جستجوی مقالات مرتبط با کلیدواژه "فرمالیسم" 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

Literary schools and theories are always considered to be the most efficient tools for clear understanding of literature and art. Formalism, is one of the most important deconstructive and progressive schools in literary criticism, which became the basis of a new definition and look at art in the late 19th century to the middle of the 20th century. formalism is one of the most important literary theories that created a significant impact on the path of literary and artistic theorizing. this theory emerged with the insight that form is a set of relations between the signs and components of the work and gives consistency, structure, framework and meaning to objects and phenomena and is based on the independence of the text. Regarding the importance of form and shape, Henfling believed: the essence of art should be found in its form. A theory "which considers the formal characteristics of the work as the most important element of its foundation and considers the content of the work as the result of the realization of the form" With its emergence, formalism established a new attitude towards literary traditions and the written and visual sphere, paying attention and focus on the form (motif), structure and form of poetry and artwork in order to achieve the goal of the work, i.e. literary and artistic, is the focus of the theory of formalists. also, "they tactfully tried to overcome the traditional duality between form and content" The formalists "used the form so widely that it absorbed what was usually called the content". They believed that human content (emotions, thoughts and reality in general) in itself lacks literary and artistic meaning and merely provides the basis for the performance of arrangements. the word formalism is avoiding representation and negation of automaticity and habituation and trying to discover, reread and re-see a text or work of art from a new lens, which requires a change in the structure, defamiliarization, norm avoidance and highlighting in that text. According to them, aesthetic understanding does not need to know non-perceptual features. In fact, understanding the work itself is the goal, and what is called the content of the work is itself a part of the form aspects. They were trying to show how literary arrangements create aesthetic results. Beardsley Fry writes in connection with repetition and habituation: it is enough to recognize an object or person, by doing this, they are somewhere in our mental list of things and persons. they find and are not really seen anymore. Therefore, in order to pass this procedure, representation and automation and descriptive qualities should be put aside. What if art is the revealer of fantasy life instead of real life. In formalism, the value of a work is in the meaningful and signifying form and the representational characteristics serve the form of objects. A separate form from time and place and paying attention to the social context and historical context, has an inner and essential truth and importance hidden in itself. In connection with formalism and specifically in this research, two key words are very important. First, defamiliarization, which is a central concept in formalism, and highlighting, which is one of the important concepts of Yan Mukarovsky's opinions and teachings. familiarization or alienation is the most prominent concept in the system of formalism theory. This term was coined for the first time by Viktor Shklovsky, a Russian critic in the mentioned book, which became the basis for important developments in literary and artistic studies. Shklovsky's article is so important that some have called it a statement of formalism. In this article, Shklovsky says that the main work of art is to change the shape of reality which is interpreted as "making strange" according to the root of the word in English. Highlighting was used for the first time by Yan Mukarovsky. The role of highlighting is to create literary [artistic] creativity and the opposite of automation. She believed that in artistic language, "highlighting reaches the maximum intensity to the extent that the act of communicating is pushed to the background. in fact, communication is no longer the goal of expression, but it is to highlight the expression itself and put it in the foreground". Leach believes that highlighting means artistic deviation; a deviation that has artistic motivation. This art and trick create a break in automaticity through unexpected, strange, and prominent words and expressions [patterns and images] and attracts the reader's attention. This feature in the formalistic attitude and especially in the nomadic handwoven carpets, is the most important type of crossing and deviation from the normal language of imagery, and therefore saves the imagery from approaching stereotypes and repetition and draws the viewer's attention away from the text. And the content (theme) attracts by the method of expression and the role itself, which has subjectivity in handwoven. According to Mukarovsky's point of view, nomadic handloomed are the most prominent in expression. Mukarovsky was one of the effective formalists in the development of this thought process, which has significant opinions regarding the nature and nature of the work of art. According to him, art has a semiotic nature and is considered a sign. A work of art, unlike a tool, does not serve any purpose and is created simply by its own existence. this feature is also prominent in the creation process of nomadic handlooms. "This disinterestedness since there is no specific subject and no rational reason for it, makes us measure the art of the nomads with a quality that is considered noble and original art in the aesthetic experience due to the principle of "disinterestedness". A thought and characteristic that is rooted in Kant's beliefs. In addition, the work of art can have different functions at the same time. On the other hand, Iranian handwoven carpets and nomadic handlooms and the mechanism of creating their text and motifs are in accordance with formalist beliefs and especially Mukarovsky's opinions. Iranian weavings include classical handwoven carpets (urban weaving) and especially nomadic weavings, which in this research, with the aim of measuring the degree of matching their form and content with the foundations of the formalism school and the thought of Jan Mukarovsky, a prominent member of this movement, has been studied and reviewed. in the first part of the research, the basics, and principles of the theory of formalism and in the second part, Mukarovsky's teachings about the nature, characteristics, and functions of the work of art, as well as highlighting as a focal concept in relation to the classical carpet and nomadic weavings were studied. In the transition of formalism structuralism, what the form (motif) conveys is placed in the second priority. In this research, an attempt was made to measure the motifs and images as the artistic language and literature of urban woven carpets and nomadic weaves based on the theory and approach of formalism, as the aim of the research. Therefore, the literary and artistic text is the same handwoven fragments and unusual, unfamiliar and exaggerated motifs, arising from the imagination that evokes strange and original words. Also, the main and raised question is, what are the characteristics and indicators of the nomadic handwoven text from the perspective of formalism and Mukarovsky's opinions, and to what extent is it consistent or close to the components and characteristics of formalism? This research is qualitative and developmental type, and the research method is descriptive-analytical. Also, data collection method has been done in library.

