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

Dramatic literature has always combined its narrative structure with social themes and has dramatized the problems of its audience’s society. In recent decades, rereading the history of women in the constitutional era has become increasingly noticed and has led to the production of important texts in the field of dramatic literature. The current study tries to examine these rereadings from the perspective of the sociology of art. In this regard, three plays Nudbeh (Bahram Beyzai), Ghadamshad the Minstrel’s Martyrdom-playing in Tehran (Mohammed Rahmanian) and The Thirteenth Night (Hamid Amjad) focused on the constitutional era’s women, which are considered as the case studies of this research, are analyzed from the point of view of Pierre Bourdieu. According to Bourdieu, humans have a specific logic for their actions, and it is this logic of action that connects humans to the social world around them. The mental structure is the result of occupying a special position in the social world, and it can be said that if this position changes, the mental structure will also change. According to Bourdieu, field theory explores the dimensions of human action (agents) in society with the relational triangle of habitus, field and capital. The result is that; Although the heroes of these works are a representation of the women of the writers’ contemporary society, their placement in the upper reaches of the power field of the constitutional era can be taken from the idealistic nature of these texts.

Photography entered Iran in 1842, about 3 years after the official announcement of the invention of photography in the world. Although with a little delay, from around 1858, with the beginning of systematic photography training in the court, we can witness the brightness of photography among the aristocracy and the few rich class of the society, but it took many years for photography to enter the visual culture and people's lives. Various reasons have influenced the ups and downs of the development and popularization of photography in this era, but one of the most important of them was the arrival of photographic postcards in Iran. In order to better understand the unique position of Qajar era postcards in the process of democratization of photographic images in Iran, it is necessary to research the history of Qajar era social developments, photography and how it interacts with the events of the constitutionalism movement. This research tries to investigate the position of photographic postcards of the Qajar era by benefiting from the historical method and descriptive analytical approach and by applying the theory of social history. This article firstly describes the beginning of the arrival of postcards in Iran and then examines the types of postcards and their content, visual categories and the purpose of their production. Various cultural, economic, social and political factors and contexts have been effective on the position of photography at the beginning of its entry into Iranian society, and by examining them, we can better understand the question of why the passion and enthusiasm for photography and photographic postcards in the West never happened in Iran. What is of interest and consideration in the current research, is the influential role of postcards and the constitutional movement on this trend. The research problem is what role did illustrated postcards play in the development of photography and social awareness in Iran during the Qajar era, and what path did they follow in popularizing the culture of photography compared to the West? In a way, this article tries to examine the importance of photographic postcards in the process of publicizing the photographic image by examining the position of photographic postcards. In this way, identifying and analyzing the status of postcards and their fundamental role in filling the empty space in the Image display arena and public awareness media in this inflammatory era is one of the basic topics of the present research; because the assumptions of the research are that only by taking a contextual look at the history of photography media and its role in each society and comparing the approach of other societies, according to the situation and equations of each society, we can have a clearer view of how this phenomenon works and the hidden strain of the social life of every society. The local and time frame of the research is focused on the first "photographic" postcards from the time when photography entered Iran until the end of the Qajar rule. The statistical population includes all photographs and photographic postcards of this era, available in private or government (published) archives, books, magazines and reliable foreign and domestic websites. Based on the available findings, photographic postcards in this era are divided into 3 categories: Postcards with the subject of Constitutionalists: This group of postcards, which also play an important role in the current research, includes the largest number of photos remained from the constitutional era. Photos of armed or unarmed people gathering in sit-ins, single or four-person photos of fighters with weapons, photos of those killed in the revolution alone or with their comrades, photos of the dead soldiers of the government, the display of conquests and victories and finally the formation of National Consultative Assembly of Iran and its representatives and members, the display of the inaugurations of the celebrations related to the constitutional revolution, such as the year of the first and second celebration of the constitutionalism, as well as different photos decorated with engravings and collages, which contain a special message, are the subject of the photos in this category. Government postcards In general, the number of these postcards are significantly less than the postcards of the Constitutionalists, and this group can be divided into the following based on the subject: Photos of Qajar kings, especially Mohammad Ali Shah, who shows himself as an angry and strong ruler. Photos of the execution, torture and chaining of criminals and constitutionalist fighters with the aim of creating terror in the hearts of freedom fighters and their followers. Photos of officials, leaders and government officials of the Qajar government individually or together with group photos of soldiers. Photos of courtiers attending ceremonies and historical events. Decorative, popular and touristic postcards A part of decorative and touristic postcards in this era through printing photos of Nasser al-Din Shah's entertainments and travels, harem women, people's daily jobs and activities, architectures and historical buildings, cities and their landscapes, etc. have been formed. Also, part of these cases are the postcards that were sent by Iranians living outside of Iran to their relatives in Iran. In addition, decorative postcards with purely commercial purposes were also prepared and reproduced in Iran by photographers and manufacturers. Postcards in Iran entered the country at the same time as the political upheavals of the constitutional revolution. Although photography was introduced and used in the Qajar court about 60 years before the introduction of postcards to Iran, but until the end of Nasser al-Din Shah's rule and the beginning of the constitutional movement, it was the monopoly of the court and the wealthy class of society, and few of the common people were aware of the nature of photography. Weakness in the regular and up-to-date publication of newspapers and the limitation of printing photographic images in them, along with 95% of the country's population who were illiterate, caused photos and postcards to become a media and communication tool. To narrate and inform the events of the constitutional revolution to the society of the Qajar era. In this process, the photographic postcards of the constitutionalists have played a significant role in breaking the court's monopoly on photography and creating a deep transformation in the subjects, content and goals of photographs, as well as photographers and their audiences in Iranian society. Although photography in the early decades of its arrival in Iran was a luxury phenomenon and exclusive to the Qajar court, but later with the spread of postcards and the freedom fighters of the constitutional movement benefited from it as a platform for public display of the events and ideals of the revolution, photographs became a factor for political and social changes and developments. Postcards not only popularized photos and photography in Iran, but also by turning photos into a political, social and religious statement in the society, they gave them a value to be seen, to be exchanged and to be bought and sold, and the ability to become a visual symbol of freedom and victory.

