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The literary elements in Iranian visual arts have had a complex and alluring history from ancient times to the present. The aim of this paper, however, is to draw attention to aspects of this history shaped by elements on the fields of discursively, which have led to the emergence of different types of literary elements in contemporary visual arts.  Even a cursory review indicates that the use of letters in visual arts has undergone such transformations that it challenges the fixed beliefs and deterministic propositions of traditional approaches such as calligraphy in the cultural discourse since Iran’s’ revolution in 1979. This research, relying on the discourse analysis method of Laclau and Mouffe, intends to analyze artistic flows to show the conflicts over the definition and stabilization of meaning in this field. Conflicts whose social effects lead to different formulations of the presence of written elements in visual arts. The special prominence of the upcoming research is to reveal the marginalized elements that appear in the moments of unrest and instability of the discourse and challenge the hegemony of the central discourse. The discourse analysis provides us with the opportunity of examining the differing positions of actors within a discursive space and to explore the contexts of text production. Such artworks meaningfully diverge from collective identities such as religion, revolution, war, and social contradictions and discuss them in a personal and critical manner. Before sending any messages, such artworks include a kind of over-connotation that could be summarized in this phrase: The subject’s effort to position signs within a new chain of equivalence for creating a novel semantic system. These artists play the role of agents in the reproduction and transformation of the power circumstances, with their distinctive creativity. This research endeavors to reflect on how and under what discursive conditions the artist, by creating a new semantic system, emphasizes the agency of the subject in such a way that it generates a new discourse. The methodology of investigation in the present research is discourse analysis, and the method of information collection is library-based, including the review of archival documents and observational

Kant’s views on beauty are given in his book, The Critique of Judgment. In this book, instead of focusing directly on the aesthetic experience, Kant relied on the aesthetic judgments of beauty. He considers the sentences he dealt with as propositions attributing beauty to things. He divides his discussion about them into four moments: quantity, quality, relation, and modality, which means clarifying their essential nature under distinct aspects. The problem of the present article is to examine Kantian’s four moments of the beauty and the possibility of using them to enrich the concepts raised by the aesthetics of everyday life. As such, in this article, these four moments and the relationship between these four moments and the aesthetics of everyday life have been discussed. In fact, the current research, using the descriptive-analytical method, intends to answer the question that what is the relationship between the sentences regarding beauty in Kant’s view and the concepts raised in the aesthetics of everyday life? In Kant’s view, aesthetic judgments do not refer to a specific object or a property of it, but to the state of the mind itself, which is caused by the free play of imagination and understanding powers and subjective awareness of it. This reaction as a subjective feeling can be related to one of the most important missions of the aesthetics of everyday life, that is, to discover the hidden potentials behind the ordinary facade of daily life. Cultivating the capacity and sensitivity to illuminate very familiar things, the ability to gain a new aesthetic experience and enrich one’s life in this way is one of the important roles of everyday life aesthetics. Another feature that makes Kant interesting is that, unlike many later writers, he did not limit aesthetics to nature and art. Furthermore, in Kant’s views, the aesthetic experience is the result of the pain that comes from judging that the objective is ugly. This can also be related to the negative aesthetics that are raised in the discussions related to the aesthetics of everyday life.

