جستجوی مقالات مرتبط با کلیدواژه "زبان" در نشریات گروه "هنر و معماری"

Formalistic Criticism is one of critical dynamic approaches which frees poetics from depending on other branches of human knowledge by avoiding from para-textual approaches and focusing on in-text mechanisms and analyzing literary creations and makes the researchers and critics to think about what makes the literature or artistic nature and in other words to explain the aesthetic aspects of literary works.Considering the prevalence of formalistic researches that criticize literary works in recent decades, this paper intends to examine a lyric of Amir Khosrow Dehlavi based on library studies, with a descriptive-analytical method and in a formalistic perspective considering language, tone, concept, metre and aesthetic-based special features and assets of this lyric. In this research, the form and structure of a lyric by Amir Khosrow Dehlavi with the following opening verse has been restudies by using in-text signs. The base of this lyric at the vertical structure is the “separation from the loved one” and the theme of moving, passing, walking away and change is all expanded and flowed in all the lyric verses from the beginning to the end and the present connection between the verses of this lyric has created a body-like structure

The concept of alienation has been extensively discussed in the history of modern thought, emphasizing the estrangement of individuals from intrinsic elements of their environments. This concept has been expressed in various forms by prominent Western philosophers. Those of them who have spoken about alienation do not agree on the nature of human essence. For example, Saint Augustine considered alienation as the separation of humans from the kingdom of God and saw the way back to it in obeying the commandments of the Church, while thinkers such as Feuerbach or Nietzsche saw Christian doctrine as the cause of human alienation from their own presence  or nature . Nevertheless, all these philosophers agree on the point that humans have an essence and have fallen away from that essence.Jacques Lacan considered alienation as a necessary condition for the subject's entry into symbolic order. According to Lacan, Cartesian duality cannot reveal all that the subject is, because the Descartes skeptic, who realizes his own existence through his thinking, only informs about a conscious subject, while Lacan considers the nature of the subject to be unconscious and made by language. Lacan, in his psychoanalytical perspective, posited that individuals become alienated from themselves upon acquiring the ability to speak, allowing others to confine their desires within the bounds of signification through language. While the Other’s desire is manifested in language, Lacan believes that man's desire is the desire of the Other. This study focuses on the manifestation of alienation in the films of contemporary American director Paul Thomas Anderson by employing an interdisciplinary approach, encompassing cinema, psychoanalysis and philosophy. Using a descriptive analytical method, this research aims to prove the hypothesis that the concept of alienation is the main theme in Andersen's cinema, which is manifested as a leitmotif in all of his films.  Throughout Anderson's films, the protagonist resembles a Lacanian alienated subject compelled to embrace the Other’s language in the pursuit of meaning. The big Other in Anderson's films is a metaphor of capitalism that presents American cultures and subcultures through surrogate relationships. The "surrogate family" and at the head of it the surrogate father turns Andersen's characters into subjects who renounce freedom in the dangerous world of The Real in favor of escaping loneliness and finding identity in the symbolic world. In this symbolic world, Andersen's heroes are in a situation similar to the situation of the unconscious subject described by Lacan. The protagonists in Anderson's works are intricately bound to the signifiers established within these surrogate relationships. Ultimately, this study reveals that Anderson's primary preoccupation in his films is human identity, one whose desires are limited within the framework set by paternal law. As Lacan considers the neurotic as the most common position of the subject, Andersen's characters are generally Neurotics who accept the Other’s rules. However, the hysteric subject in The Master, the psychotic character in Inherent Vice, and the pervert subject in Phantom Thread define the different position of the subject in the face of the Other.

