ali asghar fahimifar

The theorizing process in the field of bodily exercise processes is significantly based on Merleau-Ponty's concept of corporeality and sensory perception of the rehearsal process as a bodily function. In order to reach the body's understanding of the rehearsal process, it is not only necessary to explain the body in terms of philosophical paradigms, but it is also necessary to explain the characteristics of  Embodied/ Space- making rehearsal processes based on Merleau-Ponty's ideas. In this article, the intertwining of philosophy and practice is emphasized in order to understand  how a common ground and a new potential for understanding the training processes in body-oriented performances can be achieved, and in this field, a new conceptual approach can be used to understand the concept of physicality in the rehearsal process based on the training method. The purpose of this article is to explain the elements and characteristics of an Embodied/Space- making rehearsal method based on the concepts of Merleau-Ponty's phenomenology. This article, with a descriptive-analytical method and using library and internet resources, tries to answer the question of how, based on Merleau-Ponty's concepts of phenomenology, a suitable context can be found for the study, explanation and phenomenological analysis of the practice of creating space. Based on the phenomenological approach and Merleau-Ponty's ideas, the obtained result shows that in the training method of an Embodied/ Space- making rehearsal, the body of the "actor-performers" plays an essential role as an element of the template and the main platform of the process of creating events in the training process. This method of training by emphasizing the concept of "actor-performer" and the concept of "embodied reflection" suggests a method for the process of embodied training based on indicators such as "the embodied experience of actors-performers in the process of training", "the interweaving of self-other with each other in the position of subject-object in the lived world of training" ,"the bodily perception of the participants with all the components and elements and objects in the space/ rehearsal environment" and "the bodily/ sensory perception of the performers in the face of the world with which they interact" and highlights the rediscovery of the space/ rehearsal environment. In this situation, the actors-performers enter a state of being/ doing at that moment and continuously adjust themselves to the changes in the space/ rehearsal environment. This method creates countless expansion and diversity in the process of creating events that can be examined and analyzed based on phenomenology and Merleau-Ponty's terms.

Iranian identity is manifested in various Iranian traditions, including religious traditions, an important example of which is Muharram mourning rituals. To examine how the visual identity of these rituals corresponds to their religious identity, this article explores this relationship in two such rituals: alam-bardari (“banner bearing”) and nakhl-gardani (“palm tree bearing”). To that end, this descriptive-analytical study matches the visual elements of the two rituals with either of the five aspects of religious identity, namely the emotional, doctrinal, ritualistic, epistemological, and consequential. It finds that the visual language of the elements, symbols, and visual structures used in the alam and nakhl — the eponymous structures carried in the rituals — is primarily doctrinal and epistemological when viewed in isolation. However, when these structures appear in the presence of mourners during the rituals, they come to represent the emotional and consequential aspects. In other words, the latter two aspects are not inherently evident in the alam and nakhl but rather manifest during the rituals.

In the present era, one of the questions in the field of religion and media is whether religion of Islam which is based upon speech and word can establish relationship with media like Television that has visual nature? This article aimed to evaluate the existing experience by reviewing theoretical literature and focusing on what has been televised in the field of religious programs during three decades. Therefore, among the religious programs, azan programs which rely on the "speech", have been selected and seeks answer the question how images that were shown along with Azan during three decades have changed? The methodology of this study is semiotic which was accessed by emphasizing 5 items:’ Clothing, age and sex’, ‘Visual compositions’, ‘movement’, ‘color and light’ , ‘narration’. The method of selecting the sample was random and selecting 3 azan from the three decades of 60, 70 and 80.These set of findings show that set of images accompanied with Azan has been upgraded during 3 decades and it has been tried through more image motion, using narrative, variety of visual combination, better use of color, light and non-verbal signs the presented images be more compatible with visual nature of Television. During three decades, Azan collection has undergone several changes in terms of image with which it plays and this indicates that Azan has fixed content and can be accompanied by variety of images and so different religious meanings can be associated.