Ibn Sina's philosophical framework gives particular consideration to narrative and creativity. He regarded the meaning of physical punishment for humans on the day of Judgment as one of the symbols and signs and embraced the physical resurrection based on religious narrative. In other words, Sheikh did not place the centrality on evaluating, rejecting, and accepting issues in general, and religious issues in particular, intellect and rational perception, and he stressed that if the rational argument fails to prove some cases, it is not the reason that it is impossible. This was done based on hermeneutic insight. Ibn Sina, therefore, took a dualistic perspective on resurrection and, despite his faith in a spiritual resurrection, thought the bodily resurrection was conceivable. He thought that the Qur'anic verses' descriptions of the bodily punishment of the Resurrection, which were intended to be as near to general comprehension as possible, were mysterious and concise. Because they cannot fathom that it is impossible to vote, the general public can better comprehend the position of those who are crammed. He made the first distinction between fantasy and imagination concerning the power of imagination, describing it as a creative and inventive power with the capacity to grasp shapes and meanings. This difference enables the imagination to create forms that have no analogs outside of the imagination and to create new forms from those it has already saved. However, imagination requires the assistance of an engaged mind to translate logical ideas into tangible shapes. The power of imagination restricts the active intellect's ability to conjure up tangible representations of sensible ideas and capture their pictures and meanings. Another important subject for supporting the representation of religious topics like the Day of Judgment is the continuity of narration and imagination in the painter's eyes. This Day is a day that makes the earth and the man stands before God with his actions, and God says: We have bound the actions of every human being to him eternally, and we will bring out writing for him, which he will see open before him. This study aims to identify instances of the imagination used by the painter to depict the visual substance of human behavior on the day of judgment, on the one hand, and to provide direction for Qur'anic allusions and allegorical expressions of verses, on the other. What strategy has the painter used in the face of narrative and fantasy in the concrete depiction of plausible ideas in the context of resurrection day, given the importance of this question? To adequately respond to this question, it is important to consider Ibn Sina's viewpoints in light of his in-depth discussion of the power of imagination and to take an interpretive perspective on the subject of bodily revival. A painting named "Day of Judgment" was selected in this direction to tie the two study areas of Ibn Sina's views and the art of painting in the framework of narrative and imagination. This image with the same title was portrayed in the Falnamah book and during the Safavid. This volume, which Shah Tahmasab ordered illustrated, is a compilation of horoscopes associated with stars and constellations that have a devotional bent. One of the few artworks from the Ilkhanid to Safavid eras that depicts the Day of Judgement is the cover of "Judgment Day." More significantly, the visual components are based on Shiite religious themes, which are significant Safavid era characteristics. However, when contrasting these two images, the image selected for the current study has portrayed increasingly comprehensive descriptions; this difference was the basis for the image selection. With the aid of library resources and a descriptive-analytical research methodology, the current study examined the aforementioned subjects and the results of the studies are as follows: In addition to having a semantic connection to representing the circumstances of the day of Judgement, the interior space of the image is based on a narrative arrangement from top to bottom, and it symbolically refers to the sacred position of prophets, imams, and sinners as well as their true high and low status. The eleven imams are depicted in Shafaan's posture without any characteristics resembling those of regular persons, and the ambient light is replaced by the typical features of face art, such as eyes, eyebrows, etc. This holy blaze serves as a metaphor for the illumination of wisdom that God has bestowed upon the unadulterated institution of the infallible imams. Meanwhile, the body of Fatimah has a remarkably unique pattern that shows that, in addition to her cranium, the entirety of her being is encircled by sacred light, demonstrating both her essence and her luminous nature. This symbolic portrayal, which shares a close semantic relationship with the Qur'anic reference to her as "Zahra," or "light," indicates the significance of the artist's transfer and approval of Shiite readings. The relationship between face and meaning has developed in the posture of observers as a result of the accumulation of vertical visual factors. In this way, the scale's face, which also alludes to the establishment of homeostasis and balance, is linked to the vertical visual forces, which have meanings like establishment, balance, and stability. The combination of these two formal and lexical allusions with the physical appearance of Hazrat Muhammad and Hazrat Ali, whose bodies serve as the Qur'anic yardsticks for measuring human behavior on the Day of Judgment, which is one of the significant outcomes of the painter's use of narrative and imagination in his or her creative and sacred vision. The combination of the color of the sacred flame of the Prophet and Imam Ali with the color of the holy flame of the innocent imams, who were in the position of the intercessors, is another logical idea that can be seen in the position of the assessors. This in turn alludes to the reality of Noor Muhammadiyah on the one hand and the Imams' descendants on the other. The Qur'anic passages and Shia interpretive sources served as the painter's inspiration for depicting the offenders in the position of those who are tallied. His creative ability successfully creates combos that are appropriate for the circumstances specified for the evildoers by entering and filling the forms and meanings kept in the power of imagination and memory. In addition to depicting the condition of evildoers, rather than painting some of their features dark, the audience has also been made aware of the ugliness of the actions, and in this way, it also depicts quality problems. The incorporation of the awoken in the amazement of the eight groups of offenders with the high rank of imams at the top of the image is put in the bottom portion of the image in a clear semantic comparison. The most significant of these are distinct and covered faces, open and regretful faces, radiant faces with a holy flame, black and dark faces, placement in Paradise and next to the Tuba tree, placement in the barren and barren desert, women dressed in colorful societies, naked upper bodies and shrouded lower bodies, and others. This conflict between the positions and ranks of the innocent imams and the evildoers has also been represented in other open confrontations.

Mainstream cinema seeks to naturalize and project as real what comes from an ideological and imaginative framework. Met-films, on the contrary, are meant to highlight their own artificiality and imaginative nature through their particular focus on the movie production process.The two dominant views with respect to the moral association between “the self” and “the other” in the history of western philosophy, are represented by Jean-Paul Sartre and Emmanuel Levinas. From Sarte’s standpoint, that association is characterized by conflict. Levinas, on the other hand, raises the concept of asymmetrical and infinite responsibility, introducing moral heteronomy. If mainstream cinema represents the dominant discourse on the association between “the self” and “the other”, then the question is whether the self-reflective qualities in the Iranian meta-films have created variations in the representation of “the other”? To address that question, the present research has put the spotlight on such meta-films as “Under the Olive Trees” (1994) by Abbas Kiarostami, “When We Are All Asleep” (2009) by Bahram Beyzaei, Mix (1999) by Daryoush Mehrjouee, and “Smell of Camphor, Scent of Jasmine” (1999) by Bahman Farmanara. Relying on descriptive analytics, the study bases its review on Norman Fairclough’s Critical Discourse Analysis (CDA). The research concluded that those meta-films have their own different individual treatment of “the other” as the obstacle on their path toward creativity. When it comes to this, Kiarostami and Beyzaei have resorted to heteronomy, while Mehrjouee and Farmanara — despite appearing critical and intellectualist — do reproduce the dominant discourse.