Although Clive Bell’s aesthetic formalism has had a significant impact on development of later modern art theories in the twentieth century, in the last decades its authenticity has been noticeably declined due to many objections raised against it. In spite of significant contributions of scholars to elucidate and resolve shortcomings and ambiguities of Bell’s theory of significant form, yet the nature of his key conception ‘significant form,’ mutually and circularly defined in terms of another controversial term ‘aesthetic emotion,’ is obscure. In this regard, many vague points in respect to the relationship between aesthetic theory of formalism and modern art can be proposed that need to be addressed. Above all, how Bell’s formalism has been construed and employed by Modern theorists and artists, particularly in case of Piet Mondrian as one of the most prominent formalist and modernist pure abstract painters of the first half of the 20th century? Indeed, this article aims at evaluating the authenticity of this hypothesis that ambiguities of Bell’s theory of formalism will be resolved, though to some extent, by scrutinizing this theory in the light of Mondrian’s theory of Neo-Plasticism; an enriched art theory which is basically shaped by many philosophical doctrines (especially Plato, Hegel, Schopenhauer, and theosophists) and artistic theories (particularly Cubism and De Stijl), artistic movements which they themselves are founded and developed based on tenets of formalism.Therefore, this article aims to further shed light on ambiguities of Bell’s theory of significant form. To this end, it firstly attempts to explain the analogies and disparities between Bell’s theory and Mondrian’s Neo-Plasticism in respect to two key conceptions: significant form and aesthetic emotion, and secondly to further illuminate some of the ambiguities overly discussed by scholars in regard to this polemical theory.The data for this article has been collected by using library research (mainly latest articles and books). However, for the sake of comparison, original and first published version of Bell’s theory of formalism, published in his seminal book titled Art, has been used. Analysis and results have been written by using intertextual approach and a descriptive-analytical method to examine Mondrian’s account on Bell’s key conceptions “aesthetic formalism” and “aesthetic emotion” and the vicious circularity found in their definition.At the end of this article, it becomes evident that there are intimate analogies between Bell’s theory of significant form and Mondrian’s Neo-Plasticism in respect to conceptions of plastic means (formal elements of his art) and equilibrium, or new harmony. It becomes clear that Mondrian in his writings explicitly refers to Bell’s key notions significant form and aesthetic emotion and he defines the former in the light of his Neo-Plastic principles. Moreover, it will be deduced that unlike Bell, Mondrian’s rendition of Bell’s notions significant form and aesthetic emotion is discharged of any circularity. Lastly, the results of this article clarify the formalist roots of Neo-Plasticism, which have been mostly construed in relation to other artistic theories and philosophical doctrines.

