eco cinema, Henry Lefebvre, Sohrab Shahid Sales}, volume = {2}, Number = {4}, pages = {11-27}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-64-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-64-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} } @article{ author = {Khattat, Nasrin and GolestaniDero, Zeinab}, title = {The Invisible and visible nature in Autoroute by François Bon}, abstract ={What the contemporary cityputs in front of its citizens’ eyes is an assembly of occasionallywell-balanced skyscrapers, hugecommercial and industrial complexes, and vast transport networks, running through earth like arteries. With their advanced electrical services, these gigantic steel and concrete structuresdo not allow darknesseven during nightsleaving the citizen of today negligent of nature and natural orders. Yet, can we ignore the vital nature? Will the thoughtof nature gradually disappear amidstagglomerations of concrete and metal buildings? Drawing on the contemporary industrial world,François Bon is a writer whoportrays its different aspects; HLM buildings, the prison, the motorway, the railway, the factory, all represent contemporary lifewhich, distancing from nature, turn gray. However, these structures in herworkcontaina trace of the past: an invisible nature whichinfiltrates in various time periods of the city and cannot be eliminated: a nature that occasionally sits along roads and railways as fences protecting people from the urban chaos. Adopting an ecocritical approach, this article examines these notions in her Autoroute.}, Keywords = {François Bon, Autoroute, Ecocriticism, Contemporary city, Nature.}, volume = {2}, Number = {4}, pages = {29-44}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-65-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-65-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} } @article{ author = {Mirkhatemi, Marjan and Afarin, Farideh}, title = {An Analysis of Eco-Aesthetic Aspectsin the Work of Christo-Claude}, abstract ={  Nature turns into the environmental in environmental arts. Environment-related aesthetics transforms intoeco-aesthetics. The aim in this research is to use eco-aesthetic core principles for studying the work of Christo-Claude.Classifyingtheir oeuvre, webriefly expand on some eco-aesthetic issues, extracted from the views of key theorists in this field. This is done in order to answer the question of whether Christo-Claude have managed to influence their audiences and raise their awareness.The work of the duo is at an intersection betweenenvironmental, restorative and ecological art. This study offers a better understanding of these works exploring a range of meanings in nature. Nature has a wide range of meanings in Christo-Claudeincorporating the earth, the (individual or common memory-associated) place, constructed nature (cultural artifacts), the intact nature and the environment. The study of eco-aesthetic issuessuch as aesthetic values, engagementsand encounters,and the aesthetic protection of nature in Christo-Claude shows that their worktakes most advantage from aesthetic engagement and maximal use ofthe audience’s senses to generate a positive relationship between people and their world. They invite us to reflect on our relationship with the environment. Disturbing old aesthetic values of artworks, they make references to nature’s innate values (with a given range of meanings) replacing them with new values.}, Keywords = {Eco-aesthetics, Environmental Art, Eco-aesthetics, Nature, Christo-Claude.}, volume = {2}, Number = {4}, pages = {45-71}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-66-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-66-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} } @article{ author = {Doosti, Farzaneh}, title = {Ecofeminist Philosophy and the Paradox of Essentialism in Artistic Creation: Reading the Culture/Nature/Gender Trichotomy through Contemporary Visual Arts}, abstract ={Among various late 20th century schools of thought which have addressed the rapid deterioration of nature and the environment, Ecofeminism stands out. The term was first coined by the French writer Francoise d’Eaubonne in her 1972 book Feminism or Death.She was almost the first one to viewdomination, gender and the environmentin connection with each other. According to Ecofeminism, a dominating ideology equally treats women and the culturally inferior, andthe naturally inferior such as animals and the environment. In other words, similar patterns are at work to undermine the essence and identity of both.Thus,Ecofeminism has philosophical, theological, sociological and ecological concerns on one hand, and political and pragmatic concerns on the other. One can identify Ecofeminism schools and branches based on their political thought and praxis; however, what they all have in common is questioning dominant power structures that have equally subjugated woman and nature over time in different sociocultural and political contexts. Freed from gender/ecologic domination patterns,uto/dystopias and their hazards thus turn into main subjects of contemporary Ecofeminist subjects through a self-deconstructive approach.One should, however, admit that Ecofeminism’sfundamental philosophical and methodological flaws, most significantlyaccording to its critics, pure essentialism. The present paper intends to reframe Ecofeminismthrougha study of some contemporary artworks in the genre,rereading its deemed essentialism and sexism.}, Keywords = {Ecological arts, Ecofeminism, Essentialism, Self/Other, Nature/Culture, Gender.}, volume = {2}, Number = {4}, pages = {73-93}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-70-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-70-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} } @article{ author = {HosseiniKomeleh, Maedeh and Shokrpour, Shahryar}, title = {The Evolution of Eco-Branding: from Eco-Labelling to Eco-Designing}, abstract ={Eco-branding was conceived in the second half of the 20th century by some environment friendly brands, with the commencementof voluntary eco-labelling programmes in the late 1970s. The concept of eco-branding, though, has expanded since its inception covering a wider range of corporate environmental activities. One of the steps in creating an eco-brand is to design its visual identity. Despite the introduction of the concept of sustainability into the field of design and the emergence of sustainable graphic design, sustainable visual identity design and visual ecodesign is an emerging phenomenon which has greatly improvedthe alignment of a brand with its environmental agenda. The main purpose of this research is to address the concept of eco-branding and the scope covered by it in different periods from the beginning until now,as well as sustainable design strategies of brand visual identity. In addition to an introduction to the concept and history of eco-branding and its development in recent years, and a study of sustainable visual identity design and eco-branding, the first example of eco-branding and its design approach has been introduced. Efforts are made in designing a sustainable visual brand identityto reduce the amount of ink, paper and energy consumed, as well as the size of digital files. As a result, the environmental impact and economic costs of a brand are significantly reduced through sustainable design. Therefore, the environment and the necessityto pay attention to its health, along with other factors and considerations considered by some designersin the design processare of importance, as are their proliferation the design community.}, Keywords = {Eco-branding,Eco-design, Sustainable Visual identity, Sustainable design, Sustainable brand, Green brand.}, volume = {2}, Number = {4}, pages = {95-117}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-63-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-63-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} } @article{ author = {Haji-AghaBabaie, Mohammad Rez}, title = {An Ecocritical Analysis of Three Stories by BijanNajdi}, abstract ={Nature is considered as an (positive or negative) active element in contemporary literary works, with an influential role alongside other elements. In recent years, some comparative literature theoreticianshave highlighted the necessityof considering the environment in their works, thus initiating a new approach in literary criticism. This approach concerns the interactionsbetween the environment and the literary text and analyses how the environment is reflected in literary works. The present research is an ecocritical analysis of three stories by BijanNajdi. In these stories, nature is depicted as an activist creatureand an active ‘other’, with a mutual relationship between humans and their surrounding ecosystem at work. Najdi has portrayed an image of nature as an activistwhich occasionally plays a significant role in the progression of the narrative, and, at timesstimulates literary creativity and imagery in the text.Literary creativity based on the nature’s behaviouris a recurring occurence in Najdi.}, Keywords = {Ecocriticism, Story, BijanNajdi.}, volume = {2}, Number = {4}, pages = {119-135}, publisher = {Iranian Academy of Arts}, url = {http://pazhouheshnameh.ir/article-1-60-en.html}, eprint = {http://pazhouheshnameh.ir/article-1-60-en.pdf}, journal = {Pazhouhesh Nameh-e Farhangestan-e Honar}, issn = {1735-7896}, eissn = {}, year = {2019} }