Liveness is one of the most important issues to consider in all arts in general and in performing arts in particular. In recent years with the ever- increasing popularity of intermedial and multimedial it has assumed a new significance and the nature and definition of liveness has become the subject of much theoretical debate. Following this novel trend numerous scholars and theorists have contributed to the vigorous debate on liveness. Liveness has been analyzed in various fields such as performance studies, media studies, film and television studies, sports studies, virtual studies and more. The present study, however, focuses on performance studies and media studies. In the wake of  Peggy Phelan’s observations in  “Unmarked: The Politics of Performance” namely claiming that performance’s only life is in the present as well as placing considerable emphasis on the fact that performance is ontologically ephemeral, numerous theorists contributed to advancing the discussion. Philip Auslander, initially determined to take issue with the ontological view, made an effort to investigate liveness taking innovations in digital and hybrid performances into consideration. Therefore, warning against solely attempting to locate liveness in the object of perception, he highlighted the role of spectator or audience. Recent innovations, however, proved these considerations insufficient too, since particularly during the COVID-19 pandemic the absence of live performance from cultural experience necessitated reassessment of previously agreed-upon statements. The present descriptive- analytical research which is conducted with comparative approach aims to explore the theories of Phelan and Auslander regarding liveness. In this regard, an attempt is made to examine the ideas of both theorists and compare them in the light of recent findings in this field. The findings of this research indicate that Phelan’s ontologically- based definition of liveness, though significant, might not prove practical considering recent innovations. On the other hand, Auslander’s pronouncements, initially based on the historicity and contingency of liveness, at each stage, reflect the specific conditions of the case studies he chooses to investigate. Particularly if we consider the new definition of space, which is related to the space created in digital performances, the co-presence of performer and spectator in time and space can exist, albeit in a new sense of space.

The Banshees of Inisherin by Martin McDonagh (1970- ) is black tragicomedy film. In this film, despite representation of the first fantastic scenes of the film, suddenly, all those beautiful images of the island turn into darkness and misery. Relied on the thoughts of Hannah Arendt (1906-1976), the political philosopher of the 20th century, this research tries to show why, despite all the initial beauties, in the end we see fire, war, death, immigration and misery and dissatisfaction. In this article, the focus of the discussion is based on three basic concepts in Arendt's book The Human Condition: labor, work and action. In the end, it is tried to show that it is the lack of the concept of action that causes all the darkness, bitterness and misery at the end of the film. In fact, this article tries to show that the desired trinity in the human world in Arendt's human condition must be realized together and side by side. Because the absence of action or ignoring and not understanding its ontological position causes the misery of the human world.

With the motto “Less Is More”, minimalism is a view and style whose main characteristic is to express the essence of phenomena while being concise. This view, which is made possible by the motto “Zu Den Sachen Selbst (to the Things Themselves)” through epoché and phenomenological reduction (bracketing) is in harmony with Edmund Husserl's philosophy of “Essences of Things” in phenomenology; perhaps most representatives of this philosophy in the arts can be found in the essence of graphic design. Advertising design works as one of the most important sub-branches of graphic design can be a suitable ground to examine this view. Accordingly, some questions can be raised: what is the relationship between the phenomenological aspects of minimalism and the design and understanding of works in graphic design? And how can brevity in minimal expressions connect with the method of “Wesenseinsicht (Seeing Essences)” in Husserl's phenomenology? The present article is based on the key concepts in Husserl's phenomenological thought, following the way they appear and emerge in creating minimal works in graphic design. In this regard, first, the main of Husserl's phenomenological concepts, such as epoché, phenomenological reduction, and seeing essences are briefly discussed, and then their manifestations in creating, experiencing images, and receiving graphic design works were explained and described. Examples of graphic works were selected through an intensity sampling, as a strategy of purposeful sampling method in the current qualitative research based on the inclusion criteria and presented via a descriptive-analytical method. The results indicated that minimal expressions in graphic design can be considered as phenomenological expressions that make design and accompanies the audience up to the image experience through “seeing essences” and “essential structures” of phenomena, especially concerning the component of essential necessity.

The film Banshees of Inisherin by Martin McDonough (1970-  ), in the shape of a black comedy-tragedy, shows the transformation of friendship into endless enmity between two friends, interlocutors and companions. This research assumes that the transformation of friendship into enmity shown is based on the ontological difference of two existentialist horizons, and it cannot be simply a temperamental disorder and a social difference or other things such as these.Based on the mentioned assumption, relying on the fact that the two friends are established in two different areas of language, i.e., Speech, Discourse- Language/ Rade and Idle talk / Gerede, an attempt will be made to clarify the difference in horizons that is first revealed to one of the two friends, relying on the book of Being and Time. Finally, its tragic end should be reflected upon and an attempt will be made to show how the distance and ontological difference and the different way of living in the field of language can turn a close friendship into the fire of war and blood continue to convert.Understanding/ Verstehen, it is not possible for one of them to return to the past. The other friend, without the ability to imagine and understand this transformation of Dasein as a friend, tries to turn it into war and fire.