Letters serve as symbols within both linguistic and visual sign systems, yet their visual characteristics often become overshadowed by their linguistic functions during the reading process. A key role of typography is to rejuvenate the visual essence of written text. Typography not only enhances the aesthetic appeal but also contributes to the interpretive understanding of the text. This study aims to categorise graphic techniques that forge a meaningful connection between the visual presentation of words and their linguistic meanings. Techniques such as estrangement and defamiliarization are of particular interest to formalist scholars. Typography naturally emphasises these techniques through its ability to highlight and make the familiar unfamiliar, thus a formalist perspective has been utilised to explore this topic. This paper investigates how prevalent graphic elements in typography can induce visual defamiliarization, employing the concept of "device" as defined by Shklovsky to denote methods of aesthetic creation within texts. Employing an analytical-descriptive methodology, this research focuses on picture books for specific age categories "A" and "B," selected intentionally. Consequently, books selected for analysis have titles on their covers or title pages that rely heavily on typographic design, either in Persian or other languages, from a collection of one hundred and ten titles for the specified age groups. From this, ninety-seven titles were chosen, and the typographic formalist techniques of eighteen titles are scrutinized within this paper. The study seeks to address two primary questions regarding the typography of children's book titles: 1) What formal devices are employed to generate calligram meanings within the text? 2) How are these formal devices further categorized?The motivation for this research stems from the observation that children have a stronger connection with visual language than with written language, and while the incorporation of visual elements in children's literature is widespread, there is still a notable deficiency in comprehensive research within this domain. The findings of this study indicate that the typography in children's literature can be dissected through an array of formal aspects. This document categorises these formal aspects of typography based on various criteria: the degree of defamiliarization, the functions of the paradigmatic and syntagmatic axes, the levels of intertextuality and independence, the density of visual spacing between characters, and the contextual relevance of letters. This classification aims to streamline the teaching of typography to students and assist researchers in the comparative art fields with their analysis of artistic works.Fundamentally, typography is predicated on the concept of defamiliarization. This research delineates three principal forms of defamiliarization encountered in the typographic titles of children's books: "local," "global gestalt," and "global distributive." a) Local defamiliarization entails the visual alteration of a specific part of the text, endowing it with an iconic function without altering all components of the text. b) Global gestalt defamiliarization converts the overall gestalt, or the entire typographic representation, into an iconic signifier, rather than merely a portion. For example, in "A Crow Like a Crow" (Khodaei, 2009), the full typographic depiction of the word "crow" visually represents a crow. Pic 1. A Crow Like a Crow (Khodaei, 2009) c) In global distributive defamiliarization, calligram elements are not confined to a specific location (such as a single letter or word); instead, they are dispersed across the entirety or most of the letters in the typographic composition. Another method for producing iconic representations of symbolic elements in language utilises both the paradigmatic and syntagmatic axes. For generating calligram significance, typography adopts three approaches involving these axes: substituting a paradigmatic iconic signifier for a symbolic one, replacing a paradigmatic symbolic signifier with an iconic one, and integrating a syntagmatic iconic signifier with a symbolic signifier.a) Replacing a symbolic signifier with a paradigmatic iconic signifier: According to Saussure, the paradigmatic relationship is characterized by the ability to interchange linguistic elements. For example, replacing the letter "O" in "love" with an "I" transforms the word into a new linguistic entity, "live." This principle of paradigmatic substitution is also applicable in typography through the exchange of linguistic-artistic elements. For instance, instead of the letter "O," which is a symbolic (linguistic) signifier, one can employ the image of a heart, which acts as an iconic (visual) signifier (pic 2). Consequently, this linguistic-artistic signifier assumes both iconic and linguistic roles. It visually represents the concept of the heart (as a symbol of love), while linguistically, it stands in for the letter "O." Pic 2. 