Language plays a fundamental role in Akbar Radi’s works. Therefore, language-based approaches can help us understand their dramatic action. This article analyzes “From Behind the Windows” from a linguistic stance by using William O. Beeman’s views. William O. Beeman (1947- ), an American anthropologist, considers language as a tool for exercising power and indicating the different statuses of people in social situations. He examines every action, regardless of its moral value, or its unethical burden, from the perspective of its communicative role. His book, Language, Dignity and Power in Iran (1986), is important from two aspects: first, it is a suitable model for us to see how anthropological studies can serve linguistic and dramatic studies; second, it helps us see our character as an Iranian from the perspective of an external observer. Therefore, it can be a suitable model in creating language-oriented drama and can be used in analyzing the behavior of Iranian characters. In this book, every action, regardless of its moral value or its unethical burden, is examined from the perspective of the communication role.  According to Beeman, there are two categories of symbolic cultural contrasts that shape the control aspect of communication events. Internal/external opposition and hierarchy/equality opposition. In his book, Beeman does not cross these two categories of opposition, but one can also see a kind of correlation between them, which occor in the play “From Behind the Windows”. This play depicts the thirty-year life of Bamdad and Maryam and their family relationship with Mrs. and Mr. Derakhshan. During these thirty years, while the Derakhshans are always progressing, Bamdad and Maryam are pushing back both in their private and social lives. Furthermore, we show that the atmosphere governing the discourse between the two couples in the show, as well as the atmosphere governing the discourse of each couple, is a kind of intermingling of internal-external and hierarchical poles. During the 30 years of family relationship, we have increasingly witnessed the formation and expansion of the intimate relationship between two couples. One witnesses economic and social advancement of the second couple, and the rule of the “host-guest” position creates a hierarchical relationship between the two couples.  In conclusion, “From Behind the Windows” is a work that is completely based on two opposites, and in this play, Akbar Radi, in the form representing two lifestyles, allows the audience to decide which is better: “science or wealth”. Certainly, analyzing the play at the lexical level (as Beeman describes in his book), can provide the audience with more information about the power relations in the play. Also, a similar research in other works of Akbar Radi can help clarify the power relations between exemplary characters in Radi's works. In the same way, a similar research in the works of other Iranian playwrights that is based on the language, will be useful and enlightening.

This article aims to study the significant language and expression methods of Abbas Kiarostami’s cinema by analyzing the context and structure of a movie titled Shirin, focusing on its narrative and internal elements in a deconstructive manner .The movie is a masterpiece in which life’s passion is intermingled with death, nothingness, and despair. Analyzing the movie Shirin is an attempt to rediscover human nature and its relation with the truth beneath life. Through deconstruction, we can comprehend the narrative as an anti-narrative, actors turn into non-actors, the audience becomes the active actor, and the director can be identified as the sole and primary creator of the picture. A criticism of the structure of the cinema from within itself is taken into consideration in this feature. The current paper seeks to find the answer to the following questions: How are language and expression achieved in Shirin movie? How is the content of this movie conveyed to the audience, and how is the viewer’s position explained within the process of perception and understanding of the film? This article is conducted with a descriptive-analytical method to improve the understanding of art-house cinema. Drawing on the opinions of Jacques Derrida, the results indicate that the film Shirin while presenting both the passion and suffering of love in a fluid, dynamic and deconstructive process focuses on many characters of Nizami’s including Shirin along with their personal and inner stories. The movie’s content conveys a new perspective by modifying and deconstructing dual confrontations in form and content and reveals the distinguishing aspects of the cinema audience in a position of creating meaning while transforming the perception of the viewer and his role in the cinematic discourse

By the 1960s, the eruption of diverse artistic expressions and methods challenged the modernist definitions of art, which were based on disciplinary compartmentalization such as painting, sculpture, architecture, photography, etc. The artistic media, especially in the field of visual arts, dramatically underwent changes in their definitions. Accordingly, the traditional meaning of drawing, which was the key principle in creating all types of art at least since the Renaissance, was inevitably questioned. Whether drawing has any footprint in contemporary art, including earth art, which seems to be free of any connection with traditional definitions and media, was a matter of controversy. However, in its expanded and contemporary sense, the process of drawing adapted itself to the new post-media and interdisciplinary conditions; the fact that can aptly be traced in earth art as one of the critical movements in the art scene of the 1960s and 1970s. The dependence of earth art to the natural elements and geographical locations on the one hand, and the strong connections between artist’s drawings and his or her culture, language, nationality, and social agency on the other, made the role of drawing in earth art practices significant and, therefore, necessary to study.In this article, the ways in which drawing as a medium takes an important role in the process of land art, specifically in Robert Smithson’s groundbreaking works, will be studied. In this context, the position of language and map with regard to the conception of drawing will be discussed. The allegory and the paradox as the two vital characteristics of language gave the artist such as Robert Smithson the opportunity to articulate his conceptual drawing style and create his earthworks. The localization character and the aesthetic aspect of the map also make this tool a part of the context-based drawing, turning it into a means of new aesthetic practice. Smithson’s innovative idea of Non-Site sites is directly related to the expanded sense of drawing and the utilization of language and map in his work, providing a ground for the later conceptual arts with environmental concerns. Smithson’s art and writing are both considered in this text, not only to show his awareness of the problem and answers in the visual art of his period, but also the ways he suggests to redefine the process of drawing. In other words, with reference to his theory and practice, one would be able to picture the critical position of art, its means and aims, in this historical momentum of contemporary Western art. This article shows how drawing, as an apparently obsolete and traditional medium, has played a highly important role in the development of conceptual art from the 1960s onward. It argues that the position of drawing in contemporary art has not been destabilized, but, rather has been essential in the development of diverse new media in contemporary art scene.