The concept of liveness is of great significance in performance studies. Traditionally, liveness had been defined in contrast to expressions such as “recorded” or “mediated”, in other words, the live was supposed to materialize in the absence of any sort of mediatization or it was associated with the bodily copresence of performer and audience in the same space and time. In line with such traditional definitions, live performance had been associated with realness and authenticity, while recorded or mediatized forms had been regarded as non-real or inauthentic. However, over the recent years, numerous scholars have theorized about this concept among whom Peggy Phelan and Philip Auslander can be mentioned as the most prominent. Auslander in his book “Liveness: Performance in a Mediatized Culture” raises the significant issue of the status of live performance in a culture dominated by mass media. He questions the traditional definitions of liveness and in particular challenges Phelan’s ontological view. The Present study aims to explore the concept pf liveness in digital performances and uses Auslander’s observations in “Digital Liveness” as its starting point. Since his ideas can be applied to several categories of digital performance particularly the categories involving human- machine interaction, robots and the internet, this research focuses on analyzing two works of Blast Theory, one of the pioneering artistic groups that create creative, inventive and interactive work, namely Kidnap and Karen which demonstrate different characteristics. The question this article aims to answer is: in what sense can these works be regarded as live in light of new findings in this field. The results demonstrate that although these two works cannot be regarded as live in the traditional sense of the word, they demonstrate liveness in different levels considering new spaces created by the utilization of new media and mobile communication networks. Furthermore, issues are raised regarding the authenticity of considering the real and the virtual world as two separate entities.

David Hume's reflections on aesthetics and the standard of taste, as well as George Dickie's philosophy of art presented in the form of the “Institutional Theory of Art”, are both based on a social and sociological origin. According to Hume, the standard of correctness of aesthetic judgments is the joint verdict of true judges, which is true and correct in all circumstances due to the lack of defects in the faculty of taste. The institutional theory of art was presented in the middle of the 20th century, focusing on the necessity of redefining the boundary between art and non-art. A theory according to which, granting the dignity of art to an artificial object is done by a person or persons who act on behalf of the artworld as a social institution, and their judgment in granting dignity to an artificial object, in order to evaluate or honor it as a work of art compared to other opinions, is generally accepted and has authority due to its continuous connection with the artworld and delicacy. As a result, the main question of the research is to explore the importance of consensus on issuing aesthetic judgments and valuing works of art on the one hand, and explaining the distinction between art and non-art on the other hand, according to “true judges” and “qualified” people. This research, which was carried out using the comparative method and its data was collected in a library manner, first studies the concept of judgment of taste and then evaluates the relationship between Hume's aesthetics and the institutional theory of art.

This study applies quantitative content analysis, and Paul Gee’s context analysis methods to analyze the representation of everyday life objects in works of Iranian contemporary photographers. In this respect, answering the question about meaningful differences in the choice of subject and the artistic styles in the works of male and female photographers seems necessary, through studying different characteristics of works of contemporary Iranian photographers.Artists use everyday objects to arise artistic perception of the audience and inspire them to contemplate what seem to be ordinary. Whereas such art works represent an object, they challenge everyday subject to express artistic ideas and invite the audience to think.This study investigates seven important linguistic actions and five activities in each art work provided in two different tables, in details.What is derived as  result, is a meaningful and obvious difference in representation of objects in works of male and female photographers.  Photos of this study are selected through targeted sampling method.Key words: Content Analysis, Context Analysis, Everyday Life Objects, Iran’s Photography. One of the most important reasons that make everyday life a subject worthy of research is its ordinary nature. It was from the end of the 20th century that social theorists considered daily life as a dynamic and controversial subject. Since the beginning of the human consciousness and his approach to art, countless common objects and elements have been among the shaping factors of works of art. Especially photographers have emphasized their aesthetic aspect and importance in life by looking at and recording objects. In the photos where the objects are next to the portraits, you can understand the class and social position of the people.The collection of photographs whose main subject is everyday life objects and tools, as well as dealing with the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers, form the subject of this article. This representation of objects invites the audience to think and try to criticize the phenomena and normal affairs of everyday life. For this purpose, and better presentation of the concept of the article the works of the following contemporary Iranian artists have been studied: Shadi Qadirian (two collections), Mitra Tabrizian, Farshid Azarang, Mehran Mohajer, Neda Razavipour, Maitham Mahfouz and Behnam Sediqi.This article uses the combined method of qualitative content analysis1 in order to describe the collections and analyze the text with an approach to Paul Gee’s discourse analysis method, which on the one hand expresses the constituent parts and components of the text and on the other hand expresses its internal actions.  The sources were collected through was field study and library research. The method of selecting works is based on targeted sampling among the works of male and female artists since 1991.Content analysis is actually the classification of signs and the description of the explicit content of the message. It can be defined as a technique used to classify signs. Content analysis as a method recognizes and highlights the main points or axes of a text (or photo, video, etc.). In this method, the implicit content of the work needs to be examined as much as the obvious aspects. In this research, descriptive analysis is used to point out the frequency of specific topics and general theme analysis. This article has benefited from content analysis in the description of the collections and Paul Gee’s text analysis. According to Paul Gee, the analysis of the text is the analysis of the language used in the situation. In this research, language means the system of representing everyday life objects in the works of contemporary photographers. Paul Gee believes that the internal dialogue of the text shapes its conditional meanings and it is not possible to get out of it. As a result, the artistic text is able to create its conditional meanings through its internal language. According to Paul Gee, these texts have a kind of social praxis that creates identity. These texts create new actions and promote new policies.In this research, with the help of Paul Gee's discourse analysis method, we will identify the linguistic actions that are performed in each of these functional parts of the language. In his two books, "Introduction to Discourse Analysis Theory 2005" and "Discourse Analysis: A Toolbox 2011", James Paul Gee has mentioned the method of discourse analysis, which believes that every linguistic text consists of "six parts". And according to the "seven linguistic actions" that the language performs, reality occurs. If in the analysis of a text (here we mean photography) we can identify these seven linguistic actions and the linguistic elements and relationships that make these actions practical, we can analyze the descriptive discourse of a text.What this study emphasizes on is not the descriptive attention of the existence of objects, but it is a door to confronting and contemplating the objects, which leads to reflection on everyday life and to the explanation of the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers.In contemporary art, objects without human presence also have a meaning and have a special place. The beginning of the use of objects in art goes back to Marcel Duchamp who, by using the object itself and changing the title, changed the attitude towards matter and caused a revolution in the attitude towards everyday objects. Although this representation has been accompanied by ups and downs in the expression of the idea, the mere representation of it has not changed. For example, in the past, artists used objects for their representation and visual appeal, and in the modern era, this representation has led to a change in the artists' vision of the objects and phenomena of everyday life. In the era of new art, where the idea behind the representation of objects is to invite the audience to think and contemplate the artist's perspective, the objects of daily life have continued to be a constant in modern art. In photography, which is one of the branches of art, objects have always been the constant basis of images, either separately or next to people. In this article, an attempt has been made to examine the importance of objects in the works of male and female photographers and how they are represented.This article deals with the representation of objects in the photographs of contemporary Iranian artists, and by studying the characteristics of the artists' works and how they deal with the subject, it aims to answer the question of whether there is a difference between the representations of everyday objects in the photographs of male and female artists. In most of the photographs taken by female artists of objects, they are represented next to women; while in the works of male artists, objects have an independent identity and only the physical and commodity aspect of the object itself, has significance. In photographing objects, women seek to give importance to women's identity and assert lost social rights. A work of art is an object that has emerged from the artist's perspective on world affairs. What has turned the everyday object into a work of art in these works is its separation from the context of everyday life. Through art (here, photography), objects are separated from their everyday functions and become objects to be seen. It is their separation from their usual context that gives them an appearance and makes them worth seeing. In this type of looking beyond reality, the value of objects and materiality is revealed and they can be separated from their empirical dimension through observation and reflection, and can be considered art. In Art as Device, Shklovsky claims “there is a difference between everyday objects and artistic objects because there is no insight in everyday objects and we experience them unconsciously." In fact, by emphasizing everyday objects and highlighting them, these works play an important and fundamental role in creating meaning and turning them into a work of art.

