جستجوی مقالات مرتبط با کلیدواژه « ایدئولوژی » در نشریات گروه « هنر و معماری »

Mural painting can be considered the oldest form of painting in the world. Mexican mural painters were not separated from Mexican society in terms of art and thought; Following the revolution of nationalism, they played an essential role in the cultural and social life of the country. The history of the Renaissance Mexican mural paintings, which began in the early 1920s and during the time of General Obergon, is a long and complicated story, full of contradictions, anecdotes, and legends. Jose Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera are considered some to be the leaders of this renaissance as an artistic movement. Dealing with the differences in the mural painting style of the three artists mentioned to understand more detailed themes in Mexican mural paintings, also because of the newness of this topic and the lack of centralized information, can be very important. This research focuses on the differences between the ideologies of Orozco’s wall painting style and those of Siqueiros and Rivera. The analysis of selected paintings from these three artists is examined by this article after stating the theoretical foundations and comparing them with each other. The nature of this research is descriptive-analytical and it is applied. The library method was used to collect data, along with reviewing images, and qualitative analysis was employed. Furthermore, the sampling method is not random but selective. According to the analysis of the works of three Mexican wall painters (Orozco, Siqueiros, and Rivera) in the 1930s, they had a special view of the modern world as the era of industrial modernism. Their attitudes were influenced by various topics and viewpoints, leading to differences between them. Most importantly, the images that were displayed from the modern industrial world depicted the next generation of murals that were not exclusively within the scope of Mexican cultural reality but were embedded in a set of global connections.

In critical discourse analysis theory, there is a tendency to analyze images as if they are linguistic texts. In the Qajar era, the institution of court painting (Naghashkhaneh) was the place of creation and supervision of various genres of the arts of illustrations, which Single-Page watercolor paintings were one of them. Some of these paintings show the royal family and courtiers; therefore, they directly relate to power relations and structures, and contain ideological indications that were often creating to represent the regnant power and to consolidate its ideological content. The watercolor painting from “Nasir al-Din shah Qajar” and two courtiers” which created by the court painter, Mohammad Hassan Afshar, and the support of an anonymous court patron- both as the participants in creation stage- is one of the artworks of Nasir al-Din shah period, which is studied in this article as a discourse based on Norman Fairclough’s theory of “Critical discourse analysis”. Fairclough’s theory is one of the important and reference theories in the field of “discourse” in which he has discussed linguistic phenomena and discourse actions, ideological processes of discourse, relations between language and power, dominance and power relations, and social reproduction in inter-discourse and inter-textual relations. According to him, discourse is an interwoven set of three dimensions of social action, discursive action (production, distribution and consumption of text) and text. As a result, the analysis of a specific discourse requires the analysis of each of these three dimensions and the relationships between them. In this discourse, there are verbal text in the composition of the image that describe the characters, so the image has an interdiscoursive space and both verbal and visual text and their interaction with each other have been analyzed. In this painting, the painter, in a symmetrical composition of asymmetry, places the minister, Mirza Aga Khan Nouri, sitting on the floor on a  hypothetical vertical line in the middle of the image as a traditional symbol of power, the king, Nasir al-Din, on the left side and Seif al-mulk who was Iran’s ambassador to Russia and a general on the right side; so according to the rules and concepts of Persian painting which always were showing the king as the source of power in the middle of the image, the painter based on his background knowledge from political situation of court, Has started the process of making denaturalization and has revealed a hidden power struggle between the king and the prime minister The main question of the present study is what is the hegemonic and dominant ideology in this discourse and whether the orders of discourses influencing this discourse has taken steps to consolidate, weaken or change the hegemonic ideology and power? To answer this question, based on Fairclough’s three-dimensional model, this painting has been studied in three stages: textual description, discourse interpretation and social explanation, which, as a matter of necessity, and as Fairclough has argued in his theory, the authors have been constantly moving between these three stages. It seems that this painting in the stage of social explanation shows that the painter- in the position of both an activist and a creative commentator- has attracted the opinion of the possible patron of the artwork, Mirza Aga Khan Nouri, in order to show his great power on one hand, and on the other hand, he identified a secret conflict that by presenting multifaceted signs that no one except Nasir al-Din Shah could win finally, because of his absolute power as the shadow of God in Iran!      Therefore, the achievement of this research is that in this struggle, contrary to the first semantic layer, which seems to show the Prime minister as the source of power and the symbol of traditional ideology, in the hidden layers of meaning, the dominant ideology still emphasizes the absolute power of shah. But this absolute authority follows a new structure based on a mixture of discourse orders of modernism and westernization, archaic thought based on the concept of charisma and royal charisma, and the utilization of religion; Also it can be said that Hassan Afshar’s view as the artist who has worked in the institution of the Painting House of the court, was not only a reflection of the orders of discourses in political and social institutions and structures, but also it has done a hidden change in the orders of discourses of painting institution in the court. According to this perspective, in a dialectical relationship, the artist as a discourse activist in this visual text has been effective on the changes on orders of discourses in the field of court politics in a small level.