Sociological researches on Iranian music usually focus on the musical events that took place in Pahlavi era onwards or take on as their points of departure the social events that occurred after the constitutional revolution of 1905. There is good reason for this particular approach since the most challenging questions about Iranian music start with their relation to major social changes in contemporary Iranian society or western music that all appeared after the constitutional revolution of 1905. Yet musical practice in prerevolutionary Iran and in that particular social context had its own characteristics. Special combination of different social forces in Iranian society led to a particular form of cultural and artistic production, especially music. The authors of this research have specified different main social groups in Iranian society of Qajar era who had a defining role in shaping this social context: sufies, clergies, culturally influential families, and Qajarian court. In this research, the authors tried to locate a distinctive cultural discourse in Qajar era formed within this specific configuration that is based on the so-called "Hall and Qal" discourse. By recognizing this discourse, we could use it to understand the sociological situation of artistic production of music in Qajar era. Investigating this social structure also will help us understand better the musical practice that was current after the constitutional revolution in Iran, when so many deep social changes in Iranian society disrupted the old way of artistic production. Therefore, we would be able to understand the specific reaction of artists who worked within the framework of artistic production in Qajar era against different artistic agendas put forwarded by other artists. In order to do that, after explaining the sociological context of music production in prerevolutionary Iran we will analyze one of the first and most important musical debates of this time period in an article named “Fatwa-ye man” by Aref Qazvini. Aref Qazivi entered a debate with Ali-Naqi Vaziri and challenged the way Vaziri was trying to cope with Iranian music. This particular debate has a special place in Iranian contemporary art history since centers around different approaches toward art making. Thus, using sociology of emotion’s and music sociology’s approaches will help us trace back Aref’s approach to music according to the aforementioned social structure of music making in prerevolutionary Iran. The present research is an interdisciplinary study that draws on sociological insights for grasping artistic practices. Our main conceptual framework is based on social symbolic interactionism school in sociology that has evolved in many years from early thoughts of George Herbert mead to Howard Becker's groundbreaking works in sociology of art in 1980s to recent works of Tia DeNora in music sociology. The main concern in this school is the way people act and react by recognizing each other's actions through symbols. Drawing on this tradition, and also using the idea of "music in action", Tia DeNora defines the concept of affordance to show the actual workings of music in social contexts. Originally based on psychological theory of Gibson, affordance in the context of music sociology means the way music can provide means to special social actions. In addition to theory of social interactionism, we also have used the theories of Jonathan Turner in the field of sociology of emotions to analyze the sociological origin of different emotions such as shame in this context. Our conceptual methodology of this research is based on historical sociology and, since we are concerned with the case of Aref Qazvini's reaction to Ali-Naqi Vaziri's critique of him, follows the case study method. According to this method, data is gathered from various historical documents of this period, such as memoirs, newspapers, journals. Along this method, in order to analyze the main document of our concern, i.e. Aref's "fatway-e man", content analysis technique is applied based on Norman Fairclough method. Our research shows that before the constitutional revolution of 1905, the Hal discourse dominates the cultural activities of Iranian musicians. This cultural discourse, which encouraged a specific form of artistic knowledge along with a special social relation between the teacher and pupil, was best suitable to special social context of Qajarian era. Centering on the internal feelings and, sociologically speaking, lived experience, the Hal discourse is opposed to the Qal, which means relying on arguments and utterances generally. According to Hal discourse, one should feel not talk about his/her experiences. This is the case until the deep social changes of post-revolutionary Iranian society transformed the previous social context. By spreading different newspapers all over the society and new technology of telegraph, people began to discuss everything and put forward necessary changes in various aspects Iranian culture including music. Consequently, in post-revolutionary Iran musical discourse of Hal faces its opponent, i.e. Qal. That is arguments about music and its relation to society took hold of public sphere of Iranian society. This is where Aref, as someone being brought up in the culture of Hal, takes on an emotional mobilization in response to the new cultural discourse that centers on Qal instead of Hal.

