جستجوی مقالات مرتبط با کلیدواژه « aesthetics » در نشریات گروه « علوم اجتماعی »

This research seeks to analyze and examine the aesthetic elements of the " White Situation " series in the expression of religious education teachings.

The data collection method in this research will be documentary-library which after collecting and studying the sources, including books and movies, the practical materials will be extracted and categorized and used. The film analysis method in the current research is a neo-formalist approach, in this approach the understanding of films and their communication methods with society goes through a special procedure.

In the two sections of narrative aesthetic elements and stylistic elements, the "White Status" series has been examined. In the discussion of narrative elements, topics such as narrative, theme, and characterization were discussed. Also, in the section of stylistic elements, discussions about mise-en-scène such as stage design, costume design and Make-up, lighting, and in the discussion of imaging to issues such as the size of the shot, framing, and camera movements; And in the topic of editing, issues such as rhythm and the relationship between shots were discussed and evaluated in order to show Hamid Nematullah's effort to express a nostalgic period in the history of the Islamic Revolution with a focus on the religious education of teenagers.

In the end, the success of the " White Situation " series can be attributed to the careful, creative and artistic look of the director and the correct use of content and theme in formal elements and paying attention to the two-way relationship between form and content in order to influence the audience. And conveying a sense of nostalgia.

Farabi did not deal with art and beauty in a special and separate way, and he has no other writings in this field, except for a work entitled "Great Music", which has a scientific and mathematical perspectives. Therefore, his principal fame is due to his extraordinary opinions in the field of politics and political philosophy. He considers the goal of individual and collective human life to be reaching happiness. But he considers life in a perfect and virtuous society to be necessary for a person to achieve happiness. Man should be raised and educated in such a society to reach happiness, which is a political goal and of course otherworldly. The teacher and guide must be able to use his imagination to reach the useful mind. It is from this channel that artists play a key role in Farabi's utopia and are ranked next to the head of Medina. The two concepts of imagination and simulation, on the one hand, in the education of citizens, and on the other hand, in the creation of works of art, highlight the dignity and social-political position of artists. Farabi's definition of beauty is based on the concept of perfection. In fact, perfection is beauty, even though perfection is happiness. With such an attitude, it can be concluded that the whole of Farabi's political philosophy has an aesthetic aspect, and in this way, the elements of his political aesthetics can be compiled. In this article, by using the collection of library information and the descriptive-analytical method, elements such as happiness, imagination and similes have been examined and addressed the definition of beauty that Farabi has based on perfection.

Aesthetic architectural reading refers to the interpretation and analysis of an architectural work or architectural concepts. This process involves understanding and interpreting the multiple elements of architecture such as form, space, material, light, and structure. Architectural reading is not limited to describing and interpreting the physical characteristics of structures and buildings; it also encompasses an understanding of their role in social, cultural, historical processes, and even their relationship with the natural environment. Contemporary architecture based on object-oriented ontology pays special attention to the human experience of the environment and space. In this approach, environments and structures are considered as central objects in architecture and have a profound impact on human experience and behavior. Contemporary architects strive to design environments and structures in a way that influences human interaction with them and enhances the architectural experience. In this approach, architecture is introduced as a means to create sustainable interaction between humans and the environment. The importance of this perspective lies in making the relationship between humans and the environment more experiential and emotional in architecture. Environments are designed in a way that allows humans to establish a close connection with them, and in interactive environments, they can experience engaging and unique experiences.

Beauty and aesthetics have a thought-provoking course of evolution and development in the history of the world, in such a way that the known cultures before written history such as China, Egypt, Iran, Africa and Europe considered its examples to be human characters, behaviors and virtues, and on the other hand, beauty was constructions, functions, skills, creatures and natural objects; Animals, trees and rock shapes were described. But the history of beauty in the West is full of ups and downs, and from the ancient Greeks, who considered beauty to be the product of the artist's thinking, to Augustine, the western philosopher in the Middle Ages, who described beauty from the innovative doctrine of "Afaza" of absolute existence, the theory of beauty in The aesthetics of the Middle Ages, in a relatively artificial way, served as a substitute for the useful aesthetic interests and the origin of the work.In 1790, the important book of Immanuel Kant, a German philosopher and a leading figure in the modern philosophy of the 18th century, called Critique of the Power of Judgment, was published, which is known as one of the most important sources of aesthetics today. In the pre-critical period of his thinking, he wrote a small treatise entitled Considerations on the Beautiful and the Noble (1764), in which he mainly focused on social and anthropological reflections. Kant denied the principles of taste and believed that the judgments we issue about beauty are only based on pleasure and are completely subjective and only work for empirical studies (anthropology or history). Kant made extensive changes in the subject of aesthetics and made it It became a theory related to art and beauty. (Masika, 2011: 3) In Kant's criticism, sense is lower than knowledge and understanding, and taste is not based on moral foundation, and the judgment of the beauty of something is a judgment of taste, and taste is the power of judgment. knows about beauty. Until the end of the 19th century, as a result of Kant's theories, in Western culture and studies, art and works of art were examples of aesthetics, and the understanding of beauty also depended on the values ​​with the sensory experience of objects or events. At the end of the century, with the spread of the study of anthropology of art, the topics of aesthetics were also raised at the same time, and a new perspective appeared in the topics of aesthetics. Kant's aesthetic theory was systematic and comprehensive, he related experience and judgments about natural beauty and art to the basic concepts of epistemology, metaphysics and ethics. The continuation of this legacy in aesthetics after him is clearly visible, the purpose of this thesis is to analyze the evolution of the philosophy of beauty to the anthropology of aesthetics, and the question is based on what historical developments have occurred in the thought and philosophy of beauty from the ancient period to the anthropology of aesthetics?