All My Sons, written by Arthur Miller, is an anti-war play that critically reflects the way of life in a capitalist society and the terrible consequences of it. In this play, Arthur Miller deals with the contradictions in the system based on the liberal economy in the American society, which on one hand claims individual freedom and taking benefits from opportunities it may suggest, on the other hand, large majority of people have to pay a heavy price. It leads to the collapse of the society and the family institution as the main core of the it. This contradiction originates from the ideological point of view that the capitalist society, according to Miller, carries and injects it into various elements of the society. In addition to the critical view of Arthur Miller as a playwright, the present research relies on the opinions and thoughts of Louis Althusser, who believes that ideology floats between layers of the social formations of a society here a capitalist one, including government institutions, public arena, culture and family. In this article, the aim is to analyze the Miller’s play from Althusser's point of view and address the basic question of how ideological mechanism could work by interpellating the characters of the play, addressing them and defining them as "subjects". It affects people's relationships and determines and directs their social and individual actions. In this way, the aim of this article is to analyze the main characters of the play All My Sons in the ideological mechanism of capitalist society. In this research, the analytical and descriptive method has been used to investigate the characters or subjects of the play and the interpretation of their actions based on the ideological structures of American capitalist society, Revealing the gap and conflict between "ideological promises" and "subject position".

Problem statement:

 The question of ideology has occupied the minds of most urbanologists from the past to the present during modernity. The present study is a geographical-philosophical introduction to the role of this concept in the public spaces of cities. The discussion of ideology is one of the cases that has not been widely studied in explaining the physical, social, and psychological affairs of public spaces in Iran. From this point of view, it is necessary to pay attention to this issue in urbanological analysis. Based on this, this research seeks to answer the following questions: What can be done to create successful cities in the 21st century? How can the role of face-to-face presence in creating public spaces of cities be explained from the philosophical and scientific perspectives? What is ideology? And what effects does it have on the physical, social, and psychological spaces of cities? How does the relationship between socialist and neoliberal ideology and the public spaces of the city create a space?

This study attempts to shed light on the concept of ideology and show its relationship with urban public spaces from a geographical perspective to achieve urban spaces on a human scale.

This study employed a textual analysis. To find the answer, we first tried to explain the characteristics of a good city, the role of face-to-face presence in human interactions, the formation of social affairs as well as the concept of public rights and collective interests. Then we explored the use of different socialist and neoliberal ideologies as a case study.

The results show that limiting and expanding the concept of public space in cities based on various ideologies changes its spatial, social, and psychological form and create an active, vibrant, and democratic civil society in which the concept of the right to the city can find its true form, creating the possibility and opportunity for purposeful social interaction and exchange, is one of the requirements for the creation of this matter and also the factor of the success of cities in the past and will be in the future.