With the evolution of the art-industry of cinema in the 20th century, Hollywood as the artistic cultural center of America received the attention of the whole world, and movies became a media full of audiences, which tried to convey new concepts with the help of other arts. One of these arts was costume design, which created the trend of cinema costume design in order to cooperate with cinema. Hollywood clothing designers achieved the desired success very soon and were able to present a new fashion to the market by designing clothes for Hollywood stars, which, in addition to conveying new concepts, was considered a successful commercial advertisement for filmmakers and fashion commercial companies. In these years, Hollywood actors had become role models for young people in fashion and lifestyle, and designers were determining the dominant fashion of that era by presenting their new designs on these actors. The current research aims to investigate the impact of media, especially cinema media, on fashion and by raising the question, what is the relationship between fashion and cinema? And what was the role of Hollywood actors in this? By examining the fashion presented in Hollywood under the name of “Hollywood style”, it tries to study the relationship between fashion and cinema in the method of library study of available sources, and in this way, to study the style of Audrey’s clothes on a case-by-case basis. Hepburn, the famous Hollywood star, has discussed her relationship with the clothing designers of that time such as Hubert Givenchy and his influence on fashion, and for a more detailed analysis, he has criticized the costume design of the movie Breakfast at Tiffany’s (1961) and the effects of the clothes of this movie on fashion in an observational way. Finally, by studying the effects of Hollywood actors on the fashion of the middle years of the 20th century, we realize that actors are one of the most important factors in the formation of fashions and defining cultures, and their effects can be lasting.

The aim of this research is to identify the aesthetic components of lighting and filming of non-dramatic religious special-occasion programs on Iranian television. Non-dramatic religious production on Iranian television like Komeil supplication and other prayers, must be a means of conveying spiritual meanings. The present research’s aim is descriptive-analytical and its method is case study and observational analysis. The data collection method is documentary (library-based) based on observation, and for data mining, a typology of supplication of Komeil programs’ videos has been considered. Then, four videos have been selected with specific criteria and purposefully. Analysis of the videos showed that factors such as neglecting the application of Gestalt principles in the production of this type of TV programs, despite their maximum production, caused them not to have a proper effect and turn repetitive programs that caused audience loss instead of attraction. Therefore, it seems that IRIB should focus on these three areas of change in the quality of its non-dramatic religious programs:1-Comprehensive technical and content training for the producers of religious programs, 2-Provision of modern equipment, and 3-Creation of job motivation, to attract and retain the audience.

The purpose of this research is to explain the effectiveness of the art of advertising in social networks to attract the skilled audience of the technical and vocational education organization of the country. This research has been done in terms of applied nature and descriptive-survey method. The statistical population of this research is 50 students of vocational technical organization, and the information related to the research was done through questionnaire and data analysis through spss software. Cronbach's alpha test was also used for the reliability of the questionnaire and the results are included in the relevant tables. Regarding the analysis of data and the proof of hypotheses, the correlation coefficient between variables and results has been included in the tables and graphs in the fourth chapter. The results of this research show that advertising in cyberspace can be used as a means of accessibility, awareness among the general audience, the tendency of the young generation towards cyberspace, and the use of photo and video publishing capabilities. A comprehensive and effective platform used by educational and service institutions for optimal and effective communication with their audience. In this regard, advertising in virtual space was investigated based on variables such as age group, level of education, job status and income of the people of the research community, and the results of this research show that advertising in virtual space can attract art students. new for the country's professional technical organization to be very effective and influential.

This article attempts to examine art as a manifestation of human civilization and also a spiritual reflection of its own time, and in this regard, architecture and urbanism as an art that has been both elitist and deeply popular throughout history due to its functional nature has been emphasized. Since in the art of Iran, especially after Islam, the most perfect period can be considered the Safavid era, in which all arts reached their peak compared to previous and subsequent periods, and according to Hegel’s thought, it can be compared with ancient Greek art that has expressed its message so completely and so harmonized with the world of sensation that it can no longer be achieved today; Therefore, Safavid architecture and urbanism as a manifestation of the spirit of its time and a mirror of Iranian-Islamic culture whose essence is mysticism is specifically the main issue and subject of our study in this article.So by identifying and deciphering the artistic elements of this era in a hierarchical system we are to reveal in this artica the present but hidden meanings of theses arts and reach their ultimate truth, which is showing the movement towards God Almighty in Islamic mysticism. A truth that is manifested by light, patterns and color in the form of portal(Sardar), porch (Eyvan), Mehrab, dome and the small paradise and earthly Paredise of Chaharbagh, which turs the name of human era Safavid into “Allah”.

