فهرست مطالب hessam hassanzadeh

Since the beginning of philosophical discussions in the field of art, there have been extensive discussions about its definition, philosophy and function; for instance, regarding the work of art, "formalists use the word poet in the general sense of an artist, based on a long-standing tradition that has its roots in the debates of Plato and Aristotle. Moreover, when they talk about poetry, they mean not only poetry, but also the work of art" ((Payandeh, 2017 A: 34). What connects these two fields together is the process of creation (Poiesis) and construction. These discussions, which continue to these days, entered newer fields in the 20th century in the process of texts reading. With the establishment of the Center for Contemporary Cultural Studies of the University of Birmingham in 1964 and the foundation of cultural studies, the scope of literary studies and especially critical studies expanded and included a wide range of texts in addition to various semiotic systems, in such a way that there was no longer a difference between verbal and visual texts. The result of such approaches to text led to the expansion of interdisciplinary studies, including comparative studies of art and literature; two sign systems that are connected in different cultures have different ancient histories. The connection between writing and image in Iranian-Islamic culture also has a long history. The illustration of written texts, including Ferdowsi's Shahnameh, in the flourishing periods of Iranian art, especially Tabriz I and II, Isfahan, and even the early Qajar period indicates a deep connection between literature and, especially, Persian poetry with visual arts; it is rare to find an illustrated version that is not decorated with poems by famous Iranian poets. The comparative study of the works of these two sign systems can help to understand the implied meaning of the texts.  

In this article, a comparative study of a selection of poems and posters of resistance is carried out with the semiotics approach of Michael Riffaterre, in order to determine how the works of these two fields are linked together and how the texts of these two fields present common concepts with different expressive tools. According to Riffaterre, "every poem has a single idea that is expressed in several different ways in its text." (Riffaterre, quoted by Payandeh, 2017A: 21) This single idea, which is the central and main matrix of the poem, is expressed in different and sometimes seemingly contradictory terms in the poetic text. The central idea or the matrix of the poem organizes the entire text and frees it from fragmentation.This research is a descriptive-analytical research whose data is collected via library sources and the method of data analysis is qualitative. In this research, for the comparative and semiotic study of resistance poems and posters, works of contemporary Iranian poets and designers were selected in a purposeful way; in the sense that, firstly, samples were selected that fulfill the research objectives, and secondly, the selected samples from the two fields of poetry and poster have common themes.

In this section, three examples of resistance poems were compared with three examples of resistance posters as follows:  3.1. Case study One of the important themes in resistance art is the issue of Palestine and the freedom of Quds Sharif, which has always been the concern of contemporary Iranian artists. Amiri Firouzkohi, in an ode titled "O Vatan", considers the conquest of Quds, and gave good news to the zealous youth of the homeland for its freedom, calling it Fatah al-Fatuh. Majid Qaderi also depicted the enclosure of this holy place in a poster titled "Quds". In these two visual and verbal texts, the designer and the poet have a common goal; both of them focus on a single matrix, but they have chosen different methods and expressions; since the different mechanism of meaning creation in the poem and the poster requires that different elements be chosen to strengthen the single matrix. Case study Another issue that artists in the field of resistance have always paid attention to is the issue of war and sacred defense. "A poem for war" is the title of a piece by Qaiser Aminpour, in which he has depicted the resistance and standing of the people against the enemies, despite the blows that have been inflicted. Ali Vazirian also depicted warriors in the poster "Either conquest or Martyrdom" who resist the path of conquest until they reach the high position of martyrdom. Vazirian's poster can be considered equivalent and visual translation of Aminpour's poem; it is as if the designer has illustrated the poet's expressions. Both texts depict the same matrix, although they use different signs. Case study Another subject that resistance artists have always paid attention to is patriotism. Nasrullah Mardani has depicted the height of the warriors' patriotism in a poem entitled "Habil-E- Aftab" from the collection of Blood letter of soil. Ali Mostafavi has also depicted the sacrifice of Hajj Qasim in defending the borders of the Islamic homeland in a poster he designed for the special poster section of the 6th World Resistance Art Festival with the theme of martyr Haj Qasim Soleimani. Like the previous examples, the matrix of Mardani's poem and Mostafavi's poster have a single concept, which is the sacrifice of the soldiers of the homeland to protect Iran's borders. These two texts, which are translations of each other, have shown a single idea with different signs.