Goldone/Goldones depicted in Ismail Khalaj's play "Ms. Goldone" - which is one of the most important works produced in the Iranian play workshop (1969-1979) - have a capacity for multiple interpretations. Because, they are embodied not in a single, but in multiple bodily forms. The method that ultimately leads to its semantic breadth. Hence, this work opens the door to various interpretations and readings for the audience. An opening that regains its cohesion as Goldone becomes the center of weightiness. That is, Goldone both opens the door and somehow escapes its breadth; because it is the central point and connecting link of the components.With these explanations, in the present study, three readings of Goldone's idea – an idea, not a person - will be considered; One based on "language", the other with the centrality of "space" and finally with the focus on the "body" of Goldone. Selection of these three aspects has been inductive. In other words, the choice is based on the direct encounter with the play and based on the noticeable use of the author of these three aspects; and not based on a primary assumption and framework. It starts with the specifics to get to the general pattern. This is because it is in this way that we will be able to find an analysis commensurate with the coordinates associated with this particular work. Therefore, the main method of research formulation is inductive content analysis, and in terms of advancing the analysis, also descriptive-analytical method will be used.Results pointed out that despite the apparent multiplicity of Goldones, they share some similar criteria that connected them. In each language, nostalgia is somehow visible. The past instills the idea of ​​morality and felicity in the character's presents. In the reading of space, all four show signs of the former ideal space that is now collapsing. The space is currently declining in the face of industrial and developed life. The analysis of the body also showed that the Goldones eventually embodied in the form of a common body named Zari. Zari's final movements, in the best possible manner, reveal the news of the disappearance and ruination of Goldone beyond a person. The moment of death and destruction of a collective idea. An idea which was embodied on the stage in the form of a female body.

Language or linguistic system is one of the most fundamental principles in twentieth-century philosophical studies and postmodern philosophy. The twentieth-century scholars considered “language” as the basis of thought - not its tool. According to them, truth, i.e., objective reality and whatever it is, is formed in language. Thus, the revival of thought in the form of language has changed the issues of cultural criticism of postmodernism. The linguistic theory has simultaneously paid attention to meaning and symbolism in architecture. The way of conveying meaning in language and applying linguistic knowledge through linguistic similarities with architecture was studied through paradigms such as semiotics. The founders of semiotics, Ferdinand de Saussure (1857-1913) and Charles Sanders Peirce (1839-1914), considered language as a system of signs with structural (syntactic) and semantic aspects. Rhetorical devices are one of the tools used to form and recognize meaning. Most contemporary semiologists consider studying these techniques, or at least some of their features, in the realm of semiotics. The verbal language of postmodernism uses rhetorical devices to form meaning. Previous studies have not addressed the role of metonymy and its interaction with metaphor in the formation and expression of meaning in the language of postmodern architecture. Therefore, the research question is: “How do rhetorical devices influence the expression of meaning in language and architecture?” So, the present study aims “to study how rhetorical devices are formed and how they operate in forming and transferring meaning, as well as decoding and reproducing it in postmodern architecture.” This study is significant because in societies such as Iran, which are influenced by Western thoughts, knowing the opportunities and threats of applying these thoughts enhances architects’ and designers’ creativity and minimizes cultural damages caused by accepting such thought currents.