The research method of this study is analytical-descriptive with a qualitative approach centered on historical developments based on written sources.

The findings show that the most important developments in the 19th century of anthropology are related to the two attitudes of evolutionism and diffusion (expansion) in the years 1930-1880, so that the evolutionism approach focuses on the growth of the (intrinsic) aesthetic power in humans, and its growth or lack thereof depends on hierarchical principles. And it is a stage, and diffusionism emphasizes on the expansion of the components of beauty in different societies, until with the emergence of aesthetic anthropology in the contemporary era, more attention was paid to the components of native beauty and the creative society in researches, and beauty was criticized from the perspective of the creative society

Court portrait paintings in the first Qajar period are mostly known with the faces of the king and courtiers, but part of the paintings of this period are painted images of women dancing and playing music. These images also follow the rules of court portraiture, but the portraiture of women independently has never been the goal of research. This type of painting, unlike court portrait painting, does not have a political or propaganda aspect and is used to decorate palaces with the standards and rules of court portrait painting, and it is painted without the artists' signatures. The purpose of this research is the analytical study of court portrait painting of women in the first Qajar period and its aesthetic criteria. The question in this research is as follows: what are the aesthetic criteria for portraying women in the first Qajar period? What are the similarities and differences with the official portrait painting of the court in this era?

The research method in this research is descriptive and analytical, using library sources and examining examples of portrait paintings of women and museum examples. Women in the first period of Qajar.

The results of this research show that the portrait painting of women in the Qajar period was an important part of the official court portrait painting in this era, the paintings have a decorative and idealistic aspect and have more diverse motifs and decorations. In the rules of aesthetics, idealism, the use of decorations and motifs, exaggeration in the facial expression has something in common with the official portrayal of the king and courtiers. In these paintings, according to the patterns defined in Iranian literature, women are young, beautiful, dancing, playing instruments and performing acrobatic movements.

Urban walls hold significant influence over the quality of urban spaces, making them one of the most impactful environmental elements. Enhancing their quality contributes to an overall improvement in the physical aspects of a city. While the urban landscape and its aesthetic indicators are well-established, the question arises regarding the influential components that shape the urban landscape. Hence, the objective of this scholarly article is two-fold: to identify effective solutions for enhancing the aesthetic dimension of urban walls in terms of their objective-physical aspects, and to prioritize these solutions based on the perspective of citizens who frequent the Eram sidewalk in Qom city. Determining the sample size was achieved through Cochran's formula, resulting in a total of 384 participants. The research methodology employed was practical and aligned with the nature of the study, employing a descriptive-quantitative approach to answer research questions. To analyze the collected data, the Lisrel software was employed for designing the structural equation. The research findings highlight the need for improvement in various components of the urban landscape when it comes to the walls of the Eram pedestrian area. These components include enhancing the beauty and visual variety in wall decorations, paying attention to facade additions, and diversifying the texture of materials utilized. Notably, citizens rated the absence of disturbances and visual disruptions as positive and appropriate, assigning it a high impact factor of 0.82. This component emerged as their top priority when indicating their visual preferences. By addressing these findings and incorporating the indicated solutions, urban planners and policymakers can effectively enhance the aesthetic appeal of urban walls, thereby improving the overall perception and experience of citizens within urban spaces.

There are many and diverse curricula in the educational organization, and this research was conducted with the aim of designing a curriculum pattern based on the components of aesthetics and art in the period of secondary school.

