فرشته پایدارنوبخت

The current research examines the relationship between form in cinema and the structure of ritual and archetypal systems based on Gilbert Doran's method of myth analysis. The main issue is how the creative forces of imagination and perception interact with visual forms. It is assumed that these processes, as kinds of aesthetic functions of cinema, are already involved with fixed, static and archetypal patterns, and the act of watching creates a mixed and interwoven space of aligned and opposite forces. This space, on one hand, is involved with external structures such as social systems and cosmologies of spectators, and on the other hand, is connected with internal systems such as archetypes, symbols, moral values ​​and beliefs. This research has developed a theoretical framework drawing on a descriptive and analytical method. Reflections on the film Lament of the Snow show that the formic aesthetic functions transform these relationships into a mixed and fluid space in which values ​​and concepts are created anew.

This article tries to deal with the relationship between image and reality. Cinematic reality is a special, continuous and dialectical connection that, due to its nature, is consistent with human experiences on the one hand, and on the other hand, it can involve the human thoughts. In this sense, the image must be superficial which destroys any necessary relationship between a specific form and a specific mental content. This is a philosophical approach to cinema. According to Jacques Rancière, cinema has always been a favorable field for examining philosophical approaches. Rancière recognizes moving images as a factor that, due to their nature, involve the audience in a kind of association and thinking process. According to him, cinema is the only art that is complete with the audience. In the cinema, a double situation arises in which the viewer is involved in the passivity of the image that is represented and also affected by the image as the agent of liberating his imagination. According to Rancière, this double situation takes the spectator out of the passive state and brings him into an active and dynamic stream so that he can feel and act at the same time as s/he watches. This dynamic of the image considers cinema as a collective and shared writing, where the viewer has a share in creating something that is exclusive, collective and shared at the same time, but allows the viewer to participate in this shared thing in their own way. In this article, the aesthetic procedure of such a heterogeneous process is examined and its boundaries with the cinematic frame are also considered. For this purpose, the film "The Wind Will Carry Us” by Abbas Kiarostami has been selected as a study example. The main question is how the image is able to establish, in an aesthetic format, a permanent and coherent dialectic and at the same time heterogeneous and opposite between the idea and the form, in such a way that it does not exactly contain the idea nor completely negates it; rather, it should be the basis of an endless and constructive process. Among the works of Abbas Kiarostami, the film "The Wind Will Take Us" is able to represent such a process more than his other works. In this film, two symbolic functions (the order of images) and organic functions (the flow of life), connect the two realms of ideas and meaning in the cinematic image in such a way that the image goes out of its usual function, and releases the power that is the origin of fluidity and flow. It is pure life. As a result of this link, the images make their impact not from reality, but from moments that have been able to establish a relationship between thinking and perception that reveals a contradictory and dual situation and shows the pattern of methods that cause the collapse of previous and certain structures by re-establishing a link between human and social existence.

In myth theory, Northrup Fry attempts to obtain a precise classification of literary and artistic types by discovering the commonalities between literary types and their archetypical connections. In this speech, we have tried to compare the cinematic plot of Holy Place’s screenplay with the stages of this myth by focusing on the structure that governs one of these types, i.e. romance. The main issue is how this adaptation manifests itself as cinematography. Because in romance, the narrative and history structure prevails over the dramatic structure. The results of this study demonstrated that the type of novel is more compatible with the mythological-religious structure. Because the mythological and archetypal structures go beyond stories and point to a set of human rules, behaviors, and as a result, history and communities, which cinema is represented in the form of images. The search was conducted using a descriptive analytical method. The data were collected from library sources and used for sampling purposes.

This study aims to investigate the ways in which the structures of human imagination have connections with primordial forms and symbols and shows how these early spontaneous images in humans transform such symbols into thoughts and artistic productions. It seems that human imagination is structured by generic forms based on ancient legends and myths. These forms have been systematized in the Nocturnal regime of imagination introduced by Gilbert Durand. Durand considers the structure of human imagination as a dynamic regime in a way that it can reveal primordial images with the help of symbols. This regime can reveal the relationship between human beings and cultures with the help of symbolic imagination. Monavar Ramazani's paintings are forms of imagination rooted in religious narratives, folk tales and oral literatures of her childhood. She has noted that she had first seen some of her paintings in her dreams before she started to paint them. The results of this study show that even though these painting aspire to be cultural images, they reveal a deep and symbolic connection with archetypes