Representing racial, ethnic, cultural, and geographical “Others” is considered a focal strategy of a number of American media and entertainment productions. Accordingly, the primary goal of this article is to explain the “Othering” mechanisms in the first three seasons of the popular television series Westworld (2016–present), with a focus on the values of the American Dream. In its theoretical literature and analyses, the study drew on the Western philosophical concept of “the Other” and on cultural studies. To understand how the construct of the Others functions in the show, the study used John Fiske’s semiotics and three-level model, along with Roland Barthes’ Symbolic Code. The research found that the presence and absence of two American Other groups—Black and Native Americans—and one non-American Other group—East Asian people—in relation to white people, i.e., “the Self,” in the series carry significant implications. Westworld’s semiotic mechanisms represent white people as the dominant group, East Asian people and Native Americans as subaltern groups, and Black people as being close to whites. By doing so, they normalize a power hierarchy topped by the white race to reproduce for a future world the myth of the “superior white;” a myth that portrays the core elements of the American Dream, including individualism, liberty, and freedom of choice, as being exclusive to white people. The myth also downgrades the essential element of equality by stereotyping and delegitimizing the Others to ensure that whites will be the only group to develop plans and make decisions for the world of the future.

Due to the increasing impact of “influencer marketing”, this study, using two cultural programs of IRIB’s TV called "Ketab-Baz" (Book Worm) broadcasted by Nasim channel and "Cheragh Motale’e" (Study Light) broadcasted by Channel 4, has examined the impact of cultural influencers of IRIB on the audience. The present study sought to answer the question of how influencers in the fields of culture and literature can influence the viewers by using the capacity of IRIB and Instagram to promote the culture of reading books and subsequently thrive of the industry. The goal of conducting this study is to identify the influential parameters and present a role model for marketing of the book publishing industry by the influencers. In terms of the goal, the method of this research is developmental-applied and its study approach is qualitative. The statistical sample of the two groups includes the 66 viewers of Ketab-Baz and Cheragh Motale’e who expressed their opinions in the form of using printed books, digital books, podcasts and audio book readers on Instagram, and 14 professors in the field of media, senior managers of the Ministry of Culture and Islamic Guidance, and marketing managers. In order to collect data, the netnographic approach and Plutchik’s Wheel of Emotions have been used to identify and conduct interviews with the audience, and the grounded theory method has been used to present the model. According to the results, the most important factors influencing the promotion of book reading and the growth of the publishing industry extracted from this research are the change in managerial approach and structural requirements from traditional to digital, using technology in the digital publishing industry, audience-orientation, and understanding the expectations of the book readers. The findings of this study indicate the important and meaningful role of the influencers on the book-reading audience based on the component of trust and with the study of other influential factors, a paradigm model and strategies to promote reading and the success of the digital publishing industry has been developed, using the capabilities of the IRIB.

Media is considered as one of the ideological apparatuses. This research is based on the question in parallel of enhancing technology and the formation of new media, as well as change passive audience into the active user, can these media still be called ideological? If so, the question is that how does the new media, despite the adaptation of interaction from the internet, find the ideological function? This paper discusses the role of the concept of the ideology for understanding social media critically. This study based on Althusser's definition of ideology and Habermas's theory about the public sphere creates consultative democracy led it to evaluate new media, their behavior and practices. The paper was developed based on a qualitative approach and descriptive-analytical method. As a result, new media owners are looking to create a two-tier Internet in which commercial content is more important than public content. Commercial content is managed by the ruling power and is governed by an ideology, which is the ideology of the ruling class. On the contrary, public content is controlled by media owners and contains a variety of ideologies that carry different ideas and meanings. The contemporary media system, through its ownership has divided media audiences into smaller groups (specific audiences), and has severely restricted fair access and participation in the public sphere, so that the ideological aspect of new media remains unchanged, but it emerges in the new shapes.