The current research in terms of purpose was applied and in terms of implementation method was qualitative. The research population had two sections of written documents related to the subject, which 35 documents with the purposeful sampling method were selected as samples and experts related to the subject, which 15 people using the snowball sampling method were selected as samples. The research tool was note-taking of documents and interviews with experts, whose validity was confirmed by the methods of acceptability and verifiability, and its reliability was obtained by the method of the agreement coefficient between two coders of 0.86. Data were analyzed by open, axial and selective coding method in One Note software.

The findings showed for curriculum pattern based on the components of aesthetics and art in the period of secondary school was identified 485 indicators, 24 components and 10 dimensions in four elements of goal, content, teaching methods and evaluation, so that in the goal element had 2 dimensions and 5 components including skills (with 2 components of acquisition goals and cognitive and metacognitive goals) and individual (with 3 components of learner-based goals, aesthetic goals and moral goals), in the content element had 3 dimensions and 8 components including environmental (with 2 components of learning environment and learner-based content), artistic-cultural (with 2 components of content based on society and culture and content based on art and aesthetics) and content form (with 4 component of literary form, representational form, visual form and drawing/visual form), in the teaching methods element had 3 dimensions and 7 components including artistic (with 2 components of aesthetic-oriented and nature-oriented), innovative (with 2 components of creativity-oriented and team-oriented and participation-oriented) and technical-humanistic (with 3 components of media-oriented, project-oriented and workshop-oriented and the ability of the teacher in teaching) and in the evaluation element had 2 dimensions and 4 components including scientific (with 2 components of qualitative evaluation and evaluation based on results) and artistic-ethical (with 2 components of aesthetic evaluation and moral evaluation). Finally, a curriculum pattern based on the components of aesthetics and art in the period of secondary school was designed.

The designed curriculum pattern based on the components of aesthetics and art in the period of secondary school of the present research along with other designed patterns can be used by experts and curriculum planners in designing a comprehensive curriculum pattern.

The concept of nature, despite its simple, clear and comprehensible appearance, is a mysterious and complicated concept and has traveled a long and winding path throughout history until today. "Nature (physis) in Greek culture is designed and understood in relation to Logos, Eros, Cosmos, Chaos, Tragedy, Mimesis, Poiesis, Techne, Praxis, Dialectic and Paideia. Various fields of studies of mythology, history, culture, society, economy and politics, philosophy, art and literature, and many sciences, according to their perceptions of nature; They plan and formulate their affairs and phenomena and how they face each other.The representation of nature in all fields of human knowledge has always been based on conceptual and metaphorical dual oppositions about nature: transcendence /immanent, dynamic /static, mechanical /organic,theological /materialistic, deterministic /occasionalistic and animate /inanimate. Considering the opinions of German, French, English and American philosophers and thinkers in the last decades of the 18th century and throughout the 19th century, it can be safely said that the most obvious and complex view of nature was formed in the great flow of romanticism. The concept of nature in the school of romanticism is a multi-layered and deep concept. Reducing the movement, rather the great revolution of romanticism to a literary and artistic school, on the one hand and highlighting characteristics such as reaction, opposition to rationalism, enlightenment and civilization, praise of melancholy and suffering and disease; On the other hand, it has caused the suppression of valuable aspects of romanticism, which are now showing themselves in the process of "the return of the repressed" - according to Ernesto Laclau-.Our approach in this research is philosophical and political. Our attempt was to bring these two types of encounters together in the fundamental concept of nature, that is, in addition to the aesthetic aspects of nature, we intend to indicate the philosophical foundations and political contexts of the focalization of nature and its relation to other concepts of romanticism including individuality, subjectivity and anti-capitalism orientation. The results of the research show that romanticism has intelligently attracted various parts of the opinions of philosophers and thinkers, which it saw as compatible with its essence and orientation, and with the idea of "romanticizing the world" and "understanding the world as a work of art"  was looking for solutions to problems that covered all philosophical, epistemological, ethical, aesthetic and political fields.

In his sociology of art, Marcuse seeks to provide a theoretical answer to Freud's transhistorical hypothesis of the rational refusal to form a non-repressive civilization; a hypothesis according to which, domination of the principle of reality over the realm of desire in general, is an unchangeable destiny in the processes of civilization. Marcuse, however, tries to show that the antagonistic relationship between desire and reality is not a definite thing, but merely a changeable historical situation. By relativizing Freudian assumptions, he visualizes the beginning of a historical transformation dominated by the principle of performance in contemporary civilization, in which alienated work can be replaced by an alternative form of work, aesthetic work; A procedure that, in turn, can transform the established principle of reality (the principle of performance) in favor of an alternative form of the principle of reality. Marcuse believes that art is a factor that can revolutionize the relationship between desire and reality. This revolutionary power of art is embedded in its aesthetic dimension (formatted content); a dimension itself is the product of the fantastic and imaginative knowledge of the work of art. In this way, Marcuse introduces the concept of psychoanalytic fantasy into his theory as a liberating element; A mechanism that, by its nature of performance, is able to reconcile desire and reality and reshape their relationship under an erotic principle of reality.