The process of dramatic adaptation of fictional narratives has always been considered as one of the most significant problems for playwrights. This challenge provided new capabilities for literary studies after the modern period, particularly when literary styles developed in more various forms and the awareness to adapt literary works in Film and Theater gradually increased. In this essay, we attempted to propose a new conceptual model for adapting Iranian Composite Novels by posing the question of what the main challenges of this type of creative adaptation might be, and how to present a dramatic interpretation of this unconventional literary genre. Our initial assumption is that the use of new theories related to dramatic form and structure can provide a new explanation to the theoretical problem of this research. The research is done by a descriptive-analytical method and the data was collected by referring to library sources. Our theoretical approach to the problem is inspired by Maggie Dunn and Ann Morris's views on the nature of the Composite Novel (1995) and Sam Smiley's interpretations on new dramatic structures (2005). The results of this study confirm that in the challenge of adapting modern fictional narratives, where language is the common device for exchanging signs between literary source text and dramatic target text, formulating new forms of dramaturgical adaptation will be a suitable explanation.

Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture, are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’s / audience mind in one hand, and experience and physical and mental abstraction in another hand. Also the context where the play text is formed in, and the context where it is comprehend, are key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofol text. So in first level, we are facing with linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing with conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.

This paper attampts to analyze the functions of the capacities of language from the perspective of verbal irony in the representation of historical events in the two plays "Jangnameh Golaman" and "Fathnameh Kallat" based on the idea of Meta historiography. Accordingly, we first attempt to provide a definition of Meta historiography and the importance of irony as an important component in Meta historiography, and then elaborate on the types of verbal irony and its function in the dramatic text and analyze the components in the study samples. Therefore, the framework of the discussion is a combination of the linguistic and stylistic studies of Deirdre Wilson and Hayden White. The method of this research is descriptive and analytical and it is possible to analyze the components with sample mining. The findings of this study show that in two plays by Bahram Beizaie, a verbal irony is a linguistic device for employ the potential capacities of language and a tool for historical implications. This linguistic capacity manifests itself sometimes in parodic and significant statements and sometimes in the interpretive and analytical context of the text, given that the mechanism of creating irony and sence in the playchr('39')s text cannot be extrapolated without considering the meta text of history

This study intends to answer a question that how can drama -as a literal framework- be a representation of surrounding discourse of historical and social issues. It seems that a necessity beyond history which is a thoughtful attention of the history and its comprehension is the primary path to connect the author’s mindset and his audience towards past and present events. This study is done with a purpose and identification of patterns on dramatic discourse in terms of history and social issues from the Hayden White’s Metahistory perspective. Since storification and language capacity are considered as discourse paradigms in Metahistorical theory, the hypothesis claims that drama enables historic discourse to be felt at the present time by means of narration and language amenities. The preset study has been executed through library research and data collection and analysis. The findings show that drama is able to disrupt the syntax of formal narration due to establishing a discourse discipline and to expand discourse borders between past and present via narrative amenities and language capacities.

In the late eighteenth and early nineteenth centuries, a huge wave called the Orientalist movement arose in the wake of Europeans' extensive trips to Iran and the Orient, one of the major achievements of which was the creation of areas of influence of classical Iranian literature in Western literature. The tall poem Lalleh Rookh was influenced by the Irish poet and writer Thomas Moore, influenced by the story of one of the grandchildren of Norjahan at the time. Moore's era has also been a politically, socially and historically sensitive time in Ireland. However, no trace of the period in which Tulip has been sung has been seen by Thomas Moore. However, there is clear and eminent evidence of Oriental signs, and in particular Moore's history, mythology and literature, presented in the style of Romanticism.
Using descriptive-analytic method, this research attempts to discover historical, social and literary contexts that have contributed to Moore's influence on classical Iranian literature. It seems that translating the texts of Iranian classical literature and moving them to Europe in the aftermath of the Orientalist movement has provided the grounds for this effectiveness. There are clear similarities between the Lallah Rookh and the Haft peikar, which will be addressed in this study. The resemblance between the two works is thought to have been due to the influence of Thomas Moore's style of Ganjavi storytelling in combining epic and rich poetry and in presenting ethical and critical aspects of poetry.
The results of this study show that Thomas Moore, while paying close attention to the aesthetic strains of Romanticism influenced by the oppression of audiences of his time, from the context of Iranian history and literature, to symbolically reflect the political and social conditions of the time. He has taken advantage of it in the heart of a love story.