Considering the names of the Oriental hand-wovens, Arabic words were highly used in the Iberian Peninsula (Portugal and Spain). This paper used the historical research method to explore the old Spanish and Portuguese documents and also the quality and state of emergence of Oriental hand-wovens in these lands. In this method, the etymology of those Arabic words was considered too. The results of the paper revealed that in the Iberian Peninsula, at least, from the 14th century, the Oriental carpets were a typical and symbol of furniture which were known as alcatifa, a popular name for them. The word alcatifa must be derived from Qatif port at the coast of the Persian Gulf. Most of these carpets traveled from India to the Iberian Peninsula by trade. The Persian carpets were too expensive, so there are a few signs of them in the Portuguese and Spanish decorations during that time.

This paper is trying to answer the question of whether Islam, which is formed based on "word" and "speech" can establish connection with a medium like television which is of visual/pictorial nature. To answer this question, different parts of religion and their relationship with vision was theoretically explained. Here, it was determined that "morals" such as "perceptions" are accounted for in Islamic philosophy. Therefore, to achieve results, "TV picture" must create positive emotional figure out of a "moral act". However in case "beliefs" is the main axis of a religious program, then the program is successful if it can provide viewers with different thoughts and visions so they can pick the right vision from among those provided. To evaluate this theoretical framework through the criticism of the existing experiences, "Samte Khoda" which is a famous talk show was considered. Conducted using typology method, this qualitative research specifies that "Samte Khoda", in terms of color and light ،decoration and eyeful visual effects attempts to create a positive emotional atmosphere for a religious dialogue about morals, although it is unsuccessful in terms of the motion picture, changing camera angles, and picture combinations and hence, creating a program fitted with TV's nature of motion picture and remains only a dialogue based talk show. Besides, since it provides religious beliefs unilaterally and only from one point of view, it cannot be useful enough in the realm of faith and beliefs, and only the "question and answer" part of the show can partially compensate for this short coming.

Various forms of Iranian drama throughout history and over time in the form of various genres emerged from the heart of rituals mourning and joyous ceremonies. In the meantime, the role of improvisation as one of the most important methods of performing Iranian happy plays, and especially Siah-bazi plays is undeniable. On the other hand, extracting the principles and rules of improvisation in various forms of joyful Iranian plays based on new theatrical methods, achievements and methods is one of the necessities of our play today. The main purpose of this study is to study various methods, and techniques of improvisation in the production process of Iranian joyful plays, especially Siah-bazi plays. This research has been compiled in a descriptive-analytical method and library and internet resources have been used to complete the basic information in this article; The main hypothesis in this study is that the study of various improvisation techniques and methods in various forms of Iranian cheerful performances, especially Siah-bazi plays, can increase the awareness, understanding and knowledge of “actors or performers” of improvisational performance capacities in this type of play. It also tries to answer the questions of what improvisation means and what are the different methods of dramatic improvisation? And how and in what process is improvisation used in Iranian joyful plays? And how and through what process do different improvisation methods and techniques manifest themselves in Siah-bazi plays? In conclusion, while defining improvisation and examining its different levels, methods and techniques, as well as introducing and explaining the structure of black play, improvisation methods in different forms of Iranian drama and Siah-bazi plays have been studied and it specified that learning and being Familiar to the some techniques and skills such as “actors’ experience in the process of improvisation”, “Expanding situations in the improvisation process”, “Performers’ relationship and their interaction with each other in the improvisation process”, “Group trust in the improvisation process”, “Verbal action in the process of improvisation” and “Non-verbal action in the process of improvisation” can increase the actors’ knowledge of the improvisational capacity of improvisation in various forms of Iranian juyful play, and specifically Siah-bazi play.