Modernity and enlightenment is one of the major intellectual sprouts of the Constitution Age in Iran, which lead to the re-readings of most of the concepts of the past, and their re-definition based on the new attitudes and approaches of that time. Among these topics was the concept of “history”. The intellectuals, influenced by the fundamental components of the new world such as rationalism and humanity and relying on the concepts such as “progress”, liked to offer  a new reading of the concept of history with regard to these components. This reading was conducted in an atmosphere where the new world had figured out new relationships in culture, society, politics… with peculiarities such as experimental sciences, power of criticism and rationalism and elimination of holy and lofty issues by setting up logic, something that threw a skeptical eye to most of the precedents. Therefore, it founded a new concept of the history by criticizing the previous theme of the history, which can be referred to as “a modernistic reading of history”. By studying the texts of those ages and other related sources authored after the Constitution era and by using an interpretative-historical and content analysis method, the present article seeks to answer to the questions as to:”What role did the new reading of the history by the modernists play in the genesis of the idea of national architectural legacy of Iran?”, and “What status and influence did the works of previous architects have on this issue?” In order to answer these questions the outlook of the modernists toward the architecture remained from the past need to be examined and explored as an important pillar of the history, which makes identity. Extension of the discussion of this article encompasses the individuals who are somehow known as the modernists of the Constitution Age. The objective of this research is to study the effect of modernistic reading of the history on the “Genesis of the idea of national architectural legacy of Iran” which is one of the outcomes of this new reading of the history. Therefore, it deals with the nature of this effect, its origins and its results in addition to studying the roots and continues toward the emergence of the idea of national architectural legacy of Iran. In order to achieve this objective, modernity is defined and the course of modernity in Iran is explored in an effort to follow the path of metamorphism of the concepts at the Constitution Age. Upon contemplation of the transformation occurred in the theme of the concept of history in the opinions of the modernists, the research studies the tendencies, which took, place in the opinions of modernists concerning the architectural works of the past and served as an evaluation of the genesis of the idea of national architectural legacy of Iran. The research also tries to show that this new attitude of the Constitution Age actually intended to confirm, record and register the historical architecture of Iran as a national Iranian legacy, notify everyone on its importance and emphasize on its conservation.

The Russo-Iranian wars in the first half of the 18th century during the Qajar period and Iran's defeat were a preface for Iran's entry into the modern world, but the encounter with the West during the Qajar period was of another kind. In this section, modernity affected the intellectuals' opinions and thoughts and ultimately led to cultural changes, which are in turn the result of cultural codes variation in each society. Clothing is one of the most important manifestations of cultural codes variation. In this vein, we can refer to factors such as sending students to Europe, establishing new schools, trading with foreigners, dispatching and reception of ambassadors and official and unofficial representatives, and formation of Constitutional Revolution that paved the way for socio-cultural space in which a new structure was created in women's dress and appearance. The current research is a qualitative case study conducted with the aim to get familiar with factors affecting cultural codes variation in Qajar period and identify evolutions with regard to Qajar women's dress as one of the cultural manifestations of Iran in Qajar period. Using Robert Wuthnow's Cultural Change Theory, this research seeks to answer this question: what changes were made in Qajar women's clothing in the Qajar period and after Nasir al-Din Shah era? and what factors determined these changes? The obtained results show that, at first, the rule of Nasir al-Din Shah, and then, Constitutional Revolution can be identified as two important historical turning points that changed cultural codes, including the Qajar women's dress. Nasir al-Din Shah, the longest-reigning monarch among Qajar monarchs, was one of the main sponsors of modernity and paved the way for a new kind of clothing among harem women. Extensive communication with the West, import of European goods and the willingness of a group of intellectuals to western manifestations were among other factors directly affecting the clothing style of Qajar women in this period. Then in Constitutional Revolution, the women stated their needs by comparing themselves with western women; and seeking to their social status, they participated in social activities. In this regard, we can refer to journals published for women with female editorial staff, which had been converted to a center to write different perspectives on Qajar women's clothing and veil. Additionally, modernization measures such as establishing modern schools which had replaced traditional clothing with European clothing, recruiting Europeans in bureaucratic agencies, and formation of women's associations are among other factors that provided the required platform for evolution in cultural codes. It can be said that moving towards modernism made nationalism with its two orientations of westernization and archaism an important challenge for the society of that time, which finally, led to western nationalist hegemony, and at last, during Ahmad Shah's era it led to the complete prevalence of European clothing among Qajar women.

