1 1735-7896 Iranian Academy of Arts 27 General An Introduction to Poetics of Criticism Namvar Motlagh Bahman 1 3 2019 2 1 9 26 05 01 2019 26 01 2019 The present paper intends to study a series of criticism types, using anatomy of criticism approach influenced by Aristotelian poetics, and emphatically Northrop Frye’s Anatomy of Criticism. Unlike Frye, this paper does not intend to offer a new schema of criticisms, but to put on display existing 19th to 21st century criticisms in a rather macro-scale, panoramic level. The emphasis will revolve around two main axes: paradigms and approaches. It starts with introducing super-approaches to criticism and their formation, and moves on to approaches and sub-approaches of criticism
28 General Deconstruction of Narrative, A Reading of Paintings by Hannibal Al-Khas Shaybani Rezvani Firoozeh 1 3 2019 2 1 27 44 03 12 2018 06 02 2019 The present paper is presented in two sections: theoretical and practical critique. First, it looks at Derrida's view about narrative; and then explains the distinction between narration and story, generally explaining how a text is read within a post-structuralism approach. In the second part, four paintings from the contemporary Iranian painter Hannibal Al-Khas are analyzed in a post-structuralist manner, and with an emphasis on deconstructive approach. In fact, deconstruction emancipates the audience from blind presuppositions which assume the narrative as self-sufficient and certain. The narrative debate here takes painting as a text, and analyzes the relationship of its visual features against its context. The reason for examining these four works from Al-Khas’s oeuvre was their potential to provide a deconstructive critique of the narrative. The main purpose of the present research is to reveal the semantic dimensions of Al-Khas’s work using descriptive-analytical method, and based on library studies of Derrida. 29 General The Manifestation of Criticism of Photographerly Production from Subjective Truths’ Point of View Sharif Zadeh Mohammad Reza 1 3 2019 2 1 45 55 25 12 2018 27 02 2019 The criticism of photographs as material objects expands their indexicality. Once considered as objects, photographs connect with other senses thereby strengthening their bonds with the concrete material world. This indexicality does not merely belong to the image, and is also dependent of the materiality of the photograph. In this sense what grants meaning to the photograph’s materiality is in fact the bond between the photograph and the world turning them from merely materialist objects into emotional, historical, documentary …etc. objects, occasionally causing pleasure whilst at other times bringing about awareness. Leaving photographerly productions behind just because of material damages is a reminiscent of an old creature which is not abandoned as a lot of concepts are invested in it, through which meanings are prioritised over matter yielding identity. Among most important in the genre is portraiture, as these works not only document the appearance of the subject, but also occasionally cast light on their inherent, internal features. 30 General Peter Brook and the Intercultural Theatre Zandi Zadeh Hooman 1 3 2019 2 1 57 71 19 12 2018 03 02 2019 Peter Brook is considered one of the most important theatre directors who forms many of his works based on the idea of interculturalism. His significant role in this area has made him inseparable from the discourse of Intercultural theatre. Unlike many Iranian theatre practitioners and researchers who admire Brook, in the West he has been criticised for adopting colonial and Orientalist approaches. This article seeks to answer two questions: 1) how does Brook’s intercultural theatre work? 2) have his intercultural performances made positive contributions? The article begins with the definition of intercultural theatre as ‘a site for the recognition of cultural values and the reconstitution of individual and community identities’. According to this view, intercultural theatre must avoid personal interests and cultural appropriation in order to conduct a dialogue among different cultures and communities. After defining intercultural theatre, two productions are analysed: Orghast (Brook’s first intercultural work) and The Mahabharata (his most significant production). To answer the research questions, Brook decontextualises his original source material and does not recognise the Other’s cultural values, nor does he help to reconstitute the identities of individuals and communities of his source cultures. This could cause misinterpretations as well as cultural and racial divisions. Hence, despite attracting a large number of audiences, Brook’s works have made negative intracultural and intercultural results. 