In this study, cheap nanoparticles with the highest hybrid similarity were introduced to increase the surface resistance of ancient Pasargadae (Cyrus Tomb) rocks. As result, the kind of mineral of thin section of sample was detected as calcite and grainstone texture. The physical features of the sample indicated a high porosity. In order to achieve a high compatibility of the intended Nano materials, some powder of the sample was used as pre-material through Mechanical Grinder. After preparation of the powder, Nano material was prepared due to sol-gel method. Calcium Titanate blurs with the phase of Perovskite and Titanium dioxide with the phase of Anatase have been detected as XRD. These compounds were confirmed by FT-IR. The size of spherical and oval blurs prepared in the scale of Nano was confirmed by SEM. The existence of common elements such as Calcium, Titanium, Oxygen and Carbon was detected as EDX spectrometer. In this experience, Ethanol was used as solvent. In 4 hours, the gained Colloidal dissolved was added on the surface of the stone by the capillary specific. So as to module the resistance of the sample, the coated surface was examined under the abrasion test. Along with these experiments, all the levels for pre-material lime were done. The results show a relative improvement in the surface resistance of the sample rock. Meanwhile, there wasn’t any remarkable change in the case of the color of the sample.

Black people are considered a racial minority not only in the American community but also at Hollywood .This research has been carried out to examine how and why black and white relationships change in this media system focusing on the element of superiority. In view of this, the three race-oriented films i.e. Birth of a Nation (1915), Guess Who's Coming to Dinner (1967) and Hateful Eight (2015) have been selected on purpose. In order to discover the indicative mechanisms of signaling apparatuses in the mentioned films, the five narrative codes and concept of myth in the semiotics of Barthes have been used. The findings of this research indicate that the forms of depiction of black people have changed according to the historical, social, and political fabric of production time to comply with then ruling system prevalent ideological concepts. The first film manifests the necessity of ‘black’ subjugation as natural through negative stereotypes. The second film has challenged the common racial order and presented a new conflicting and interactive model of dominant discourse of the white and aggressive discourse of the black. In the third film, the black character represented the persecuted blacks of American racist history in a vengeful action turning the white superiority into inferiority eliminating the mythological concept of their superiority.

This study examines the emergence of Iranian War Cinema and explores its key components. The main question of the research is if Sacred Defense films constituted a structure or not. The hypothesis of the research suggests that these movies go beyond sharing common thematic and narrative features, but they constitute a textual formation. The aim of this study is to concentrate on the Iranian fiction war movies in order to show and analyze some features which can help us to search structural concepts in these movies. The research method would be a descriptive-analysis method. To analyze the films, as a qualitative method, the methodology of this research would be textual analysis. The theoretical framework is structural approach. Through a critical and objective analysis of the films and reviewing the valid readings about the governmental discourse, the results show that Sacred Defense films have either a ritual or an ideological function and then constitute a structure.

Aim of this article is to bring to light the grounds and the origins of film narratives, namely its possibilities and necessities. Film narratives as the work and behavior of human being is necessarily originated in and grounded on the essence and the mode of his Being. In this article from the viewpoint of care of Being, that is, one original characteristics of human beings, and regarding to Heidegger's general thought of Being as such, essence of human being, and truth or unconcealment, has been tried to explicate the necessities and the possibilities of narratives as language, the necessities and the possibilities of cinematic montage on the basis of indeterminate presence and concrete acquisitions. Finally, researching the narratives from these three viewpoints, it will be shown that the care of Being as the primordial essence of human beings that cares truth or unconcealment of entities and Being, is the origin and ground of film narratives as the human being's behavior, that is, if the care of Being that necessitates Mitsein [being-with] and accordingly the language as such, and also necessitates concrete acquisitions which are essential in order for human being and other living beings to remain constantly as what they already are, was not the essence of human being then the cinematic montage and editing would not be possible at all

This study aims at investigating theoretical principles of Persian paintings’ in “Blind Owl “in order to highlight the function of this element besides other internal and external origins as the main sources of inspiration of this novel. Research methodology is descriptive –analytic by using and compiling library data .The results showed that the writer who is familiar with painting characteristics’ founds to great extent the basis of his modernist expression on this these principles. As the main characteristics of Persian painting, it should mention psychoanalytic elements, dereism, poly narrative, typical characterization and disclosure of time and space. We can easily pursue the traces of these features in this novel as its foundations. The main scene of this novel, to say the story of old and fairy –faced is a prevalent phenomenon in the history of painting whose elements such as nymphaea, water, cypress etc. establish a kind of symbolic correlation between this novel and Persian painting.