What Louis Althusser, one of most influential Marxist philosopher in 20th century stated as ideological government seemed so radical at the time, but using his theory for analyzing plays like Enemy of the People, would be very promising now . In althusser`s theory, the government is an inaudible and multifunctional set of ideological and repressive elements, and such a government has different mechanisms, both private and public, for its ideology, and in this article By examining the state of the state in such a way, we will try to approach a new way of interpretation for the play of the enemy of the people written by Norwegian playwright Henrik Ibsen. Although the traditional readings of this play usually tries to interpret the play as a political, upright discussion about peoples trustworthiness and the rights of publics authority leads to an argument about power of people`s thought and common sense. These readings are generally based on the assumption that Dr. Stokman (the doctor of the city) is a person against his own community, a person who challenges the right of the community and can be regarded as an Enlightenment hero who is questioning the power of democracy with verifying truth. But applying Althusser`s theory of the ideological state, in our reading of this play, will show that the characters in front of Dr. Stokman are not people in the common sense of the word, but the state in the sense of Altusser. This reading shows how institutions such as educational institutions, the media, and even the family, as the ideological arms of the state, transform each person into their concrete subjects. This very Sight uncover hidden elements wrapped in individual characters encountering each other in an expanded plane of ideology. Characters are trapped in ideology, despite their wishes and all their action can be observe as ideological actions and reactions. This ideology expanded through all places in the play. Places which are not just somewhere dramatic actions happens, but somewhere that ideological state start to addresses people as subjects, and give them this illusion that they are free characters to choose their ideas but the truth is everything they are just reproducing dominant ideology of the play`s universe. Thus, the characters of this work can be interpreted not as protagonists or anti-heroes of enlightenment and truth, but as those who are caught up in the ideology of the state What Althusser described as an ideological instrument of the state can be adapted to the local signs and characters of the drama of the enemy of the people, and using this form of analysis, Ibsen's razor's critique is not based on the community of people Or the majority, but on the mechanism of government in its general sense. In fact What Althusser described as the mechanism of government includes many cases, which are generally seemingly private entities involved in the reproduction of state ideology. The adaptation of these institutions to what Ibsen used as dramatic dramatist dramatically poses ourselves to conditions that can be called "Stokeman's condition”

In the following research the author tries to study the power relations and the relationship among the characters of night on the wet pavemen_ a play by Akbar Radi_, the story of the play and the available discourses, specifically by basing critical discourse analysis according to ideological terms and theories of power. The researcher attempts to identify the tools, facilities, and capabilities through which the superior discourse was able to advance the situation according to its wishes and options, as well as the reasons why the inferior discourse lacked those facilities, and to determine under what circumstances it was forced to obey the ongoing circumstance, by analysis of the present discourses in the play. In the next step, the change of personality from a superior to lower position and vice versa from the perspective of discourse change is measured and explored. Finally, since the narration of night on the wet pavement has been chosen based on early years after Iran’s revolution, the effect of events and social changes in night on the wet pavement on upper and lower people, changing their circumstances and also leading the narrative has been investigated by Radi during the play. In this study the research method is fundamental in the point of goal and has been done in library style with analytic - descriptive in argument of analogy.

Unconsciousness was first used in psychology by Freud who used it to analyze patient’s mind. Freud applied this term to literature analysis for the first time and introduced it to literary studies. But in twentieth century and by emerging different critical approaches, the psychological terms were redefined and used for new purposes. For example political unconsciousness by Fredrick Jameson found new meaning and were distinguished from unconsciousness as it appears in Freud. This new concept was under the influence of Althusserian Marxism and Pierre Macherey’s theory. Althusser considers ideology as imaginary relation of subject with her real condition of existence. On the other hand he focuses on symptomatic reading which concerns the unsaid and silences. Macherey, Jameson and Eagleton use his theory and through changing them, provide a literary theory for analyzing unconscious and ideology in the text. This essay uses their theories for examining three plays by Bahram Beyzai: Sunset in a Foreign Land, The Story of a Hidden Moon, and Pahlavan Akbar Dies. This analysis considers the different ideologies in 1960’s in Iran and how they reflect in these plays. On the other hand it will be examined that how Beyzai uses “national art” and folklore theatre and how changes them to shed a new light on theatre.

This researchexamines the works of the first and second-generation painters of the revolution in the 1991s and 2001sto compare the process of change of these works from the second decade of the revolution (after the end of the Iraq-Iran war) to today; in this regard, after a brief introduction of four first-generation painters (Naser Palangi, Kazem Chalipa, Hossein Khosrojerdi, Habibollah Sadeghi) and three second-generation painters of the Revolution (Iraj Eskandari, Abdolhamid Ghadirian, Mostafa Goodarzi),we match their paintings in the mentioned periods. The data collection method is library and field with interview tools and their analysis has been done qualitatively. Also, the purpose of the research is to study the trend of modernism in the works of the first and second generation of painters of the revolution and the tendency to westernart and also to study the change of approach and visual expression in the works of the second and third decades after the revolution.