Townsend’s “Hume's Aesthetics Theory, Taste and Sentiment” is a critical point in Hume studies. Before that, Hume's commentators hold that his aesthetics was explained only in his short essay entitled as Standard of Taste. But Townsend shows that Hume's aesthetic can be found in other works, such as A Treatise of Human Nature, An Enquiry Concerning the Principles of Morals and An Enquiry Concerning Human Understanding. Through these books, we can gain a comprehensive understanding of Hume's aesthetics. But, furthermore, he asserts that the main basis of Hume’s philosophical system is his aesthetics, a claim that we found it very controversial.  He also shows that concepts of taste and sentiment have an epistemological role in Hume's Aesthetics. But his conclusive interest to aesthetics leads him to give a strange and misunderstanding reading of Hume's philosophy. This book could be better understood as speculation concerning Hume’s philosophical system rather than instructing his aesthetics.

Before the beginning of modern era and the amazing development of mass communication technology, art was considered and interested by thinkers. However, after the development of mass media and the development of literature in the field of culture and communication, the category of art, culture and communication was neglected and. caused many problems. This study tries to examine the relationship between three categories of art, culture and communication by studying some of the existing conceptual and theoretical structures. At the beginning, the concepts of "art", "culture", "communication" and "culture and communication" have been studied, and then the views and opinions of thinkers such as Heidegger, Benjamin, Nasr, Avini and Madadpour were investigated in the context of the relationship between these categories. For the conclusion, two descriptive and prescriptive approaches were performed and the approach of "Cultural Artistic Communication" was suggested as a desirable relationship between the categories.

Well-being is one of the structures that is seriously considered in positive psychology and sensitive to the environmental aesthetic whose apprehension could affect people's health and well-being. Therefore, the purpose of this study is to investigate the relationship between aesthetic intelligence and psychological well-being by mediating aesthetic sensitivity. The research method applied is correlational using a structural equation modeling. The statistical population consisted of all students in Bu-Ali Sina University in the academic year of 2018-2019, and based on the suggested size for structural equation modeling, 384 students were selected through cluster sampling. The instruments used in this study were Ryff Well-being Scale (2002), Rashid et. al (2017) Aesthetic Intelligence Scale and Abdolmaleki (2013) Aesthetic Sensitivity Scale. The results of structural equations showed that aesthetic intelligence and aesthetic sensitivity had a significant direct effect on psychological well-being. Aesthetic intelligence also had a direct significant effect on aesthetic sensitivity. The results of indirect relationships showed that aesthetic intelligence by mediating aesthetic sensitivity had a significant effect on psychological well-being. Based on the results, it can be concluded that sensitivity to beauties of the environment and their apprehension has a positive effect on people's psychological well-being. Therefore, by developing programs to educate and strengthen aesthetics in individuals, well-being can be expected to increase.

The Iran-Iraq war began on September 22,‌ 1980. According to commentators and researchers, this war was the most serious and difficult war since World War II, and from this point of view, it is one of the most horrific wars of erosion in modern times and the longest in the history of third world countries. Letters from warriors at various times during the war are one of the most important documents left. Despite the unique features and structure of this war, no extensive studies have been conducted in Iran, especially in the field of anthropology of art, no study has been done on the letters of the warriors. Therefore, in this article, the aesthetic and semantic dimensions of the warriors 'letters were studied from the perspective of art anthropology. The main question was in order to identify the aesthetic and semantic dimensions of the warriors' letters of the Iran-Iraq war. More than 50 warrior letters were read during various periods of the war. Findings show that the aesthetic dimension of images and printed writings of letters is to produce and reproduce the dominant discourse of war, which is often a display of spatial, religious, political and national identities. Semantics of images, writings show that the dominant discourse of war pays special attention to religious identity It is also identified with the events of the beginning of Islam, especially the wars of that time with the Iran-Iraq war in the aesthetic and semantic dimensions of the letters. Me and the other in the semantics of the text and writings of the warriors to the two poles opposite me Muslim and the other enemy of the infidel is being produced and reproduced.

