sadreddin tahery

The name and the portrait of Alexander is oneof the most repetitive themes presented in Persian literature and Iranian art from the Sassanian era.In the remaining papers of Demot,Great Ilkhanid Shahnama,there are also narrations of Alexander's life in 12pictures.This research, by the analysis of Alexander's ascension,tries to find out the heterology between the text of the image and the literary text of Shahnameh and reveals the intrinsic signs and textual clues and their hidden meanings.Finding the boundaries of this heterology it can be obtained that how much did the painter remain loyal to the text of Shahnameh?And to what extent did he seek to achieve the semantic implications and revive his particular discourse or his own historical period?This is a narrative research based on narrative semiotics approach and with purpose of reading social direction of visual sign has used Kress and VanLeeuwen’s social semiology pattern to visualize the social strains of the visual symbols. In the pattern of social semiology,not only the lines, colors, the movement of light and the creation of volumes are analyzed to enhance the interpretation of the semantic implications, but also the effects and the theoretical currents outside of the image, such as cultural, religious, political and social contexts are examined.The present study considers the existence of a difference between the text of the image and the literary text in Alexander's ascension,as an artist's effort to independently create the image and transform the work of art into a representation of the thoughts of his own time.

Statement of the Problem : How does the spiritual system of religion affect the dominant paradigm of society? What are the factors which shapes the world of contemporary art? In which ways the institutional structures of contemporary art, such as the gallery, have shaped the shapes and forms of the art world? GoalPurpose and Method: The main idea of this research is about the structure of religious world and its impact on the dominant idea of the era and their factors, actions, and the hierarchy of power. To understand this hierarchy and the development of spiritual apparatus, firstly, we consider the world of religious thought and its impact on the formation of hierarchy and the behavior of subjects investigate and in the next step, we consider the agents-institutions and their ratio with the dominant idea in the contemporary art world. In this study, religion and art are considered as two homologous texts. Considering the role of institutions and its’s agents in the creation of the religious world, it seems that this route can be traced more correctly their ,. It could be seen that here the Church and its spiritual apparatus have a great deal of association with the organizations and institutions of the world of art and its hierarchical construction. The church is like a spiritual apparatus, which systematically and organizationally looks for building patterns and practice method. The equivalent of it in the art world could be seen at the museum-gallery and be matched with it. The present research attempts to study the contemporary art world and its branches such as Iranian contemporaw23ry art, through considering the issue of legitimacy and the role of the spiritual experts of the world of art in constructing and shaping all aspects of contemporary art and aesthetics through the exercise of this legitimacy. The methodology of this research is stemmed from the Weber’s sociology of religion and its special impression in analyzing of the clerical system of religion. We have analyzed and categorized our data based on this theoretical context

The problem of Autonomy of art in Adorno’s aesthetic is one of the most valuable and impressive subjects in contemporary aesthetic. On the one hand, Adorno uses “monad” metaphor (in Leibnizian meaning) for describing autonomous art work, and, on the other hand, he introduces art work as an absolute commodity. This study wants to answer this question: according to Adorno’s idea, how autonomous art works are to be realized under the condions where commodified relation are dominated? Understanding this subject is dependent on conceiving the theoretical basis of Adorno’s philosophy and especially his negative dialectic theory. In the first part of this study I would try to prove the necessity of Adorno’s dialecticalhistorical defense of autonomy of art with a short explanation of his non- identical thinking approach and negative dialectic theory, as a basis of his philosophy. In the second part, while explaining the aspect of political economy in the theory of negative dialectic and by elucidating the dominant commodified logic in art, I would try to clarify that the art work reveals the absolute commodity to be an aspect of autonomy.

Fyodor Mikhailovich Dostoevsky is founding father of psychological novels. We cannot deny the debt Joyce, Kafka & Proust owing him. Also, we easily can recognize his impact on Nietzsche, Gide, and Camus & Faulkner’s works as well as on many writers of the twentieth century. This article tries concentrate on the hermeneutic texture of his best novel published three months before his death. The characters who dramatize “Brothers Karamazov” are explicators of philosophical concepts on his time and exponents of the paradoxical inclination in human thoughts. Dostoevsky’s deep understanding of Christianity has made him able to have a Russian interpretation of the Bible & a Christian narrative of Russian society. Brothers Karamazov, moreover, challenges the church’s profit-seeking spirit, and reveals incapability of the socialist idea in reaching a Godless utopia.