Every text - written or visual - expresses a single idea, which is called the "Matrix" of text according to Riffaterre, while other elements strengthen this matrix. The semiotic analysis of texts from the two fields of poetry and poster design showed that the concerns of poets and graphic designers, which is the matrix of their texts, are common and their means of expression are different. The origin of the poetry of some contemporary poets such as Amiri Firouzkohi, Aminpour and Mardani refers to concepts such as the conquest of Ghods, resistance and patriotism, which are expressed in words. On the other hand, designers such as Ghudarzi, Vazirian and Mostafavi have expressed the same concepts using visual symbols. The most important tool of the poet to cultivate the poetic matrix is words and figures of speech to strengthen the implied angles of the matrix from a semantic point of view. On the other hand, the graphic designer strengthens the central matrix of the poster by using symbolism, elements and visual qualities such as color and composition. From another point of view, the comparative study of examples of poetry and graphics showed that the artist - whether a poet or a graphic designer - is not indifferent to the oppression of the world around him and is concerned about the struggle. The oppressions that is inflicted on the oppressed in different societies always acts as a motivation for the creation of works of art. The sharing of themes in selected samples of poetry and graphics proved the validity of this claim.

Texts reading reveals their multiple meaning layers and informs audience from the connotation of the text. For this purpose, in the last hundred years, different text reading approaches have been developed; from formalist reading in early twentieth century to new historicism in its late years. The origin of most of these theories is verbal semiotic system, but art critics have used them as an approach to read visual texts. The main issue of the present article is to explain the implementation process of hypertextuality reading visual texts; a theory which has verbal origin and is used to read visual texts. To answer the question of how a visual text is read by hypertextuality, the logo of Islamic Republic of Iran Airline was chosen as study body and hypertextuality as reading approach. In this approach, by following the intertwined relations of text networks, the meanings of the text are revealed and different layers of implicit meanings are explained. Gerard Genette is from the generation of intertextual reformers; a theory previously proposed by Julia Kristeva. According to intertextuality there is no text without hypotext; so every text is in fact a combination of different texts. Genette theory in intertextuality is known as transtextuality. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality include a varieties types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. Intertextuality is as a relationship of copresence between two texts or among several texts. As said in this kind of text relationship, copresence is the main condition of intertextuality. It means in this text relationship some elements from text A will be in text B, but this copresence is not basic but partial. A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are Paratext. In this type of relationship, in fact, the paratexts contains the main text and help to produce new meaning in texts. For instance the title of a book is its paratext.  Metatextuality is the relationship most often labeled commentary. There is two types of metatextuality: to criticize and interpret. In first one the text is criticized but in second one the text only interpreted and will be explained as we see about holy texts. By Architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. Although architextuality itself is not a text, it contains many texts. For instance Dada is an architextuality that contains all art works which they are made in Dada style. The focus of the present article is on the fifth type of text relations was proposed by Genette. He calls it Hypertextuality. In this approach, the transcendence of the text is a derivation of hypotext. Genette in Palimpsests: Literature in Second Degree explains in detail about this type of relationship and its different types. His examples in this book are often selected from the written text while in this article it is explained using a text body. As usual theorists often propose the basic concepts of a theory, and it is the critics who must derive the implementation process of the theory from the basic concepts. In this paper, a six-step process for reading visual texts based on Genette hypertextuality is suggested as follows:- Investigating the hypertextual relations of the study body: At this stage, the hypertextual relationship of the study body is examined. If the hypertextuality relationship of the study bodies is confirmed, we will enter the next stage. - Study body analysis: At this stage, the study body is analysed into its constituent elements. -  Description of hypertextual relationships: In this step, according to Genette’s hypertextuality the relationships of study bodies are described. - Explain meaning significations: At this stage, the meaning significations of study body are explained by following intertextual and hypertextual relationships. - Technical tips: At this stage, regardless of the hypertextual theory and also based on the cognition that the hypertextual reading has provided to the critic, points should be made about the visual text. - Conclusion In this step, the contents of the previous steps are summarized with general statements. This article is descriptive-analytical in terms of method that its data were gathered by documentary method. The results of the article showed that hypertextuality is one of the practical approaches in reading visual texts and in this regard, a six-step process was presented.