To answer the research question and reach the research goal, the semiotics of Saussure and Peirce, as well as Barthes’s mythology, were studied in linguistics, and the data obtained from them were compared with architecture. Then, the rhetorical devices of metonymy, metaphor, amphibology, and irony were defined in verbal language and semiotics. Their formation and functions were compared with postmodern architecture in two paradigmatic and syntagmatic axes. The analyses were performed using Charles Jencks’ (1939-2019) definition of postmodern architecture as well as his interpretation of the New State Gallery (Neue Staatsgalerie (1977-1983) in German) in Stuttgart, Germany. Then, the results were examined in several other buildings. So, the present study was qualitative-applied research. Data were collected by library study. Then, they were analyzed descriptively and comparatively using a semiotic approach and case studies.

According to Saussure’s linguistics, architecture is a language without the intrinsic and natural relationship between its signifier (body) and signified (meaning). What is perceived as the architectural meaning is the outcome of conventions between the architect and audiences. While, according to Pierce’s semiotics and the referral system of its signs, architecture is a language in which rhetorical devices, especially metaphor and its interaction with metonymy, play a crucial role in its “genesis” and “function.” Metaphor is formed on the paradigmatic axis and metonymy on the syntagmatic axis. The interaction of metaphor and metonymy also forms other rhetorical devices in architecture, such as irony and amphibology. The body of architecture changes and transforms with the formation of metaphor and its meaning with the metonymy formation. From this point of view, for some reasons, the architecture language, especially postmodern architecture, can be considered to have a metaphorical and rhetorical pattern. These reasons are:a) The referential system of this language,b) The proliferation, multiplicity, difference, and suspense of meaning follow this system in this language, andc) Changes in the architecture’s body and the meaning follow metaphor and metonymy and the interaction of the two.On the other hand, the combination of the Saussurean and Peircean models indicates that postmodern architecture has a movement toward a single meaning. However, the totality of this meaning is suspended in its language’s metaphorical and rhetorical system. Postmodern architecture reproduces and develops concepts such as pluralism, contradiction, pleasure, and complexity through its postmodern signs and rhetorical devices. In contrast, comparing its features with the concept of “myth” defined by Barthes showed that postmodern architecture uses the architectural elements of the prior contexts and impoverishes their meanings without suppressing them by making fundamental changes in their layers and codes. Then, using rhetorical devices, combining the explicit and implicit meanings of the elements and “making them its own,” it imposes itself on the cultures as the ideology while shaping the facts.

Just as architecture can develop, multiply and enrich linguistic symbols, meanings and concepts, language also has the power to encode or “give meaning” to architectural signs. Thus, understanding the function of rhetorical devices, especially the metonymy and metaphor interaction, makes it possible to decode and reproduce the meaning of any complex rhetorical architecture through semiotic analysis. In addition, using these devices to express thought in the architectural design makes the semantic richness of the resulting architecture possible.

Humankind is always in the midst of everyday life, and to pass through this domain, he needs action or heroic action. Heidegger believes that humans are frequently subjected to a leveling pressure that causes them to become just as homogeneous as the congregation or convergence. This leveling pressure stems from modeling and social norms that language is the most fundamental factor in producing them. It does not make his actions independent and autonomous choices but are subject to public opinion; this eliminates originality from man and makes him part of the others. What gives humankind authentication is an autonomous and independent action that separates man from all social norms that concern them.The present paper, based on the bibliographic data and descriptive-analytical method, attempts to examine the drama "verb", and answers the question of how this drama’s formulation is based on the role of human choice in the direction of existential authenticity. It also describes how to consume the language as an equalizing factor and shows that in the verb drama, language creates a bunch of vague meanings and does not allow that characters express their feelings, and thoughts and intentions, but in the meantime, the character of Leila independently chooses to separate her from the rules of everyday language. It makes Leila find existential authenticity and accept death. In the same way, Farhad also faces this and returns to the course of the relationship between death and the originality of "self."