31 General Awareness Leaps in the Plays of Mohammad Yaghoubi Hashemi Mohammad 1 3 2019 2 1 73 95 08 01 2019 19 04 2020 In a number of plays by Mohammad Yaghoubi, discussed in this article, he tries to display a kind of awareness leap in a series of human and social relationships through his signature dramatic elements. These leaps in social relations are also in line with parallel historical leaps traceable in all his dramatic elements. For instance, in The Winter 66 the historical leap arises from war conditions: conditions that cause uncertainties about the death and life of characters. These uncertainties do not just emanate from offenses suffered outside the characters’ household, but also affected by their domestic uncertainties. Yaghoubi depicts these internal disruptions in connection with external disruptions in a variety of forms. For example, with successive wobbles that is brought upon the fervent atmosphere of the household, or interrupted, recurring dialogues or with parallel narratives crossing each other from point to point. The theories adopted here are taken from concepts such as the configuration of knowledge or episteme, archaeology, genealogy, discourse, power and resistance, offered by Michel Foucault, the French philosopher, historiologist and semiotician. The questions raised in this study are first, why Yaghoubi depicts awareness leaps in the everyday lives of the characters’ social, historical context? Second, how Yaghoubi depicts the awareness leaps in the various elements of his plays? The purpose of this study is to reflect on the relation between drama, history, society, and politics based on a well-known theory. On this basis, the selected Yaghoubi works studied here are Drought and Lies, The Only Possible Way, One Minute of Silence, and The Winter 66. 32 General The Contrast between “Culture” and “Nature” as Meaning-Making Systems in the Process of Cultural Translation: A Comparative Study of A Streetcar Named Desire and its Two Cinematic Adaptations by Kazan and Tavakkoli Shahbazi Ramtin 1 3 2019 2 1 97 111 18 12 2018 30 01 2019 The relationship between a written text and a cinematic script is based on their inter-lingual translation. Written signs change to visual ones and some changes occur along the way: changes which can be studied and researched from both aesthetics and interdisciplinary points of view. The theories of Yuri Lotman and his fellows’ in cultural semiotics of the Tartu- Moscow School provide a basis for such interdisciplinary studies. They believed that a part of meaning production is formed amid “the contrast between nature and culture”. The perspective assumes culture as the sign of calm and nature as the sign of chaos. Based on this theory a dialectics is developed between meaning-making systems in art criticism and cultural systems. Paying attention to this, the present paper tries to re-read culture and nature in cultural semiotics and explore the potentials of this topic for studying cultural translation (adaptation) of cinematic works, seeking its patterns. This is followed by a reading from Tennessee Williams’s play A Streetcar Named Desire based on Tartu-Moscow cultural school in which the contrast between culture and nature is studied using a comparative approach, in the plays two cinematic adaptations A Streetcar Named Desire by Elia Kazan (1951) and The Stranger by Bahram Tavakkoli (2013).  Using library research and descriptive-comparative method, the research tries to cast light on translation mechanisms of “culture” and “nature” from the original text to its adaptations, and how the semiological differences of “culture” and “nature” between the original and the adaptation help in meaning making. 33 General Fairclough’s Organisational Critical Discourse Analysis Methodology in the Studies of Art Organisations and Events Yazdi Meysam 1 3 2019 2 1 113 132 14 12 1901 26 02 2019 Researching art organisations and institutions from a discursive point of view with a focus on art events needs an interdisciplinary method based on a specific theory and approach, in order to shed light on procedures and structures of power and ideology. The present paper investigates the challenges of exploiting critical discourse analysis method (CDA). After focusing on organisations and events, data collection and analysis methods, it moves on to the foundations of the methodologies of CDA, and then on Norman Fairclough’s theories, showing how data is gathered and analysed using contemporary Iranian Art organisations and events. The research shows that based on the tri-level CDA method of Fairclough, which is in line with Roy Bhaskar’s analytical model, and also taking advantage of Fairclough’s Organisational Discourse analysis, one can refer to archival data such as statutes, regulations, recalls, and then use intertextual and interdiscursive analyses of discursive behaviours of organisations and their events, to identify features and paradoxes of discursive hegemonisation in art and culture.