Reviewing the Persian translation of Umberto Eco’s  “Art and Beauty in the Middle Ages” (translated by Faride Mahdavi Damghani), is the subject of this article. The article does not concentrate on evaluating the original book, which is widely acknowledged by those who are involved in this field, and just outlines its subjects, chapters, and also its importance. In order to review the translation, the first 25 pages of the Persian text have been checked against the English one, which is introduced as the source of translation, and the errors have been divided into four categories and in each case, in addition to an explanation, the suggested translation is provided, too. The large quantity of errors is eloquent of the necessity for a serious revision to the translation of such an important book, which is usually used as a source by students and those who are interested in art and aesthetic studies.

The presence of bricks affirms many of the principles and philosophical thinking of Iranian-Islamic architecture including unity and plurality, unity and combination, and simplicity. In the post-Islamic architecture, the use of decorative arts became more limited, and the brick is one of the materials that appeared in a variety of decorative arts due to its potential in formation. But this application of bricks has been forgotten in the last century and lost its past glory. This article investigates the art of brick making and examines the role of this valuable element in three historical periods and textures (traditional, middle and contemporary) in the metropolitan city of Mashhad by a descriptive and analytical method. The data collection method is based on documentary-library and interviews. 12 works from Mashhad's well-known architects have been analyzed according to the obtained theoretical framework. One of the achievements of this research is identifying and interviewing selected architects of Mashhad. In general, the interviews show that each architect has a worldview and a particular approach toward brick and these approaches were classified in a specific category. According to the obtained results of the study, whatever has left of the valuable legacy in different periods and what is remembered as brick nowadays, is almost its technical, economic and memorable aspects. 

Emergence of new telecommunication technologies, have influenced all media. Media convergence has enabled electronic media such as radio and television and even print media, being published in digital context, to acquire capabilities and opportunities which are quite different from the past era. The audio newspaper and magazine could be considered as media hybridization. The aesthetics of sound along its interpretation features have a major impact on the understanding of the user from the context, that’s why aesthetics should be considered as a semantic truth whenever this new phenomenon is being investigated in interpretive context. This research work is an effort to investigate function of four elements of silence, speech (words), music and effect in the structure of audio newspaper and magazine from structural aesthetics perspective. The main purpose of this research is aesthetics study of sound and silence in producing audio newspaper and magazine on Internet radio context. the data gathered for this study have been collected on content quality analysis, library study and case study methods and the reproduction method of 17 Internet radio newspapers and magazines as statistical sample. Findings of the research show the appropriate and purposeful radio format in production of audio newspaper and magazine. The aesthetics elements in any format have been used compatible with the text of the audio newspaper of magazine and in line with completion of the text, increasing the impact of the speech and creating appropriate sound effects. What is important is the appropriate functioning of the element of the audio version of newspaper and magazine that have resulted in attractiveness of these two newly emerged formats

As a medium, animation films employ various arrangements to convey their messages to the audience. Narrative and narration play an important role in shaping the animations. Narratives, in general, reflect different views of the world and the way they are perceived. Much of the popularity of storytelling comes from their narratives; they help programmers move away from directly inducing a message to the audience while preventing the audience from becoming overwhelmed by the media in pursuit of their ultimate goals. For this reason, the form, the constituent elements, and the explicit implications of the narratives must be analyzed scientifically. Therefore, the purpose of this article is to analyze the narrative and visual elements of the short film "Ghasedak" which is one of the great works of IRIB Hamedan Center for Animation. To achieve the mentioned goal, the narrative approach and the theory of Roland Barth and Gerard Genet were employed to analyze the narrative and visual elements of this animation. Findings of this article showed that the visual elements serve to express the story and the visual concepts well narrate the main concepts of the story; the visual elements conveyed the explicit implications of the text in relation to the subject of the film. Also, the visual aesthetics of this animation had an impact on the content and visual beauty of the dandelion animated film.

This study, with attention to field observations, is in pursuit of studying aesthetic interests in urban housing according to anthropological perspective. The research approach is qualitative (qualitative content analysis) have been done through ethnographic data. The studied community is made up of two residential complexes located in the first and fifteenth regions of Tehran - with the names Gheytariyeh and Parvaneh. Research findings suggest that sometimes the tastes of the residents of the house are dominated by the architecture and design of the home, and sometimes the residents overcome it through human relationships. Factors such as economic conditions, religion, commitments to previous traditions, architecture and interior design have influenced the aesthetic interests of residents. The aesthetics of residents of the residential complex in the fifteenth region is more influenced by religious factors and adherence to the traditions and values of the past, and the economic factors and interior design of the house have aroused the aesthetics of the inhabitants of the residential complex in area one. Also, residents of the fifteenth region, unlike the inhabitants of District 1, were less affected by the architecture of the house.