 Parallel with the confrontation of the East and the West in the fields of worldview and philosophy, the comprehension of contemporary artistic approaches and movements also has its own complexities. Among these, conceptual art is one of the most controversial issues in the art world due to its characteristics and its view of aesthetics, media, audience, and institutions. This subject by its very nature is directly related to the language. The question that arises is what is the connection between language and art in Iranian conceptual art?

The aim of the present study is to gain a deeper understanding of conceptual art in Iran so that the weaknesses and strengths of the relationship between art and language in this movement can be better explored and, if possible, solutions for the future can be considered.

In this study, the first step was to examine conceptual art by delving into the background of the study and its related spectrum. In the second step, the relationship between art and language, was first analyzed in general and then were scrutinized in conceptual art by referring to the opinions of artists, current trends, and works, and to extract its components and principles. In the third step, the Iranian conceptual art and the relationship between art and language in this fledgling art movement were studied and the works were analyzed based on the mentioned components and principles. In this study, the main purpose was to analyze the relationship between art and language in conceptual art, and show the weaknesses and strengths of the process of understanding and absorbing conceptual art in Iran.

By studying the relationship between language and art in Iranian conceptual art, the results can be summarized in two dimensions. First, the three components of the formation of conceptual art in the West are very different from the context of its development and absorption in Iran. Second, this difference has created a weak link between language and art in Iranian conceptual art, which is contrary to the two principles derived from Western conceptual art. It seems that these two dimensions should be considered next to the strength of this movement, namely being related to tangible issues.

The linguistic orientation of the concept of space and its dependence on linguistic structures, its application and perception as a key concept in branches of knowledge such as urban planning and architecture, has sometimes been misunderstood. The connection between the two themes of space and language has made these two basic concepts in the knowledge and interpretation of cities, and it is basically impossible to understand one without the other. Criticism of the dominant discourse on the concept of space in disciplines such as urban planning, which have generally used space as a physical concept, and the phenomenological study of the two concepts (space and language) in order to find their roots in each other, help to clarify the issue.

The present article has been compiled with objectives such as rooting out the fields of perception in various theories of space and also defining language as the main element in the process of perception and experience of space.

The studies conducted in this article are based on a method consisting of two models of "critical discourse analysis" and "hermeneutic phenomenology".

It seems that the inseparable and intertwined structure identified in the essence of each of the two concepts of space and language, requires the emergence and application of a neo-concept called "the space of language". Concolusion: The traditional definition of space as a set of physical elements that are specially arranged together is not commensurate with the nature of the living space. Space is a complex network of physical elements and immaterial factors. Space, as a field of communication whose material and immaterial elements must each carry a wide and complex meaning, can only be defined in the context of language, which has a completely corresponding nature to space and is also meaningful. So space actually derives its existence from the world of language. Language as a means of thinking and a platform for presenting the world is the only means that can represent the real space. Therefore, language is not a tool for understanding space, but space itself.

Sasanian reliefs are very important in the study of not only the art history but also the state, society, religion and politics of this era. This article tries to study the relationship between word and image in the Sasanian reliefs that contain inscription and figures. The data in this article is collected in documentation method, and the research is done in descriptive and analytical method. First of all language, image and their relationship are defined and then eight Sasanian reliefs which have both word and image are studied: Ardaxšīr at Naqš-i Rostam, Bandiyān-i Dargaz in Xorāsān-i Razavi, Barm-i Delak at east of Šīrāz, Bahrām I at Tang-i Čogān in Kāzerūn, Šāpūr I at Tang- i Čogān in Kāzerūn, Šāpūr I at Naqš-i Rajab, Bahrām II at south of Kāzerūn, Šāpur I at Naqš-i Rostam. These reliefs have both the text and the image but the conformity between words and image would lead us to an incomplete method and it seems that happens in the related studies till now because for interpreting the image we rely on the texts, while as we could see in these reliefs the images have more messages in comparison to the text and each part could be interpreted separately. For example, the size of figures, the type of weapons, clothes and tools, the ornaments, their gestures, their look, the signs of glory, their context and so many other factors could be considered as symbols and they must be interpreted in different layers. It is obvious that everyone is not able to read the inscriptions and if someone could do that, s/he sees the image at first and be influenced by it and also as we will study the texts in these reliefs only give us the general information. So we could say that in these frames the images have several layers of meaning that the first one is related to that period and the other layers have a timeless and infinity message but the texts are timed and finite therefore we should choose two different approaches for interpreting these two parts in each Sasanian relief. It seems that the images have timeless and infinite messages because of their mythological and ceremonial meaning but the same is not true for inscriptions and they refer to some specific subject and for understanding it, in addition to know its language the familiarity with the political, social and religious history of that period is necessary. The signs of power and glory of the kings could be seen in these images and also they depict the kings who have Farrah and are victorious and protected by gods and these messages are timeless so It seems that the viewer could have a very close understanding from images due to the signs which are infinite and timeless. Although in these reliefs the image and word are in one frame and they make an image together but these two parts are quite different functions which should be considered in our interpretations.