The present article intends to read the logo of the University of Tehran - as a visual text - using Gerard Genette’s transtextual approach. In this approach, by following the relations between the texts, the meanings of the constituent of the text are explained and, as a result, its connotation meanings are revealed. Genette is from the second generation of intertextuality, whose theory is known as transtextuality. In this approach, the relationship between hypotext and hypertext is examined from different perspectives to explain the multiple meanings of the texts. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality can be include a variety types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. -Intertextuality is as a relationship of copresence between two texts or among several texts.- A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are paratext. - Metatextuality is the relationship most often labeled commentary. -By architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. - By Hypertextuality he means any relationship uniting a text B (hypertext) to an earlier text A (hypotext) upon which it is grafted in a manner that is not that of commentary.In addition to, Genette calls the reduction or expansion relation between hypotext and hypertext as quantitative transformation which can be done in two ways: reduction of hypotext or expansion of it. Both of them is done by three ways: Reduction: Excision, Concision and Digest Expansion: Extension, Expansion and Amplification In return, pragmatic transformation deal with meaning changes between hypotext and hypertext. This function is done in three ways too: Transvaluation, Transmotivation and Transmodalization. In order to read the logo of the University of Tehran, it was examined in four stages: - Terms of intertextual studies: in this stage, the terms of study body were examined to be suitable for intertextual study. - Analysis: in this stage, the study body was analyzed into its constituent. - Intertextual relations: in this stage, the intertextual relations of constituent were described. - meaning significations: in this stage, the significations of component were explained. In this article, after explaining the transtextuality of Genette, the logo of the University of Tehran was analyzed and then read based on transtextuality. In reading this visual text, by explaining the intertextual relations of the constituent elements of the logo, its significations and connotations were explained. The general method of this article is fundamental in terms of purpose and descriptive-analytical in terms of method, and its data are gathered via library method. The results of the article indicate that the logo of the University of Tehran is an intersign text in which a combination of the symbols of the two pre-Islamic and Islamic periods can be seen; from the other hand, the pursuit of intertextual relations in this logo shows the implications of this logo on completeness and intellectual perfection, victory and thoughtful awareness, dynamism and mobility.

Curriculum is an essential component of any educational system and there is significant correlation between efficient curriculum and able graduates. Using comparative method, this paper investigates and analyzes undergraduate graphic design curriculum in Iran and ten art universities in the world. Recent developments in the field of graphic design have offered new approaches for the education of graphic design. Thus, reviewing and updating of graphic design curriculum is unavoidable. The main question of this study is how much current undergraduate graphic design curriculum in Iran corresponds to other universities’ curricula. The aim of this study is to find out the similarities and differences in the undergraduate curricula of graphic design in Iran and the under-study universities in order to state the factors which should be considered in their revisions, if the revisions are necessary. Regarding the objective, this paper is applied-developmental and its method is descriptive-analytical-comparative with qualitative and quantitative approach. Its data is gathered via library source and by referring to books, articles, Ministry of Science’s curriculum and the sites of under-study universities.The results of this research and statistical analysis show that the revising of current undergraduate graphic design curriculum in Iran is essential because due to dedicating more than half of the curriculum to non- professional courses the expertise view is not so strong in the graphic design courses and, consequently, this curriculum has not sufficient coherence for training able graphic designers. In revising current curriculum three basic factors should be considered: 1) avoiding non-professional courses in the field of graphic design and focusing on teaching professional courses, 2) focusing on the theory of graphic design and related issues, and 3) paying attention to new technologies in graphic design production and cyberspace graphics.