Royal Portraiture is one of the last Iranian miniature styles which more or less can be considered a Synthesis Style of Iranian and European elements. This style was inspired by Westernization, but underwent important changes during the Qajar era. In this research, one tries to analyze and interpret one of its ruptures that occurred in the era of Mohammad Shah. The main issue of the present project is to study the ways this rupture and its consequences were occurred in Qajar visual culture. For this purpose, first, the main features of Royal Portraiture before and after the Fath-Ali Shah era were identified and then, the ways of the occurrence of this rupture were described. After that, based on Michel Foucault’s thoughts on the concept of the technique of power, the consequences of this rupture were examined. In this project, which was based on qualitative and analytical research method, after conducting studies, the result obtained from this study shows that the rupture of the Royal Portraiture was taken place in representation of body figure and in the discourse of chronology. The consequence was that, this rupture as a technique of power-record, in addition to reproducing this discourse, replaced metaphorical logic with realistic language in visual culture.

The museum, in the form of a cultural and educational institution, has always expressed a kind of deep relationship and a discourse relationship with power, rather than a warehouse space, arranging and displaying this or that object. In the meantime, the reflection of some themes of power in the museum is accompanied by evidence of the concept of "heterotopia" from space, which is visible among the thoughts of Michel Foucault. Through concepts such as "heterotopia or the space of otherness", Foucault has dealt with how power, order, discipline, and knowledge are manifested through institutional forms in specific spaces. Accordingly, the present study, based on Foucault's ideas, tries to critically analyze the position of the museum. The main question is what are the heterotopic features of the museum depending on the power structure and to what extent it can be adapted to this concept. As a result, in addition to the durability and consistency of the six basic principles of heterotopia in a museum, which reflects the disciplinary power and controlled establishment of knowledge, a seventh principle can be added that operates in the position of resistance.

Many attempts to understand the nature of perception and its phenomena have been the result of the thoughts of phenomenologists and Gestalt psychologists. Maurice Merleau-Ponty and Rudolph Arnheim are two of the prominent philosophers and theorists in this field, who’s their opinions are influenced by Gestalt school with a phenomenological approach.The present article aims at achieving a broad cognition of the nature of perception by comparing the opinions of these two philosophers and analyzes these implications in the field of art education.This research was carried out with phenomenological approach, using an analytically-comparative method and utilizing authentic documents and library resources.The findings of the study show that Merleau-Ponty and Arnheim share the same thoughts, they believe that in visual perception, contrary to the dualistic doctrines of Descartes, the essence of the inner and outer world (subject & object) takes the form of a gestalt in the interplay between different forces and it is through this intertwining of the organism with the perceived world and it,s possible to understand the real thing. Also, by relying on this overall structure, we can achieve the meanings and Visual expression that there are in vision and visual arts as communication tools of artist. Therefore, the necessity of creating and understanding an artwork is the mental ability to understand these integrated and meaningful structures, which doubles the excellent understanding of visual phenomena in art education.