Is literature aesthetic in its form? If it is, what causes this beauty, creates this appeal and results in this artistic expression? Understanding the aesthetics of literature, poetry in particular, is made possible through the understanding of grammar (morphology, syntax, phonetics and semantics). Consequently, in the literary canon of the world, aesthetics are methodical, systematic and accessible. The present paper, evaluates the aesthetic and artistic expressions in the works of Sa’adi through analyzing its prepositions and conjunctions, and tries to demonstrate how the structural analysis of a literary work, can facilitate understanding it. This research sets to demonstrate that understanding the aesthetics of Persian literature, and grasping the application of its universal themes cannot be possible without the help of linguistic tools.

The difference between male and female is clear. This could be in biological or anatomical features or in other ways such as wearing clothes, making up, social manners, walking and laughing but it is not limited to these things and the difference which is less obvious but important is lingual behavior. Linguistics of gender is a well-known concept in linguistics. It has been examined widely to gain varied theories about lingual manner of male and female .
Actually language is the expression of our identity and this identity is well shown in the society. This is important discussion how male and female use the language based on their civilization experience because we will get the wrong identity through misused language usage and finally we will witness the society based on these wrong combination.
Language means social phenomena and a social structure pattern. People use their language not just to reveal their ideas or emotions but to use it in a way to describe their relation to get their identification. Language is always influenced by the society and its standards. Standards like gender, age, education, social class are indicators of the language usage in society. But the gender is different from gendered. gender contains social manners, functions, and thoughts that the regnant culture let the people have. Genderlect (gendered language)is a figure of a language of which the difference between the genders under the influence of the social agents cause the difference in phonetics, semantics and lexical.
Also radio is an aurally media in which, language is very critical. Radio drama is one of the important agenda in aurally Medias. The main tool to connect, in radio drama is languageused in characters’ speeches. It’s important for a dramatist to be accurate to this segment. Apparently In radio drama, this is just the voice which represents the gender. This capacity helps us to play the opposite sex rule even by changing in the voice. But it is not all about the voice, language and emotions also can represent the character.
In the following research it has been tried to examine genderlect based on linguistics definition, in radio drama dialogue as an example of social facts to gain the principle of accurate utterance and its influences. In this research regarding to theoretical foundation such as the theory of difference and pattern of gender and after the content qualitative analysis of 10 broadcasted drama in RADIO JAVAN channel during 1380 till 1390 we will come to this conclusion that genderlect contains different features for male and female. This differences categorized in to 5 : timing of utterance, manner of utterance, type of utterance, shape of utterance and position of utterance.
Looking at encoded tables proves that the usage of genderlect creates two opposite but equal forces which guarantee the balance of the work. We can be witnessing character creation, function and advancing the dramatic mood by using these two opposite forces. It is also inevitable to have an unbalanced show by not using genderlect.