The notion to categorize and identify different kinds of literature and arts has a great importance. In order to investigate the essence and functions, a set of hypotheses known as the Genre Theory has been created. This theory can be followed to Aristotle’s thesis about kinds of poetry. In the middle of the 20th century, the neo-Aristotle school was formed to confront the new critique school which believed in literature free from any restraints, any cross-references or dependence and relationships with works of literature and they gave credit to avant-garde artists who didn’t pay attention to any established rules or conventions. Conversely, Aristotelians stood against these beliefs and supported the genre theory of the late 1930’s and early 1940’s which ultimately referred back to the romantic school’s period. It was this confrontation that lead other theorists of another art disciplines to attempt to renew the use of this theoretical device in their own specific fields of study. Genre Interpretation is one of the most common and important topics in cinematic arts criticism and theory. Andre Bazin and Robert Warshow were the first ones who examined the notion of genre in cinema. But serious and systematic studies were not done until the late 1960’s. Firstly, most of works that were examined were westerns and in the other genres the primary theories were not adopted by all. But it was just a beginning. Writers like Lawrence Alloway, Jim Kitses, Edward Buscombe, and Tom Ryall are among the first generation of Cinema’s genre theory scholars. They founded a fundamental tribune for future researches. Film genre is always attributed with three dimensions of the artistic production triangle: artist - work of art - audience. Then, there is no doubt that social function – i.e. basic thematic of the article - in relation with audience aspect of the triangle is a basic part of each film genre. Generally, in film genre and specially, in Semantic-Syntactic approach of Rick Altman which is the most comprehensive theorist about film genre, social functions are investigated in two contexts: ideology and ritual-myth. The ideological part is investigated in accordance with Althusser’s view of the ideology’s notion but the ritual-myth aspects mostly have been derived from Claude Levi-Strauss’s hypothesis about myths - although this is only a catalyst for Altman’s opinions of the ritual side of film genre. The article’s case study is “Samurai Genre” or “Chambara” (its Japanese name) as a famous and genuine non-Hollywood film genre. The Chambara ideology in contrast with usual reductive thoughts is not a uniform text but through several decades in line with political, social and cultural changes has been has shown variable phases. On the other hand, the ritual-mythological context roots in the feudal warriors’ culture in the name of Samurai and generally, Japanese society codes of honor in the feudal era. In this research, the examinations of the ideological and ritual-mythological aspects of Samurai genre reveal an apparent view on interactions of the genre with society and audiences through 1900’s to mid 1970’s.

Media by its specific codes not only offers the culture to the audience but also actively gives meaning to culture. Cultural products, particularly movies have an ideology that is what the historical and cultural creation, show natural. Representation of women and men in the media, is an important subject and because this representation is often filled with gender stereotypes, this issue has become even more important. In this paper, we have tried to interpret gender stereotypes in the two movies of “Snow on the Pines (2012) and “A Sugar Cube” (2011). John Fisk’ theory of semiology is used to explain three levels of encoding. The results show that the Snow on Pine belongs to the upper middle class with a clear lack of gender stereotypes and A Sugar Cube belongs to lower middle classes with obvious gender stereotypes. Decoding of this syntagmatic relationship shows that movies with obvious gender codes have happy families in them and films that have a positive approach to women in contrast, depict torn-apart families. So the audience is convinced that the existence of such stereotypes is essential for a happy family.

There are several theories explaining the formation of architecture in response to ideological and/or technological change. Two recent key approaches in these theories emphasize either the independence of form and function and local cultures; or the contradiction between form and function in architecture. This paper attempts to validate these two approaches by examining their implications in a set of religious buildings built over a period extending from Ancient Rome, Renaissance and Baroque in Italy. This survey demonstrates that architectural form is the result of a constructive interaction between construction technology and prevailing ideologies in each period. Recent theories emphasizing solely technological aspects are therefore shown to be deficient in grasping the role of this interaction in generation of architectural form.