1ove Can Come in Many Ways (Pierce, 2020) b) Replacing an iconic signifier with a paradigmatic symbolic signifier: In this instance, a sequence of letters replaces a portion of the illustration. Often in iconography, letters assume the role of the entire image. For example, the cover of Das ABC-Spielebuch (Berner, 2010) showcases a cat illustration, wherein its abdomen is ingeniously substituted with a series of alphabet letters (pic 3). Pic 3. Das ABC-Spielebuch (Berner, 2010) c) In typographies that utilise the syntagmatic axis, introducing an iconic signifier does not remove the symbolic signifier; rather, they both exist adjacent to each other, jointly conveying meaning.Regarding intertextuality, the calligrams of the typographic title are classified into three types: image-adjacent inadequacy, image-intertwined inadequacy, and self-sufficient calligrams.a) In image-adjacent calligrams, the image is affixed to the text.b) In image-intertwined calligrams, the typography integrates into a larger image and is interlaced throughout the image's structure.c) In self-sufficient calligrams, the calligram may be mono-media, meaning it exclusively employs the writing system without relying on visual media for its typography.Typographers occasionally craft calligrams by modifying the ratio of letter density to texture. This ratio of letter density to texture is categorised into three types: positive density dominance, negative density dominance, and non-dominance.a) Positive density dominance: The existence of textual content necessitates a backdrop or context. Adhering to the gestalt principle (the figure-ground perception), the dominance of positive space can be observed in two primary areas: within the text characters themselves and their surrounding background. This dominance of positive space within the characters serves to enhance the visibility of the typographic design. In (Karsten, 2019) AaaHHH, the positive density of the letters is achieved through a diverse and varied selection of fonts, thereby highlighting the typography. The book delves into environmental concerns, with a particular focus on the issue of noise pollution in urban settings. Consequently, the typographer has depicted the concept of sound pressure throughout the book by employing the density and variety of fonts for the letters A and H. Moreover, italicizing these letters symbolically represents the direction of the sound pressure (emanating outward from the book). Pic 4. AaaHHH (Karsten, 2019)  In instances where there is a dominance of positive density at the background level, the contrast created between a cluttered texture and a sparsely written phrase can result in the typographic expression becoming prominent.b) Negative Density Dominance: Negative space effectively emphasises typography across two dimensions: at the level of the letters (figure) and the background level (ground). The emphasis at the letter level is achieved by creating a sense of openness and increasing tracking (the overall spacing between letters). When negative density dominates the background, a sparse texture or a contrasting colour tone to the typographic phrase highlights the text.c) Non-dominance: In this context, neither positive nor negative spaces take precedence. This lack of dominance presents itself in two variations: bipolar absence and uniform absence. In the case of bipolar absence, the typographic phrase is divided into two parts. Each segment exhibits localized dominance of either positive or negative space; however, from a gestalt perspective, no dominance prevails. In "How Big Is the World?" (Teckentrup, 2012), the title spans two lines. "World" stands alone on the upper line, with the rest of the words positioned below. The expansive open space surrounding the single word "World" in the title's first line, juxtaposed with the dense arrangement of words in the second line, creates a bipolar density of space. The objective of this bipolar spatial configuration is to visually convey the attribute of "largeness" for the word "world." Pic 5. How Big Is the World? (Teckentrup, 2012) In the context of homogeneous non-dominance, there is a balance between positive and negative spaces around letters, visible in segments and throughout the text. This differs from bipolar non-dominance, where local dominance doesn't affect the overall composition. Homogeneous non-dominance lacks both local and global dominance. As per the figure-ground principle, written content can be both foreground and background. Typography may serve as a backdrop rather than just text, with legible or illegible textures. In "I am the Eighth of Those Seven" (Nazar Ahari, 2012), typography is crucial for texture and spatial dynamics. Children's book covers showcase graphic arts and typography, serving as marketing tools and artworks connecting readers to the narrative. This study suggests that innovative typography results from changing textual structures based on visual elements.