The subject of this paper is comparative analysis of wisdom and philosophical thoughts and their effects on architecture and urban design. Wisdom and philosophical thoughts had great impacts on well-known buildings throughout the history. Artistic and architectural products are the appearance and materialized of various philosophical and wisdom thoughts, as an illustration of cultural and belief properties of nations in their history. In other words, art and architecture are historical authenticities which appear according to the influenced myths, nation’s recognition and hearts of ages. Research method of this paper is documental and descriptive- interpretative. Logical argument and quantitative analysis are used for documents and texts. Wisdom and philosophy as thoughts and west and east architecture are analysis units in this study. Results show that philosophical and wisdom had fundamental affects on forming architectures in all areas although the nature of the affects and origins of these thoughts have differences. The investigation of various philosophers’ thoughts in general and eastern ones in particular does not indicate any specific separation between these thoughts and the influences they created. The aim of this article is to study concepts of philosophy and wisdom and elaboration on the specifications of thoughts eradicated in philosophical and wisdom concepts of Principles in more details. We also try to indicate the peculiarities of art, artists, and artistic works influenced by these thoughts. These two types have differences in their aspects: attainment condition to the truth, method of attainment to the truth, conditions of attainment, affect kind on subjective, kind of value, audiences, attributes, rate of immunity, main origin, kind of perception, related knowledge, inclined perceptive kind, method of expression, recognition tool, origin source, area, kind of plan, approach, attitude, subject, method, objective, desired object. Wisdom is not a philosophy, but there is a relationship between them. As they have common parts, we can say theoretical part of wisdom and Islamic part of philosophy are the same. Regardless of human thoughts’ kinds, they are related to recognition of existence and accompanied by religious believes. So, the oldest philosophical thoughts are searchable within eastern religious thoughts. Results indicate the essential differences between philosophical and wisdom thoughts, and also artistic and architectural works in west and east, are that they are more influenced by philosophical and wisdom thoughts. Art from the viewpoint of west- east has orderly these features: art - profession, realistic- symbolic, modern- tradition, industry -craft, new science- tradition knowledge, quantitative- qualitative approach, learning techniques based on new science- learning mystery based on tradition knowledge. Features of west- east artists are: artists- craftsman, innovation based on creativity- innovation based on origins and roots, physical ability- spiritual merit, rebellion- succession of good, collective interest- individual impression, globalist- regionalist. Based on these features, artistic works in west- east world has these characters: unsacred- sacred, non –religious- religious, materialistic- spiritualistic, terrestrial –heavenly, superficial- deeply, no origin- origin, subsistence- eternal. Eastern art and architecture especially Iranian art and architecture have been affected by theology thoughts and founded on intuitional and praising experiences. Western art and architecture are appearance of philosophical thoughts and experiment and reasoning. From the viewpoint of wisdom, perception of architecture and its elements have two dimensional aspects. One dimension is materialistic appearance of architecture and the other one is recognition of spiritual, mystical and intuitional world of designers and users. In other words, any perception of this kind of art architecture is only possible by perception of heavenly and this world of artistes and audiences. Perfection architecture in each period have been affected by superior thoughts which lead fortune speech to form permanent face. In Iranian architecture, shaping of physical spaces has been affected by wisdom and philosophical thoughts in several ways. In one side, physical space has formed based on cultural context, thoughts, customs, traditions, and life values. In other side, collection of signs, symbols, concepts and images raised form myths, customs, and ideal have formed Iranian thoughts in physical spaces.