Efforts by Iranian intellectuals in the Constitution and Reza Shah periods to elaborate the two concepts of ‘national architecture heritage’ and ‘history of Iranian architecture’ were parts of their attempts to institutionalise modernity. These two concepts were in turn based on other concepts such as ‘time’, ‘past’, ‘history’ and ‘old-age oeuvre’, and are noteworthy for exploring their foundations and history as well as their conflicting and evolutional aspects. This article tries to use an interpretive-historical method to contrast the first-hand documents and quotes from the period, with those from later takes on that period in order to answer the questions of: 1) What are the origins of the ideas of ‘national architecture heritage of Iran’ and ‘history of Iranian architecture’?; and 2) What are the areas of conflict and evolution of these concepts? Examining these concepts, this research tries to detect conflicting and evolutional modes of them. Modern concepts such as the ‘progress’ (advancement) seem to associate the two above concepts, whilst demarcations between the two indicate a contrast, which is to do with the potential of national architectural heritage in constructing a sense of fascination with, and grandeur of ancient Iran in the Constitution and Reza Shah periods on one hand, and the position of architectural history in creating a systematic methodology for dealing with history, emphasising the need for carefulness and attention to details towards understanding the history in its accurate form.

This research aims to explain utopian components in the opinions of scholars of Iran constitution. Changing of the relationship between Iran and west in the constitution period and advent of enlightened renovation thoughts caused to changing of Iranian ideal thoughts approach into utopian concept. Ideal thoughts in Iran in encountering western civilization manifestation by clear attitudes clarify modernization. In this research the many components of utopian attitudes have been investigated in opinions of eight scholars of constitution period like Mirza Fathali Akhond zadeh,Mirza Malkom khan Nazemodolleh,Mirza Agakhan Kermani, Mirza Yusef Mostasharodolleh,MIrza Abdoll rahi Najarzadeh Tabrizi famous to Talbof,Haj Zynodin Maragyi in general and Abdoll rahim Talbof and Abdol Hussein Sanatizadeh in especial. In investigation of ideal opinions of scholars of Iran constitution period especially opinions of Abdolrahim Talbof in the book of Masalkeal Mohsenin and thoughts of Abdol husein sanatuizade kermani in the book of Majmaeh Divanegan have been explained. The method is a descriptive and analytical based on the library documents the results show that by omitting of the anti value thoughts and employing scientific concepts accompanied by monotheism thoughts, the Utopian thoughts in opinions of scholars of the constitutional period can be used in this period. The research methodology is descriptive and analytical and comparatives and it is based on library studies. Teaching and learning based on west thoughts and education of science as west thoughts, attitudes to material, wisdom without elevation and lawgiving, imitation from west are the main general and energy and transportation and technology, people participation are the main particular aspects considered in utopia of constitutions period scholars. They emphasized on promotion of material life in the city and they did not consider spiritual affairs in urban spaces. The study of the mentioned scholars’ utopian thoughts indicates inattention to religious principle thoughts among the constitutions period scholars. in the study of t he Iranian new scholars in constitutions period the west structural manifestation were emphasized and learning material techniques and construction of schools in new style are clear in all components in general. expression of these strategies are seen proportionate to each personality rang from deny of religious thoughts (Akhonzadeh) to opportunistic encounter with religious thoughts (Mirza melakom and Talebof) and religious return to old Iran approach (Mirzaagasnkhan Kermani) and limited acceptance of religious thoughts(Mirza Mostasharodolleh) and acceptance and defense of religious and Islamic thoughts against west civilization (Haj Zynollabedin marghei). Because of special constitution period approaches and characteristics utopia demands own specifications accompanied by omission of anti value learning and application of scientific concepts in current era. Constitution utopia is manifestation of lawgiving, science, learning and wisdom city. The results show that constitution utopian opinions of Abdolrahim Tabbof in the MaskealMohsenin and Abdoll Husein SanatiZade Kermnai in the Majmael Divangen have civilized thoughts that some of them have been implemented in the urban building. The complete book can be manifested by reengineering of value in the contemporary cites. This research can be used according to religious approach and conserved as spiritual aspects of life.

undoubtedly the so–called mashruteh constitutional movement in Qajar’s period has had a major role in awakening people against autarchy. The role of the caricature in lighting of thinks in the Revolution period isn’t less than the verbal satire. Though this art and literature the pass from the tradition to modernism, but most of scholars spend their main notice to introduce the verbal satire This essay attempts to provide a critical Study on Qajar’s period to find the reasons behind this lack of notice towards caricature compared with verbal satire, and to find the successes or failures of both of them.