Narrative and narratively is an important part of historical report and explanation of historic events and human actions. emplotment, as the composing manners of representing historic events in significant way, is the main aspectof narratively and in this respect was considered by historians. Tarikh-e beyhaqi (about Masood Ghaznavi’sreign) is a specific sample ofdynastic chronology in which the particular structure of outline and plots are neglected. this article, based on the comments of two theoreticians of historic narrative, Paul Ricoeur and Hayden White,is about recognizing and analyzingthe emplotment techniques in Tarikh-e Beyhaqi according to an inductive approach and in regards to the applications and significations.

This article has been done by library method and descriptive-analytical method.

In the article the outline and plots of tarikh-e beyhaqi has been analyzed in two separation parts. the analysis of the outline of tarikh-e beyhaqi is about sectioning and marking in the history and also anachronism in analepsis and prolepsis parts. In study of plots, the similarity of sequence to classic narratives (chieflynarrative of Abbasid history) and the narratives of Sultan Mahmooud’s regin have been considered. In this section, also, two kind of changes applied on the original plot of adjunct narrative, has been introduced.

In Tarikh-e Beyhaqi the emplotment techniquesof prior history was applied increasingly and innovatively. The main methods of employment in tarikh-e beyhaqi are: Sectioning and marking the history,forming the outline of the history by interpolating paralysis and analysis parts, and attending to the patterns and similarities in composition of plots, which applies widely and in specific manner.

Mainstream cinema seeks to naturalize and project as real what comes from an ideological and imaginative framework. Met-films, on the contrary, are meant to highlight their own artificiality and imaginative nature through their particular focus on the movie production process. Meta films are a category of films whose subjects are about the nature of cinema and film making. Film makers of this Sub Genre have a critical view to the production of meaning confront the current illusion in the conventional and realistic films. Modeled on the stylistic properties of self-reflective cinema, the meta-film “When We Are All Asleep” depicts the production process of the movie itself. Differences of opinion existing between the producer-investor on the one hand, and the filmmaker on the other, represent two opposing views toward cinema in “When We Are All Asleep”. Employing Norman Fairclough Critical Discourse Analysis (CDA), the present research seeks to reveal the association between those hailing from either group of the spectrum — representing “the self” — and production team and the audience, representing “the other”. To identify the discursive order dominating the film in question, the paper analyzes the plot, characterization, the interaction among characters and the arrangements made for self-reflectivity toward the closure of the movie. The study found that the production team is treated with objectification, neutralization and distancing at the hands of those who fall in the business-oriented category. The same category regards cinema as a commodity and is in a constant push to neutralize its artistic and critical functions. They do consider the audience as consumers with no subjective attitude. The director, on the contrary, is in pursuit of solidarity, sympathy and a sense of responsibility toward the production team and maintains the view that cinema is art, and creativity remains the key concern. From this viewpoint, the movie’s success lies in its plausibility for the audience. In other words, the two dominant discourses of “business” and “art and creativity” shape the discursive order in the movie. In the former, a tendency toward “the other” backs up and reproduces the discourse, while in the latter, efforts are being made toward a restructuring of the discourse that has overwhelmed the Iranian society.

Problematization is an important concept in Foucault’s thoughts and one that plays a fundamental role throughout his historical analyzes. He sees problematization as a special interpretation of signs. On the other hand, in his analyzes, he equates the importance of art in interpreting history with other fields. The main issue of the present study is how the problematization in his thoughts is related to art. To address this issue, first the place of this concept in Foucault’s thought was examined and then with the help of the sections by which he has analyzed works of art, the relationship between art and this concept was examined. The result was that Foucault used the concept of problematization in two senses, In the first sense, it refers to a historical matter that has been problematized by knowledge and power, In the second sense for him, it is the problematization of a philosophical-historical activity by which “the history of present” is analyzed. Studies have shown that in his historical analysis, art as a strategy of knowledge or technique of power problematizes various issues. For Foucault, on the other hand, the analysis of some works of art is a philosophical activity to problematize the history of present. Accordingly, art has a direct and internal relationship with the two meaning of problematization.