Using a phenomenological approach for analyzing Shabihkhani and elucidating the fundamental conditions for its realization, this paper would try to answer the following question: how performer’s verbal and performative elements constitute Shabihkhani? This analysis differs from other approaches in that it does not solely rely on textual and literal structure of Shabihkhani. The paper would draw on Bert States’s theory on performer’s presence in theatre, known as phenomenological modes, to further provide a critical evaluation and analysis of performer’s presence in Shabihkhani. States has demonstrated the use of phenomenology in understanding the formal structure of a performance through considering actor’s presence on stage as a main theatrical event in general and verbal communication during performance in particular. He also recognizes three modes of confrontation with audience, namely self-expressive mode, collaborative mode, and representative mode. These modes may serve as a basis for providing an analysis of a particular theatrical event in particular era or period of history. Using his theoretical framework, it is claimed here that Shabihkhani provides a cloudlike atmosphere among the three modes in the course of which audience and performer experience a shared experience of the world through a dynamic rapport to each other.

This research is to investigate the quiddity of film theory and the related debates in a descriptive analytic method. Being general and related to film, are the basic characteristics of film theory. The film theory includes rules and regularities that are descriptive or normative and is to explain their constitutive concepts. Descriptive rules or regularities act as a cause and in this sense the theory is explanatory. The explanatory aspect of the theory is to discover the concrete rules and regularities used by everybody. Accordingly, the film theory systematically formulates filmmakers and viewers' experiment of the film from conceptual aspect and explains the rules and regularities of film as a phenomenon. Although the theory's being historical faces the theorists with new subjects and issues, but does not basically change the previous theories. The theory of film will be active in three fields: producers, text and audience and their subdivisions and hence there will not be a comprehensive theory but theories in told different fields. Of course it can be achieved to coordinated and compatible theories in all above fields and we can have comprehensive theory in this sense. What causes the coordination and compatibility is philosophical foundations (mere philosophy and philosophy of art) on which theories based.

During the 20th century, literature and criticism enhanced and developed as well asscientific innovations. The upsurge of current literary theories has become significant phenomenon in contemporary literature, emerging as formidable force in interdisciplinary subjects. Literary theory is the body of ideas and methods we used in practical reading of literature. By literary theory it is not common to refer to the meaning of a literary work, but instead we refer to the theories which reveal what literature can mean .Historiographical Meta fiction is an important and interpretable issue in Postmodernism. It is the result of transition from Classical Literature, Realism and Modernism. Meta fiction is a modernistic text that breaks down differences between fiction and non-fiction to create a new genre suitable with postmodern world views. Historiographical meta fiction is a kind of postmodern novel which rejects projecting present beliefs and standards into the past and asserts the specificity and particularity of the individual past event. Historiographical meta fiction is quintessentially a postmodern art form, with reliance on textual play, parody and historical re-conceptualization. Postmodernism is a revolutionary movement and philosophically charming and intuitive activity which practically started in the middle of the 20th century, but rooted in human history. It cannot be simply ignored since it has massive effect on the contemporary mankind and has a special position in the world. It is a complex of tradition and modernism on one hand, and present and future on the other. Defining the inherent essence of Postmodernism is not only difficult, but alsoambiguous in assessing its historical origin. Many of theoreticians consider Postmodernism asthe continuation of Modernism, andstating that Modernism is an unfinished and endless flow. Postmodernism avoid taking any definition or pattern, which results in no distinct framework. On the other hand, Drama is a universal phenomenon and a great medium that has been changed during times. Some critics state that postmodern art is a reaction against reductionism and abstraction of modernism. They believe modern art desired to unearth universal or fundamentals of art, while post-modernism looks to unseat them, to embrace diversity and contradiction. In fact, the postmodern writers have selected the new hermeneutic concepts and the author's death as their guide from arts and literature viewpoint as to mix deconstruction in their works. Post- modern art usually rejects the distinction between low and high forms. It is likely that postmodern art promotes parody, irony, and playfulness, commonly referred to as "jouissance"by certain theorists. Persian Dramatic Literature has also outlived a great deal of transformation. Iranian Contemporary playwrights tried to originate works on the basis of Postmodernism. Bahram Beizaie is a screenwriter/ playwright who has created postmodern works in drama. His “Trilateral reading of Azhdehak” is a distinct example of metafiction within which history and mythology are born and reanimated. In this survey, which is constructed in analytical-descriptive form, we have analyzed the origins of Post- modernism, Post -modern Arts, Post- modernism in Dramatic Literature and Historiographical Metafiction. In this process, we have also studied the mentioned play as a metafiction to reach the end result.