By recognizing the features of modern painting, Bita Vakili has presented significant works to contemporary Iranian art. But the important point in his works is the different application of one of the seven principles of Iranian decorative arts, namely the cloud principle. The evolution of the cloud motif in this principle includes showing the reality of the cloud, the role of the dragon and the Simorgh in the fourth century AH, the halo around the heads of the prophets and saints in the seventh and eighth centuries AH, the mythical motifs in the eighth century and also in the form of "Batarmeh" , Has been an abstract role and representation of the polished surface of marble, which with the advent of the Isfahan school, the application of this principle declined and became impossible in Islam. Now the question is how the origin of the cloud appeared in the works of Bita Vakili? In the works of this artist, the principle of the cloud has undergone a new transformation, so that in the contemporary era, we are faced with the eighth evolution of the cloud theme with a different function in these works. The cloud motif represents geographical maps and satellite imagery with an emphasis on the modernist scientistic approach. Also, the revival and different function of the cloud principle in the first period of this artist's paintings based on the change in production method, change in materials, and change in the degree of dignity of the cloud motif, and also in the second period, by replacing the visual metaphor of metal materials. The visual element of words (calligraphy) has been replaced as the main element of expression.

Poetic theories in contemporary times and in connection with them, contemporary poetry is influenced by structural linguistics or language as the subject of science. An approach to language that must be based on the theories of Ferdinand de Saussure. He defined language in a cycle of phonetic signals and meanings that remain limited in the mental imagination, and marked the beginning of the unifying space of twentieth-century formalist and abstract rhetoric. This approach to language and literary theory has an essential relation to Cartesian subjectivism, which is based on the separation of the mind from the object, in contrast to Heidegger's improvisation of man-in-the-world and the ontology of language, as well as the intersection of man and world in Merleau-Ponty's body phenomenology. Placed.For Heidegger, only where there is language is the world, and we always find ourselves in the space that language opens, and it seems that this is the phenomenal space that can be in the world-being of man on the one hand and in the-language-being of man on the other. To connect; Because language and the world are presented to us simultaneously, and the mode of existence of both is spatial. Thus, space and the perception of language as space, as opposed to the perception language as form, is the origin of poetry and the rhetoric of space, a theory in which poetry is not embodied in an aesthetic approach to form and content, but in its openness to the world. It must be weighed against man,

Throughout the history of art, artistic works have always been described on the basis of the internal and external qualities of the work. In aesthetic analysis, scholars have always tried to define art with a specific feature that is the common ground for all the works of art; with the study of paleontology and genealogy in the description of artwork, two general views on dealing with the explanation of the values of the work of art can be recognized: First, the "formalism 1" view, which is important in explaining the effects of apparent and formal features of color, composition, and so on. And the other approach to it is the cultural and social context of producing the work and information about the artist which are important in determining the value of artworks and is known as “Contextualism ". According to the theory of formalism, it is only the appearance of a work of art that can affect its aesthetic value, but opponents of the formalist view emphasize on the importance of the cultural origin of the work (art) in understanding the work of art. This group argued that authenticity is only one aspect of the aesthetic value that the theory cannot bear in its description. In terms of texture, any awareness of the history of the work of art, its cultural function and its emotional qualities affects our perception of its aesthetic value. Contextualism advocates insist on the fact that the work of art is not only due to its appearance, which is also valuable in its connection with culture; But if we try to extract the indicators for the valuation of works of art, the adoption of each one-sided views does not result in a comprehensive and complete outcome for the purpose of the above mentioned. Therefore, it is necessary to refer to a comprehensive and pluralistic theory. Each of the above views, with their specific absolutism, prevents it from being cited as a reference theory in the evaluation of works of art. However, if we are looking for a single and comprehensive way of identifying works of art in order to provide a consistent model in describing and evaluating works of art in seven stages, we must use a method that also describes the characteristics arising from the form of works and express the value and originality of the culture and context of the content from which the work is produced. From the historiographers’ point of view, our knowledge of the originality of the work affects our aesthetic sense, and from the formalists' point of view, our knowledge of the originality and identity of the work of art depends on its appearance. The hypothesis of the present paper is that those who respect the formal values of the work, only emphasize the formal features of the work and the texturing advocates, by highlighting the cultural features of the effect, provide a one-sided and incomplete explanation of the indicators that influence the assessment of artwork. The American philosopher Nelson Goodman, by addressing the topic of "identity conditions for artwork," offers a new, pluralistic explanation of the attributes of valuation in artwork, which can be seen as a departure from the one-dimensionality of two formalism views and texture. The present study, using descriptive-analytical method and library information gathering tool, intends to identify the main components in the classification and identification of artwork. In order to address this, he reconsider textual and formalistic theories in valuing artwork. In the end, Nelson Goodman's compilation theory is presented as a conceptual framework for explaining the features of the work of art, using the theory to extract the characteristic Essential in classifying artwork.  This article emphasizes the theories of formalists and contextualists and the opposition of their views in measuring the main components of works of art escaped the reading of Nelson Goodman's theory of integration as a solution to this opposition. The findings of this study lead to the hypothesis that the two perspectives of formalism and texturalism in Nelson Goodman's pluralistic view are combined with the four components of "formal elements", "theme and content", "history of the work of art" and Cultural function is influential in the originality, identity and value of the work.