About two centuries after the rise of Islam, the production of pottery in Iran gradually underwent dramatic changes. The pottery decorations, which were initially without patterns and simple, gradually expanded and human motifs became one of the most important decorative elements of the Lustre pottery of the Seljuk and Ilkhanid eras. The most important contribution of the artists of these centuries is in the construction, invention and evolution of Lustre pottery, in which human motifs can be seen many times on this type of pottery. Human motifs (male and female) are of great importance in the medieval Lustre pottery, which is reflected on these pottery based on the culture and civilization of its time. Therefore, this research began with the focus on studying and examining the Lustre pottery of the Glassaware and Ceramic's Museum of Iran's. and introducing it. Therefore, the purpose of this article is to get acquainted with and reflect on the types of human motifs in the studied Lustre pottery. Finally, to classify these types of motifs. In this regard, an attempt has been made to the question of what kind of scenes do the human motifs of the studied pottery contain? To be answered. The study method in the present study is descriptive-historical method and library resources and field collection have been used to explain the subject. The results indicate that human motifs as the most important ornaments of Lustre pottery in six groups, mainly used in the text of bowls and plates. Also, despite the fact that they have a variety of different decorations, the main image of the decoration is the responsibility of human motifs.

Concurrent with the Consitutional Revolution, in the liberal atmosphere of Iranian publications, an unprecedented concept called "woman as citizen" was formed. It contradicted the characteristics of a traditional definition of woman as being a shadow of a man (patriarchal system). This study, being in the field of women's studies, focuses critically on Michel Foucault's genealogical ideas and deals with how in the fault of tradition-modernity the term "weak-woman", a patriarchal concept, coincided with "woman-citizen", which implies equality of men and women. In this context, supported by archival research and an emphasis on archival documents, the effect of Iran's accession to the Brussels Prohibition of Slavery in 1890 on the formation of the subject of the woman-liberty is considered. On this basis, the archival documents "Abolghasem Nilforosh" has been studied. Afterwards, using Foucault's genealogy, metamorphosis of this subject has been considered in ten steps. The result of the search is that the acceptance of the ban on slavery in Iran has been the first stronghold of tradition, conquered by modernity and, difficult as it was, it managed to pave the way for the formation of women's freedom along with the subject of woman-citizen. From this perspective, the Constitution era becomes the era of establishment and universal acceptance of the prohibition of slavery as well as the victory of modern morality over traditional rules.

Visual representation in the media world of digital images is an emerging phenomenon in which its achievement requires the identification of the epistemological and technological system of postmodern and media art, and the developments that have emerged in the path of the transformation of subjectivity. The visual representation of the female subject on Instagram as a social network can provide a suitable perspective for examining the contemporary representation and can reveal the status of the female subject in social media by distancing itself from the modern subjectivity. Via a descriptive-analytical research method and employing Jean Baudrillard's ideas of media, the present study seeks to answer the following questions: How has the Instagram social network with its technological structure and media circulation affected the image representation of the contemporary Iranian female subject? What position can be given to the artist-subject and the image-object in the contemporary media representation? The study aims to conduct a comparative analysis of the representation of the contemporary Iranian female subject in Instagram hyperreality, relying on Baudrillard's ideas. The population consisted of the women’s published photos on Instagram, selected through a purposive sampling method. The inclusion criteria of images were based on Baudrillard’s concepts. The results revealed that the world of contemporary women’s media representation is a world without reference or hyperreality that denies the possibility of a subject’s agency in a break from reality, making her face the objects that the media and its technological structure have put forward, that is, transaesthetic and transsexual objects that become empty simulacra, seeking for their new identity and reality based on the media world.