Architecture and urban development principles in different countries are formed in terms of cultural، religious and historical properties of the societies. Norms and standards that govern the planning، conduct and relations of citizenship are based on the principles، rules and policies that are rooted in the culture of each community. Islamic society is also influenced by religion، and culture of a particular system is associated with urbanization and urban relations. Each traditional culture expresses a sacred order، which covers from residential units to living complexes and landscape and area. So، to understand the traditional living complexes، they should be seen as an expression of physical sacred spaces. In traditional cultures، order is essentially a sacred order that its goal is to give order to this chaotic world through imitation of an ideal of order and the best eternal order. There are a number of factors that have played a crucial role in their roles of Islamic cities. In addition to the natural position (topography) and physical features، Islamic city reflect economic، political، cultural and social structures of newly established community. For overcoming the confusions that we see today in our cities، conducting a profound study of the past in order to find an appropriate physical framework for construction of cities is essential and valuable provided it will be done critically and without mystification. Undoubtedly، the civilization to which can provide effective approaches for all areas of human excellence، should have significant ideas for the most important areas of material and spiritual life of man. Urban development in Islamic culture and civilization، in addition to its valuable technical and artistic aspects، will explain a lot of hidden aspects of civilization. Islamic city can be simply adapted to modern living standards and functionality and can preserve its compatibility with cultural، social، religious، and natural environment. In order to answer the question that what are the principles and rules of Islamic cities and the consequences of each of them، descriptive and exploratory (intuitional) method has been employed. After brief description of Islamic principles، philosophical interpretations، ideology and viewpoint of Islam towards urban issueswe will find out that the research method is descriptive and exploratory (intuitional). This study tries to point to some of these principles in order to explain some of the documentation and analysis and appliesthese principles referring to the Islamic utopia. Islamic city became a subject of serious studies and was examined for the first time in the first quarter of the twentieth century. Plato was the first thinker whothought of utopia based on rational arguments. He designed the ideal society in the Republic and claims that human society will prosper when it is governed by philosopher-king. After Plato، Aristotle completed the project and added some parts to it. In the Islamic period، Abu Nasr Farabi publishes thought of the ideal city in a book named “the Ideas of Utopian People”. Farabi believes that goal and end of utopia is to achieve happiness. Happiness is absolute goodness and goodness in turn is something that is useful in one way or another to achieve happiness. The discussed Islamic principles are mostly related to purposeful human life (the targeted life)، considering revelation regarding anthropology (the principle of human dignity)، with an emphasis on the needs of good and worthy of life (the principles of justice، prosperity and security). The basic principles of citizenship and urban development in Islamic thought include: the principle of targeted life، the principle of human dignity، welfare، safety، the submissiveness of Muslims، the principle of lack of corruption، lack of hardship، the urgency and the principle of binding agreements and treaties. Divine utopia is the manifestation of the absolute God، becomes an expression of human، nature، city، word and text. The idea of Iranian utopia starts with the rise of Iranian civilization and identity and with emphasizing on the element of central power. What is obvious nowadays is the pragmatism which is the basis for organizing the city and specifically can be understood in Tehran in recent decades. The process of transformation of the current Iranian civil society is going to revise itself epistemologically. Here، the theory of endogenous development can be based on the three identities، i. e. Iranian، Islamic and modern. In this respect، especially in relation to the theological foundation of the system and for the continuation of the revival of religious thought with the future management approach، shows the epistemological origins of the Islamic Republic of Iran in “religious jurisprudence in religion”. Epistemological foundation is determined particularly in the field of religion and thoughtof the rise of the Islamic Republic، and religious the idea of development in the context of religious jurisprudence can be the base of indigenous، knowledge-based development discourse. The idea of research and development can be seen in this system of thought. “Self School” is the anthropological foundation of the idea of divine utopia. In heavenly utopia، human is himself. Man in town is himself. Urban spaces are the expression of human himself. Human scale fades، in the material and numerical sense، when human being travel forms the earth to heaven and vice versa. What is proposed is a space that can express this movement، and geometric center fades in face of ideal centrality. So، mosque is located in the center of city so that human can always re-interpret himself during prayer. Finally، we suggest that creativity is the product of genius، and genius is a way which uses the components of human existence. It makes peaceful life and optimal use of divine blessing possible and creates a safe environment for excellence of human. Islam as the most complete religion pays attention to the material and social structure of the human being in all of its principles and laws. In this paper، three basicprinciples of citizenship and urban development system according to Islamic law have been explained، i. e. the fundamental principles، ethical principles and legal principles. Each of these principles has been set forth below in an applied manner and in accordance with the Quran and Islamic traditions.

Religious ideals led to the revolution in 1979. The artists too tried to play their role in the victory of revolution. They created artworks distinct from various views with regard to their responsibility and commitment to this unprecedented public movement. A group of artists in this regard created works centered on religious beliefs and Islamic revolutionary concepts, while another group worked depending on party-oriented and organizationalideas. This paper through a comparative study tries to identify the visual and pictorial symbols selected based on the artists intellectual basis in the time of revolution. The research has been carried out through gathering published materialusinganalyticaland descriptive methods. The results clarify that the visual characteristics of the works and their symbolic elements reflect the ideas central to the creation of works in this period. In other words religious artists used the symbols correspondent to religious thought while others worked based on their ideologicbeliefsandconcerning the experiences of socialist countries.