Saqqā-ḵāna artists looked to cults, rituals, and visual elements of folk and local vernacular culture for inspiration. Although many of these items appeared crude in their execution and lacked the artistic polish of artifacts made by professional calligraphers and painters, and were often created collaboratively as a kind of street art, their true significance was not lost to these artists. Viewed from this perspective, Saqqā-ḵāna artists could be in fact considered successors to Iranian craftsmen of earlier centuries miniaturist, illuminators, calligraphers, and goldsmiths. In the view of the above-mentioned modern artists however, these roots had to be linked to modern styles and fused to create a distinctly national artistic expression.
The Saqqā-ḵāna movement in the sixties tried to find and establish a “national” or “Iranian” school of art. Exploring the various resources of folk decorative arts and designs, and reinterpreting of the traditional art forms, inspired and stimulated the artists to create innovatory works. Saqqā-ḵāna artists used these elements in a variety of forms and numerous structural compositions. Many forms of traditional Persian arts and crafts were explored, including popular printed prayers; talismanic and magical seals, amulets, and shirts; astrolabes, props used in mourning processions; motifs from local handicraft (rugs, carpets); ancient pottery motifs; such popular religious artifacts as the Jām-e ⋲ehel kelid (the forty keys vessel) and the panja-e panj tan (the Five Holy Ones’ palm of the hand); elements of Qajar art; enameled bowls from Rey adorned with horse-riders; and Persian calligraphy and painting; Achaemenid and Sasanian inscription or epigraphy, and Assyrian bas-reliefs. Persian poetry and eastern gnostic and mystical symbols also featured in the works of these artists.
The Saqqā-ḵāna movement has been among the most important of artistic movement of Iran that its artists have worked with a national approach. This research with the aim of studying of Saqqā-ḵāna painting with usage of Gadamers’ Hermeneutics of meaning, with a descriptional-analytical approach, attempts to answer to the question: how much is connected and explainable type creation of the works of artists in this movement with the meanings of Gadamer’s Hermeneutics. It is supposed due to proximity of the meanings of Gadamer’s Hermeneutics with the substrate formation and creation of Saqqā-ḵāna works, the meanings provide a suitable ground for representing of this movement.
Gadamer believes when the interpreter confronts with one old context, he/she transfers it to his/her contemporary time and sits and talks with it. saqqā-ḵāna painters have used old contexts namely elements and traditional motifs that have been from the past within the thought of their own time. Gadamer believes in the meantime, the interpreter enters his/her prejudices in the interpretion that is meant their thoughts proportional with his/her own time.
the saqqā-ḵāna painter has used the past motifs that have been in the traditions with a national language and according to his/her contemporary approaches. these motifs have common language with Iranian tradition. Meanwhile, the historical and social conditions as the ground, has been very effective.

In recent years and mostly in the shadow of modernism thinking in architecture and urban fields, some buildings and contexts have been emerged which their developers are, more than anything proud of their Avant-Garde and unique creations and even their whimsical features. Insistence of modernists on creating environments with same standards and different characters for people, has led to bewilderment, chaos, confusion and triviality in modern urban environments. However with passing of the time and clarification of the issues related to developing constructions without paying attention to the culture and history of nations, the necessity of thematic review led to start of new investigation in searching original basis for constructions and environmental elements which could reconnect the people and their local environment. With the rise of discussions in Environmental Psychology, history, native culture and etc., Archetypes were proposed as one of the most important and determinative aspects in designing human-built environments. Archetypes are defined as ‘The Basic, Original and Sustainable Ideas’ which is the result of thousands of years of history, experience and human collective memory which has been stored in human’s unconscious memory. Likewise in the cultural zone of Iran with all the past history, such basic ideas and various archetypes must have existed in order to integrate different social groups in this large and colorful society through relatively coherent set of environmental elements. Therefore this article is an effort to answer to the related questions; can the model and bipolar idea of ‘Up-Down’ be defined as an archetype or basic idea in Iran? Does the possible existence of this idea only belong to the past? Is this idea present at human environments and models of architectural and urban environments in the present time too? For this purpose, besides mentioning the meaning of Subjective/Objective axis of Up-Down and its vital relation with linguistic concepts, worthiness and behavioral patterns and templates of various local architecture environments, the existence of this archetype or basic idea is proved via research in different samples and cases and its application has also been analyzed here. The method used here is Descriptive Analysis, and in particular; Content Analysis and inferential Analysis. Research data have been quantified and analyzed using Cochran formula and the questionnaires have been distributed by random sampling method for each case, and the data has been descriptively analyzed. The results of the surveys show that our perception of traditional and even modern environments is still influenced by linguistic concepts and basic ideas and the Archetype mentioned in this research has an unmistakable presence in our life today.

We all know monologue as a form of speech given by one dramatic character. The author is to expand this interpretation by applying the concept of sheer language which has been educed of Ferdinand de Saussure’s thoughts. Saussure knows the concept of sheer language as the human being’s whole power and forces to present meaning. In this paper “speech” and “parole” are assumed as a systematic set of words. The only difference is that “speech” is essentially verbal. The author is to survey the possibility of monologue being regardless of speech, based on other forms of parole presentation. Body language is one of our further facilities in this way. Especially, those visual words that thanks to virtual space development and thus easy applications have become conventional and conceptualized realities for users. Based on this approach, the author has also modified monologue definition by using Oxford, Longman and Merriam Webster dictionaries.