The present research is concerned with investigating the effect of the Formalism style on the Bauhaus school. Every picture is composed of multiple simple layers which significantly contribute to the aesthecity of an art work as long as it is designed following the visual art principles. The emergence of this thought  various domains of art is attributable to the creation of diverse and salient art works which have drawn a lot of attention throughout the history of art. Formalism accentuates formal structures and has influenced various works in literature, cinema, music, painting, photography, sculpture and architecture, which are formally distinct, yet share the same features in nature so that simplicity and purity, as the intrinsic characteristics of Formalism, manifest differently in these areas. In the last decades, formalism has always been a topic of thought and discussion among various European critics and theorists like Roger Fry and Clive Bell. Since 1920s, formalism has gained its reputation through various researches on the stylistic characteristics and formal structure of the literal works conducted by a group of Russian authors including Viktor Shklovsky. Known as formalists, they merely devote their attention to scrutinizing forms. Formalism is an action which highlights form or formal structure. In this study, we have attempted to answer the following questions by assuming that: How similar is the Bauhaus school to the formalism structuralism and whether form stands against content in the Bauhaus school? As an analytical-comparative study, the ongoing research adopts the qualitative approach to analyze the data collected via library method. The term “formalism” accounts for various concepts. It is noteworthy that formalists are inclined to believe that form does not serve as a container to express content, but the content of a literary work plays a pivotal role in creating its form. Therefore, the content is a major element which determines the form, thereby deserving a close scrutiny. Kant’s concerns about the independence of art and his account of beauty leads us to an important theory named Formalism. Accordingly, all artistic values and aesthetics have their roots in the form, and hence leave no room for the concepts of content, meaning and function.  A number of central modifications in formalism and appealing discussions on the functions of the shape and form have triggered significant changes in other fields. We merely need to focus our mind on the static characteristic of posters and typography in the field of “poster designing and typography”. When form is recognized as the structural (formal) quality of pictures and letters, “space form” and “form and function” are two fundamental concepts which date back to the dynamic trend of the Bauhaus school, which in turn was attributable to the aesthetic theory of formalism. Another example comes from our insight into the nature of iconicity in the cinema. Besides the importance of the thoughts and opinions propounded by such modernists as Clive Bell, who believe in the nobility of the form within an artistic work, most part of the related literature place an important value on the role of Russian Structuralism and Russian Formalism streams in the developments of visual arts in the early 1920s, especially when the Bauhaus school of architecture and applied arts was established in the 1920s in Weimar, Germany, and then dissolved after National Socialist Party came to power. Taking a close examination of the educational foundations of the Bauhaus school reveals the influence of formalists’ opinions on this school of thought. Examples of such thinkers includes Wassily Kandinsky who not only was recognized as a pioneer in abstract art, but also exerted a significant effect on the Bauhausian thought owing to his Russian background and friendship with Russian formalists. He proposed the view that the “forms” of objects have a kind of music in their nature. The Bauhaus school, influence by Russian structuralism, seek to revive a more popular art, whose experimentalism and objective point of view inspired Gyorgy Kepes to write the book entitled “The Language of Vision”. What discussed above was the etiology of the shape and form (in terms of their morphology and their interrelationships) which manifested in abstract, expressionism, minimalism post painterly abstraction and Op art, and have remained in the artistic expression method until recently; a form which was conveyed from formalism to the Bauhaus school, and then affected applied and ornamental art, entered painting, penetrated into the narrow openings of the rooms and influenced all furniture and fixtures.

The cinematic frame is the boundary between the cinematic image and the outside world. In the history of theoretical studies of cinema, the essence of the cinematic frame is analyzed in many ways. Here we focus on two significant viewpoints among them. One of these significant viewpoints considered cinematic frame as a window, and another one considered it as a framework. Both of them had (and have) some supporters. In the case of the window, which realist theories preferred, the cinematic frame is a window upon the world which cuts a slice of the world to produce the cinematic image. In this regard, the window metaphor served as a fenestration or hole through which one could see the world. In this paper, at first, I will report a brief history of the frame in old arts, and in this brief history, I explain that the modern concept of art came out of the Fifteenth century when European artists began to use easel painting. And then, after presenting a very short history of the development of the easel painting and modern concept of the frame in painting and other mediums, I would try to analyze the cinematic frame according to the history of film studies. Finally, in the main part of the paper, I attempt to analyze the cinematic frame according to the distinction between the metaphors of the window and framework. In this respect, I try to find conciliation. This conciliation depends on the concept of off-screen which both formalists and realists have considered it, so I would also examine the concept of off-screen and its role in defining the cinematic frame. After surveying the realist and formalist viewpoints on this concept I try to reach a comprehensive analysis of the cinematic frame which keeps the strong points of both viewpoints.