Subject, the ‘I’ who experiences and interacts with the world, constructs fantasies for him(her)self in order to show his(her) imaginary position in social structure. These fantasies have been reproduced in movies narration. Furthermore, cinema apparatus sutures audience by ideology within a movie narration. This article attempts to interprete fantasy and ideology in the narration of Aghaye- Halu. According to Lacan Fantasy is an answer that subject presents for him(her)self in the symbolic order. Subject is given a place in the intersubjective network of symbolic relations but he or she does not know why he is occupying this place. Therefore subject asks ‘Why am I what Im supposed to be, why have I this mandate? Why am I [a teacher,a master, a king. .. ]? Briefly: Why! am I what you [the big other] are saying that I am?’ the answer of these questions is a scenario in which subject follows his or her desire and object(a). But this fantasy decieves him(her) and the subject does not know his(her) deire belongs to big other actualy. Furthermore, according to Laclau and Mouffe the multitude of floating signifiers, of protoideological elements, is structured into a unified field through the intervention of a certain nodal point which quilts them, stops their sliding and fixes their meaning. State modernization is a nodal point in 1960s in Iran which quilted the urbanism ideology. In one hand, this article interprets this ideology in the movie Aghaye- Halu. On the other hand, this study was to address these questions about fantasy:Who is the subject? Who is the big other the subject confronted with in the movie narration? What desire does the subject have?What actions and events was the fantasy of the subject made of? Analysis of data was done within the framework of narrative analysis and it was founded on David Bordwell’s (1995) conception of narration; Mike Cormack’s (1992) narrative analysis of ideology; and Slavoj Zizek’s (2008) notion of ideological ‘gaze’. The qualitative analysis of the data reveales that there is a specific fantasy in the movie Aghaye- Halu that firs character makes for himself and the big other in the movie is village.The subject, that is the character of Halu, makes a fantasy in which he goes to a city in order to find a woman to marriage, but the big other wants him to get married to a girl whim is the mother’s preferance. In the end of narration not only does Halu lose city woman but also he comes back to his village.Therefor his fantasy is not his own but it belongs to the big other and the subject of movie has to accept the order of big other and dismiss from his ambition which is getting marry with city woman. The ideology of movies is a anti urbanism ideology.This ideology occupies the status of big other in the subject’s fantasy.It shows subject’s fantasy is a kind of ideological fantasy by which cinema apparatus sutures audience.

Throughout history, films have always been influenced by the social conditions of the societies in which they were made, often, representing the ideology of their middle class, probing their audience, and presenting new themes. Hamoon is the name of a feature film made at the end of 1980s which won great acclaim. It was influenced by historical and social fabric of its time and was successful in representing challenges facing middle class intellectuals as well as relations in everyday life. The main goal of this paper is to explain the reasons behind the success of that film. The main question of this study, which results from the tragic end of the movie, is why Hamid should be perished in Hamoon? Death, or in other words, salvation of Hamoon as a result of suicide at the end of the film has been explained in various critiques as a symbol of confrontation between tradition and modernity and representation of failed intellectuals…. The issue that has been seldom mentioned in those critiques and is the main subject of this study is why the result of challenging life of Hamoon cannot be anything but suicide? The fact that Hamoon should commit suicide in order to inspire the audience with a sense of salvation will get us close to the true meaning of ideology as represented in this film. Banking on theories of Louis Althusser on ideology, Roland Barthes on secondary indications of contemporary myths, and Antonio Gramsci on intellectuals and by taking advantage of John Fiske’s methodological framework, we will try to answer the main question which is why the leading character should die? After explaining semiology of the opening and closing sequences of the film, we have concluded that in the sequence when Hamoon meets Mahshid, we are faced with a traditional intellectual figure who is trying to be assimilated by the higher class. That assimilation is apparently due to Hamoon’s 90-percent love for Mahshid and the commitment of an intellectual figure for enlightening the masses. Our analysis, however, would reveal that bourgeoisie which is filled with instrumental rationality is looking for a means to realize class congruity and this is why it accepts Hamoon. However, in the closing sequence and due to what has happened to Hamoon in the course of the film, he tries to prove his individuality by calling that class corrupt. He finds out about his social statues and turns his back to all symbols of the higher class, including is arts, by declining from becoming a tool. Bourgeoisie charges Hamoon as being a carefree man in order to convince the audience by resorting to a mediocre excuse. However, the main reason behind the separation between the intellectual man and the higher class is his effort to refrain from being used as a subject and is not ready to give in to class rules in order to justify the status quo. Therefore, he decides to get rid of the relationship governing social life by committing suicide.