One of the most important characteristics of Iranian paintings is their connection and unity with Persian literature، which resulted in the formation of common language and similar subjects in these two art fields. However، since the Zands Dynasty، especially their late era، a certain divergence occurred between painting and poetry due to the weakness of literature and the fact that the painters were more influenced by the European art. While focusing on the benchmarks of the poems of the return era، and the Royal Court portrait paintings، this study strives to examine the common aesthetic connection between these two fields of art through performing historical، descriptive، analytical and comparative study، and achieve the response to this question that Which factors were effective in the formation and flourishing of the literature and painting during the reign of Fath Ali Shah Qajar and how and to what extent are their common aesthetic links? The painting and poetry of this era managed to achieve flourishing thanks to the supports granted by an art-lover king، i. e. Fath Ali Shah Qajar. Due to the policies of the Shah during his 37-year reign against the arts، a suitable basis was provided for the alignment of these two fields of art in a new and different manner (notwithstanding the occurred divergence) so that the painters act independently in choosing their subjects، and do not refer to poetry so often، while trying to take benefit from poetical descriptions and literature aesthetic criteria، and represent the same through a human-oriented vision.

The present study aims to examine the criteria and principles of presenting in radio and television, based on experimental evidence gained from a survey on IRIB presenters’ performance. Since much of a live TV program effectiveness hangs on the presenter, one could consider the findings of this research as an introduction to studies on the way radio presenters are chosen and trained. The findings of this survey-based research are indicative of certain weaknesses in radio presenters’ performance: lack of diversity in subjects; being talkative in live programs; defective informing; mismanaging the relationship with audience.

Poster design is considered as one of the most important branches of graphic arts in Iran and other countries. It is in fact a guiding statement manifested as an indicative language. As visual purpose the relationship between image and letters is very important in posters. Today design of letters or typography has developed the visual possibilities and has functioned parallel with imagery. History of poster design and graphic arts in Iran and other countries shows posters with dominant use of the letters rather than pictorial elements, a fact that indicates the graphic potential of letters and its functions in this field. In the Iranian plastic arts in particular graphic arts, typography has a distinct position because of its particular aesthetic and functional possibilities, which has especially found a new definition and function in the field of typography. Because of aesthetic and structural features of Persian letters, it is distinguished from the Latin typography. These features are sometimes considered as disadvantages and sometimes as potencies by the experts. This article aims at studying the features of Persian letters with a typographical expression in poster design and exploring the functions of letters and or text, and the role of typography in poster design plus introducing some approaches. The information is resulted from laboratory studies and using the analytic and descriptivemethods, and the research focuses on a structural study of Persian letters. The results indicate that the knowledge of (formalist and narrative) types of Iranian typography has a significant positive effect on the process and outcome of poster design. The role of legibility (informativeness, beauty and visual appeal) of the poster in the visual process of poster design is one of the important points to which every designer must fully attend. Understanding the visual characteristics of Persian letters, its possibilities for calligraphy and using that are fundamental principles for graphic designers and typographists. Knowledge of the role of letters as “legibility agents”, “challenging visual elements and agents” and “aesthetics agents” is important in the process of letter designing. Attention to the visual potency of each letter and visual potential (to create special effects) is directly linked to the use of the letters in typographic process. The methodology is based on descriptive and analytic approach with the gathering data from library.