Monroe Beardsley describes the features of artwork that provokes the aesthetic experience which include: unity, complexity and intensity. These features can be pursued in deadpan photography as the value of art, because the photographer’s feeling, when taking a photo, is not the key to understanding the meaning of the image. The deadpan genre in photography is a kind of unconventional photography that photographer has an interested view in it, but at the same time they are very smart and intelligent. Gursky’s pictures are a prototype of this genre. These photos in criticism can be interpreted as a good example of this criticism model of Beardsley’s view. The purpose of this research is to introduce a trend of new criticism and to analyze it with the art of photography that most audiences expect to be informed and represented with specific intentions and goals. The method of research is to collect data from the way library study and the internet search, then describe and analyze them in accordance with Gursky’s the selected works as a case study.

This article tries to elucidate Kosuth’s intention in the presentation on conceptual art. It focuses on an explanation about his opposition on aesthetics and formalism with regard to the Wittgensteinian origin of his measurements. For evaluation of what this artist said and what he performed in his artistic  works, we concentrate on the artist’s article entitled “art after philosophy”. We also study and analyze one of his works from series called “one and a few things”. This study shows that Kosuth with relying on “family resemblance” avoids presenting a decisive definition for the concept of art. His research in the conceptual condition of art production leads to the formation of an open concept for Art. So Kosuth hasn’t provided the necessary and sufficient condition for the definition of art. He has created assemblage like “one and three chairs” which is comprised of three parts. One belongs to the definition of a dictionary. The second is a real object in the world. The third is a representational photograph. This whole assemblage is designed equivalent to the proposition “one and three chairs”. So the artist avoids expressing himself, his sentiment, feeling & senses. We conclude that the artist tries to make ready a kind of “state of affairs” for an analytical proposition. This type of proposition doesn’t say anything about the world. It is repetitive. Kosuth shows an advanced and conceptual form of art presentation. He avoids presentation of perceptual, ornamental and optical forms. These kinds of new forms entangled in the enclosed circle of discourse and picture of thought. At last, they aren’t able to go beyond the circle of representation. They neglect to take into account unpredictable effects.

Thinkers have always tried to define art with special features in the aesthetic analysis that they are common among all the artworks. But what they were suggested، for example representation and expression، is covered a part of artworks and artistic periods. Formalism recommends attention to structural، perceptual and formal elements in order to overcome on these problems as a method in the analytical aesthetics. In fact، abstract art required to this method. Modern art distances from representation of clear and bright images. Therefore، man could not judge with attention to the subject matter، representational content or conception of the artworks. A group of analyst tried to evaluate the artworks with recourse to formalistic tendency. They attempt to find the cause of the aesthetic emotion in form. It is said، the root of formalism is in the ideas of Kant. Early formalist، including Konrad Feilder and Eduard Hanslick، their thought reflects Kant’s idea about form. Feilder identified artistic creation with perceptional experience. This experience is free from any interest، motive and purpose. Gradually، the important of subject matter removed in the aesthetic analysis of the artworks. After his، Clive Bell، one of the formalist analyst، is based the understanding of art on “significant form”، of course due to ambiguity in the word of significant، his theory encountered with many critiques. Noel Carroll is one of these critics. Of course، many critics are for formalism and formalists، all persons do not accept an essence for art، including Kendal Walton and Arthur Danto. Nevertheless formalistic discussions are still ongoing. Even، it is said، he isn’t considered the importance of what is represented in the artworks. But due to the importance of formalism and its place in the modern art، we cannot reject simply it. It seems، we can find a modified formalism and a response to the ambiguity of significant in Niklas Lumann’s the systems theory. Because of، he is announced observation as common aspect in the all of artworks. In Luhmann’ art theory has been associated to each other observation and form and distinctions. This is same the different definition of form. Therefore، in his view form isn’t defined versus content، that is، what reflects content. Each form is made from a distinction، these distinctions are necessary for observing، for example the distinction of inside and outside is necessary for the observation of inside a thing، even though not observed its outside. It is important to observe the forms. Then the work of form does not finish in production and continues in perception with observation. We want to get to know with different version from formalism through the adaptation and comparison of the view of Bell and criticisms on it with Luhmann’ view on artistic form and formalism، because of، Luhmann had not the essentialist conception of art. In his view art is as a social system that is changing and evolving. We try to reach this aim with studying and review of their main woks through translation and analysis them.

