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

Persian silk rugs are the most intricate¡ and often most valuable ones among all hand-knotted carpets. Silk is luxurious¡ lightweight and soft. Additionally fineness of silk carpet is amazing. Then it is very important to improve its quality and useful life time. During its usage¡ a typical high quality Persian or Oriental silk rug is exposed to many water-based stains. Although there are now a number of luxury silk carpets on the market¡ oddly enough they stain easily with the simplest of liquids¡ i.e. water. That can be bad news for investing goods such as carpets made of this expensive fiber. Getting a water stain out of silk can be tricky¡ but it is possible. Moisture absorbency of natural silk yarns leads to easy staining of these products by these kinds of pollutants such as tea¡ coffee¡ juice¡ etc. as well as their decreased life time. Textile substrates with super hydrophobic surfaces have attracted much attention for industrial applications and it is a very important resource of advanced materials and new technologies; while this is not applied in hand-woven carpet industry. In this paper hydrophobicity of silk carpets with good compatibility has been improved by treatment with Nano-poly di-methyl silicone. The silk substrates were modified with a silicone compound to achieve low surface energy. Dyed silk by metal complex 2:1 acid dyes as pile yarns and cotton warp yarns applied to weaving silk carpets¡ and kilims. Treatment by nano-poly di-methyl silicone has been done in low temperature. Evaluation of treatments has been done according to AATCC Test Methods. Durability and stability of surface-treatment of silk carpets were measured too. After washing of carpet and dye-injection on the surface of carpet¡ contact angle and wet-out time measurements on the silk carpets still show much improved hydrophobic properties. The resultant silk carpet exhibits superior water repellent properties.

Richard Rorty is regarded as a contemporary thinker who critically, but in a different way from Habermas and Foucault, attacks to theoretical system of western classical philosophy and challenges certain modern philosophical perspectives in western philosophy. In so doing, he accuses philosophy, both old and new, to Representationalism, Fundamentalism, Absolutism, separation of philosophy from life and truth from meaning. Inspired by Heidegger, Darwin, Wittgenstein, Davidson, Nietzsche, he makes a creative theoretical combination which aims at re-reading knowledge, method and truth in the context of life. The philosophy of Rorty is concerned with overcoming conventional gaps between continental and analytical philosophies in order to keep philosophy away from inadequate theoretical and conceptual dualisms. Thus, going beyond the terminology of current philosophical approaches, Rorty intends to bring the philosophy into the historical contexts and everyday life settings so that it can be used as an instrument for problem solving in social life. For Rorty, philosophy not only refers to an academic enterprise but also it is considered as a tool to solve problem or to perceive something in practice. This paper seeks to both explore and criticize the ideas and thoughts of thinkers influencing Rorty philosophy. Then, describing the main theoretical underpinnings of Rorty theoretical system, it makes effort to clarify the theoretical and methodological contributions of Rorty to contemporary western philosophy.

David Mamet’s Oleanna (1992) is the most controversial play among his plays, including Sexual Perversity in Chicago (1971) and American Buffalo (1975), which both came as something like a shock. With Oleanna, the shock was completed; the play provoked many debates on political correctness and the sexual harassment. Many feminist critics attacked it for the seemingly misogynic theme supported by the play. After this first wave deflated, critics focused on other themes: power, language, and gender; now the play was interpreted as a clash between two sexes over power. One of the most Influential approaches has been McLeod’s suggestion that the narrow critical preoccupation with sexual harassment, political correctness and beleaguered masculinity in Oleanna had obscured what was in fact a far wider and more challenging dramatic engagement with issues of power, hierarchy and the control of language. This essay sees Oleanna from this viewpoint and tries to focus on the dramatic structure of the play itself, which is unique among the contemporary American plays. Structure of Oleanna, while seemingly related to American realism, reveals anti-realistic dimensions which is similar to Pinter’s work and the European dramatists. Mamet’s linguistic model in Oleanna through pauses, repetitions, and cuts is the instrument of retardation. In Oleanna, structure is in one sense Aristotelian, but Mamet through this language obscure Aristotelian model. Form and content, are inseparable: language is the subject of play; its uses and misuses. But language means dominance too. Also, gender becomes important during the play: Carol uses sexual politics to change her position in the hierarchy of power. Also I suggest that Oleanna, as Mamet said, is a tragedy on power. John and Carol’s battle is over more power; both of them are blind, and their recognition is when both fall; John beats his student and Carol ruins John’s wishes