فصلنامه کیمیای هنر
پیاپی 13 (زمستان 1393)

The question of otherness is one of Bakhtin’s main concerns in his work، but the distinguished feature of his contribution to this subject is the inquiry into textual appearane of the Other. In this article، whilst the authors try to reassert Bakhtin’s philosophical view on the Other and his relation to self in the world، various dimensions of the appearance of the Other in texts are investigated. The main statement of the article is that while Bakhtin considers some texts to be dialogical and others to be monological، drawing on all his ideas on the subject، he believes that there exists a certain degree of conflict between dialogue and monologue within every text. In other words، neither the dialogical texts are devoid of any monological features، nor the monological texts are deprived of any dialogical features. Therefore، the domination of the dialogical or monological features over other extreme in the texts، determines a text to be generally dialogical or monological، and the absolute appearance of monological or dialogical features in a single text is proved to be of no credit.

As an artist and philosopher, Iris Murdoch also has addressed the question of whether art has an effect on moral education. She maintains that good art is capable of contributing to moral education and development. She tries to show that, through discovering the reality and use of imagination, art can provide qualification for virtue.

Critical approach to situation of modern culture is on the base of obstacles that are proposed in this approach. In this approach, the most important obstacle to ‘autonomy’ is the logic of ‘instrumentality’ and its disenchanting sequence. On this foundation, the question is whether we can find a sphere that will be beyond of logic of ‘instrumentality’. In addition, are the aesthetic sphere and art beyond of this logic and also is this sphere able to pave the way for getting rid of this logic? Theoretical framework in this article, for assessing critical approach to modern culture, is the trajectory of critical thought that Foucault has drawn. The trajectory that starts by Nietzsche and lead to Frankfurt school. Weber, Lyotard and Foucault would be compared in this framework and on the base of method of Lovejoy`s history of ideas, to see if their critical approach to ‘instrumentality’ lead to preferring of the aesthetic sphere and art (as possibility for redemption through aesthetic ‘autonomy’). Findings of this article shows that Foucault (on contrary to Weber and Lyotard) thinks that aesthetics isn`t beyond of ‘instrumentality’ and Weber (on contrary to Lyotard and Foucault) thinks that the avant-gard art can’t challenge ‘instrumentality’. Foucault, however, (on contrary to Lyotard) thinks that redemption locates in boundary of the rational.

objectivity with regard to interpretation of an artwork means being allowed to talk about true or false interpretations. Some theorists, call them anti-intentionalist, see discovering of the artwork’s meaning with reference to the intentions of the author as problematic. Some anti-intentionalists, including Roland Barthes, basically deny objectivity in interpretation of artworks. Others, including Monroe Beardsley, accept the objectivity in interpretation but ascribe it to the context. On the other side of the debate, some intentionalists, e.g. Hirsch, Levinson, and Carroll, see the intentions of the author as the ground for objectivity. The present article indicates that the intentionalists’ arguments are stronger and more consistent with the practices of art and criticism. Furthermore, there is also a debate that whether the intentions of the actual author are the ones that should be looked for or those that can be ascribed to a hypothetical author. In this respect, we illustrate that Noel Carroll’s actual intentionalism provides us with the best answers.

Montage is a process through which modern artists were able to cut out pieces of the reality and to establish new links between them in order to reinvent the reality and to create new relationships, juxtapositions and meanings. The juxtaposition of two pieces which can not have any relation in terms of spatial and temporal dimensions gives the audience a shock and invites him to engage in the meaning-making process. For the prominent filmmaker of the Soviet Cinema, Sergei Eisenstein, montage had something far beyond its mere technical sense. Realizing the inherent affinity between montage and the spatial/temporal fragmentation and chaos of modern metropolis, he introduced montage as an efficient tool for capturing the experience of modernity. Montage transformed the traditional concepts of body/space relation, and gave cinema the ability to fragment space, time and human body to pieces. Lev Kuleshov was one of the first and most important directors who by dismembering the different parts of human bodies, spaces and landscapes, and then by combining and giving the arbitrary structure to them, created an illusion of continuity, and invented his own cinematic “artificial landscape” and “creative geography”. The term “creative geography”, has an obvious implication to rooted liaison between the film theory and the physical environment, and also considering the body as a landscape in montage theory. Montage has provided this opportunity for filmmakers to form their own cinematic city by dismembering and mutilating of space, time and the human body, and establishing a new link between them, and inviting the spectator to walk in spaces of this cinematic city. Directors utilized real locations for shaping their own filmic topography and encouraged the audience to imagine the geography of this reel city by inventing their own mental map. In cinematic city, however, because of fusing indoor and outdoor spaces, a kind of spatial fluidity emerges, and conventional sense of division between street / house, public / private is disappeared. In this eccentric city, the human body is converted to a kind of landscape, a strange territory. Referring to interaction between the audience’s body and the spaces of the cinematic city, Giuliana Bruno emphasizes that the boundaries of the body and city getting intermingled and flowing into each other. In this filmic scape, an intense desire will be emerged within the viewer because of his/her intertwining with these cinematic fragments. The audience’s body as an embodied subject in the film’s haptic space, constantly is exposed to mutilation and disintegration, because of momentary decomposition and explosion of filmic spaces and bodies. The spectator’s fragmented body blends with dismembered bodies and fragmented spaces of the film, and their combination brings forward a space that can be called the intertwining geography of dismembered bodies and fragmented spaces.

Unlike the early years of 20th century, presently, there have been new techniques, ideas and performance methods evolved in the process of creating aesthetic stage atmosphere. With the presence of modern dramas and works which offer special atmosphere and various attitudes, the dramatic atmosphere (stage design) attracts attention and consequently stage designers have attempted to utilize modern technologies to create different atmosphere. Amongst these atmospheres there is minimal art which is the appendix of pop art made by presenting 3-D works and is created from different components. The importance of this art is the iconoclasm of the artists in this artistic period. All minimalists believed in the slogan “Less is more!”. Minimalism is a movement which progresses towards reduction, by removing external manifestations to the benefit of the concept of finding objects. This research aiming to study the aesthetic functions of minimalism and the structural importance and the situation of stage design in the contemporary era and focusing on the special qualities of the dramatic atmosphere which have created distinctive characteristics in the stage design, seeks to answer the following questions “Does this method and/or approach in the modern society appeals the theatre audience?”, “Has this attitude been used or not; and how?” This research method is based on the descriptive- analytical approach and in collecting the information, library method and virtual atmosphere functions have been utilized. The present essay analyzes the aesthetic thought on creating minimalistic atmosphere in line with clarifying the research generalities and reviewing the history of minimalism. This research displays an image of protecting the authenticity of theatre on the dynamism and visual diversity in creating atmosphere and interaction with the theatre audience.

Annotations are adding notes on the margin of pages. In manuscripts of Quran, verses and chapters are explained in annotations around each page. The annotation of Quran started and continued since Prophet Mohammad (peace be upon him). But when the book designs advanced, the appearance of manuscripts of Quran became more complete because Qurans pages always had the richest art and decorations. The annotation was constantly neglect in explanation of the aesthetic features of writing Quran therefore, this study aims to get visual aesthetic features in the annotation of the selected manuscripts in 10th to 14th century AH. In total these are 23 manuscripts of Quran and it describes the common patterns of the structures and organizes the components of them. The reason for this selection is that the annotations are common during the Safavi and Qajar periods. The results show, the annotation of the selected manuscripts of Quran have the best feature of divisions in dimensions and their composition of elements follow the current standards to form harmony and coherence in visual image. So that, their aesthetic aspect are preferred to readability. This study is based on analytical- descriptive method and accomplished through library sources and observation.