Studying the development of form in art history is a fundamental theory in artworks iconology. It is ossible to study the history of art through investigating the shape of artworks, or art forms aesthetics. The history of art is established on the base of artworks build up and form creation rather than the power of artwork critics’ interpretation and criticisms. Although the artist's mentality is prior to their final objective work, but it is the objectivity and imaginary system of artworks that make up the history of art. Art is born by making up, although the artist, before creating his artwork, has an imagination of what is to be made. It is the knowledge and technical skills that make it possible that the mental pictures change into artwork. The artist with his active imagination power creates a form of what should be made and then by using the right material makes it perceivable. A subjectivity which does not gain visible form exists in the mind of its owner as an imagination. An inventor who is technically unable to give birth to his ideas is not reckoned as an inventor. A poet, who is not able to express or write down his poems, is not called a poet. Imaginary forms of an artist can originate from different tales, narratives, and motifs and subjects or even personal feelings. The content or massages that can be religious, moral, humanistic, social, political and ideological, or personal reaction of the artist. Artwork, visible quality and this kind of subjects which in form aesthetics and form creation manners, by the artist gain perceptibility. any understanding, interpretation and critic is possible only through art forms. An artwork is considered such on the base of its aesthetic values form and expression rather than its massage and content,neither on the base of its content perception by the addressee.Cognition and structural interpretation, methods and expression way of the artist can be studied through the morphological approaches, not through the semantics of the work. Indeed any meaning perception is possible only through morphology and structural interpretation of an artistic object.

Throughout the twentieth century, prominent critics drew on formalist discourses in order to frame compelling narratives on the complex relations between embodiment, gender, metaphysics, and psychoanalytic theories in modernist aesthetics. A particularly suggestive example can be found in the critic and curator James Johnson Sweeney’s interactions with the sculptor Alexander Calder. Sweeney often characterized Calder’s art as the product of a visionary child who engaged in the paradox of Serious play. As he formulated fantastic, alternative worlds populated by miniature and gigantic creatures. In so doing, Sweeney promoted a visionary formalist approach that drew on Calder’s art to present a larger, mystical vision of the expansive possibilities contained within the microcosmic world of the modern museum

The basis of criticism in the arts with any reading is attributed to the from of the artwork. Form is the principal and basis which gives birth to an artwork and reveals it.It is on basis of shape, form and structure of any artwork that an artist his/her talent and creative devices and by inventional imagination creates it. Art creation happens to come out in the form shape and beauty is the uncovered and undamental figure which appears in artwork.It is possible to have any critics and interpretations of an artwork through the objects composition and form which is called artwork meaning or concept of artwork, understanding and decoding the core idea of the author, the text antecedent (words chain, shape and color, motion land sounds) to psychological and sociological, historical and mythical fields through the artwork form (shape) and its formality. form is the contact point of an artist and interlocutors and vice versa. If an artwork is taken as an independent object on an artist and interpreted in the historical horizons frequently then what makes any interpretation possible finally is the art form; the¬ essence of which is the beauty of expression. Questioning an artwork may /be done in different aspect such as what does it mean? What has been the intention of its creator? What does the work mean in the present time? How an artwork can convey past historic horizons to the modern era?. Any answer to such questions depends on precise and original information of the artwork form and composition critics analysis.

This article aims at introducing phenomenology, based on Maurice Merleau-Ponty’s account, as less “method” than a commitment to the careful description of things as they show themselves in our experience of them. It also argues that although the direct influence of phenomenology on art history has been limited, both phenomenology and phenomenological hermeneutics, conceived more nearly as a movement than method, have played a considerable role in preparing the ground for many of the tendencies that are frequently (loosely) assimilated under the rubric of “new art history”. In this sense, phenomenology is more nearly a highly general and consequential way of understanding what kind of thing an object is, and its outcome, at this level of generality, is essentially anti-methodological, if not anti-theoretical. Hence, phenomenological interpretation returns to, and perhaps is only finally justified as, description. This is, in a sense, its continuing orientation to formalism, and this may suggest that such a reception of phenomenology understands it as having a relation to judgment rather than to method.