In the present age, dealing with theorizing and theorization is the most necessary aspect of human discussions, as also in the field of art, theoretical attention to artworks is as important as their creation, and it is effective in determining their destiny. This aspect of art in our culture does not have a proper history, as our art has declined since the late Safavid. For this decline, many different causes can be considered which some have inner and some have outer relations to art, and lack of creativity is the most important inner cause. So this is why theorizing and making new definition for this old principle of art is necessary. And this is what this essay is looking for, therefore the paintings of Francis Bacon are chosen to work on and Charles Mauron's method, psychocritic, is chosen to work with. The experts call the works of Bacon "creative" and they believe that understanding his "process of creativity" requires familiarity with the principles of psychoanalysis. Also It must be noted that psychocritic of Charles Mauron is the first systematic and methodical psychoanalytic approach to art which defining "artistic creativity" is its final aim, based on Charles Mauron's psychocritic in the series of artworks of each creative artist a special coherence can be followed which is rooted in the unconscious of each artist. Due to Charles Mauron, unconscious of each creative artist has a holistic face that represents his personal myth. And it is this personal myth that is the basis of any kind of artist's creativity. In order to find personal myth of Bacon with the method of psych criticism of Charles Mauron which will be the key to analyze all of his paintings four stages have been done; first, researching in all of his artworks to find the network of the obsessive metaphors and images made it clear that the general form of his paintings is a closed space, and the part of this space that is assigned to object and things is always at focus, also the content of them is consisted of figures and portraits that are so overwhelmed that are more like a piece of meat or an object than a human, a human which is very lonely and panic; second, keeping attention to this network to find the basic characteristic of these metaphors and images and complexes of Bacon was led to claustrophobia, panic disorder, Oedipus complex and Peterpan syndrome; third, keeping attention to these complexes to discover and find the personal myth of Bacon led to Heracles as a personal myth; and forth, examining the main characteristics of personal myth which was Heracles and is discovered in the last stage with the life of Bacon in order to ensure the above findings, so finally studying biography and interviews of Bacon proofed the third stage's hypothesis. And the result is that Bacon's personal myth that has been his driving force behind his creativity which has had a fundamental role in creating his paintings is Heracles.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. Human growth is perpetual, and so education should not be limited to a specific period of life, rather it should be a part of the process of life. The class and school years always come to an end eventually, however, the influence of social educational institutions must be continuous. Cultural and artistic measures such as applied theaters are useful educational tools that can have a great effect on the moral growth and social life capabilities of the citizens. Augusto Boal developed the idea of the Theater of the Oppressed (TO) to reach the starting point of change in life. TO provides an opportunity for people in society to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. This study was mainly based on secondary research using existing fundamental works on Dewey’s aesthetics and education philosophy, aiming to provide applied research for empowering Theater of the Oppressed (TO) and presenting solutions to increase its function. After a review of TO, the theater of the Rainbow of Desire was explored in a special section, showing that it is possible to improve the mental health of the spect-actors by creating sympathy among them and encouraging them toward expressive actions.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. According to Dewey, the sole purpose of education is to reform society and pave the way for social progress, thus demonstrating the necessity of education for the survival of society. Cultural and artistic venues such as educational theater are useful venues that can have great effects on moral growth and desired social change for their communities. Creative Drama provides an opportunity for people to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. Dewey's aesthetic and educational theories can be useful in increasing the social and artistic function of creative drama.This study was mainly based on secondary research using existing fundamental works of Dewey's education philosophy and aesthetics, aiming to explore the effect and importance of theatrical plays as a means of promoting education in schools and the community at large. The main features of applied theater are introduced and suggestions are provided to increase the effectiveness and function of this art form as a way to improve people's social lives. For this purpose, after examining the basic concepts of Dewey's philosophy (e.g. pragmatism, experience, aesthetics, education, and the role of theatrical plays in education) certain and specific aspects of the applied theater are introduced. This study also included a case study of creative drama based on Dewey's educational theories. By re-reading creative drama, suggestions are presented in order to use Dewey's educational theories, hoping to help artists to take proactive steps in the field of education aimed at social awareness and change.According to Dewey, students develop in an educational setting where they can experience and interact with the issue at hand. Each and every student needs to play a role and cooperate in their learning process. Dewey believed problem-solving to be the best teaching method, fitting individuals for life and empowering them to solve problems in their personal lives and their social interactions. Problem-solving was deemed the best teaching method by Dewey, which leads to creative drama and its effectiveness since its base foundation is formed around the theory of problem-solving. The first step in creative drama is to tell a story to students thoroughly. This paper seeks to show that when a story is told to students incompletely, in order to be completed by them in a creative drama, a problem will be formed in their minds, encouraging them to solve it. If the content of creative drama is presented to learners in full detail, their mental engagement with the content will be reduced, and, consequently, their ability and motivation to interact will diminish. Performing creative drama based on problem-solving exposes students to the problem in a creative manner; they are encouraged to cooperate and think to bring the drama to a desirable end. Placed at the core of problem in creative drama, students are forced to think and provide solutions that ultimately are skills that they will need in their own lives.

In the field of criticism of art, Gilbert Durand has invented five methods, and in this case, he has been directly influenced by Iranian Islam. Despite this, we do not know him fundamentally, we have not translated his works into our language, and we have not addressed them as we should. According to experts, one of his works which represents his intellectual system and consequently the substructure of his innovative methods, is a book that, according to him, is in fact an expanded version of a not so voluminous treatise entitled “Journey and Room in Xavier de Maistre’s Work”, the one which its analysis is the main subject of this article: this treatise seeks to explain the new system of thought, conceiving the invention of a new method of critique, mythocritic. In this treatise, based on the system and the method in question, a work by the French novelist de maistre is analyzed. This analysis had three main pillars: literary, psychological, and mythological. There are some criticisms of these pillars which were taken into account in this article. On the contrary, it should not be overlooked that the system in question, analytical mythology, is one of the most applied artistic mythologies, just as the method in question, mythocritic, which is one of the most practical methods of artistic criticism.

Transcending the confines of the playhouse, street theater expands its scope of influence over streets and communities and goes beyond the traditional rules of the classical stage to establish a deeper connection with different audiences. Street theater artists commit themselves to the realities and issues of society and use the street theatre as a medium to make a difference in the lives of those people with whom conventional theater fails to communicate due to political, economic, and cultural reasons. John Dewey’s views on aesthetics and education seem useful for improving the social and artistic function of street theater, because he prioritizes the functional aspect of art, maintaining that for things to be valued by humans, they need to both fulfill human organismic needs and pave the way for the improvement of lives. To Dewey, the job of philosophy was creating social change, which, he believed, is achievable through education. Based on his point of view, experience shapes the basis of education, the goal of which is to prepare individuals for active and positive participation in society and, as he puts it, “achieving greater growth”. Conducted as desk research, the present study consulted Dewey’s philosophy of aesthetics and education to offer pragmatic ways to empower street theater. The effort found that by relying on Dewey’s ideas and by portraying themes of everyday life, this form of theater can make use of its potentials to change lives and inspire the social, individual, and moral growth of citizens. Moreover, street theater can create empathy among members of society, making them a united whole when it comes to tackling social issues. It is hoped that the study use of Dewey’s philosophy as a source can help street theater artists become accomplished social activists who make society a better place.