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

The present study examines the aesthetic representation of dream images in Maybe Some Other Time (1988) directed by Bahram Beyzai. The researchers aim to find the reason for the use of the form that is used in portraying the dreams within the film. Therefore, the study, with a neo-formalist approach, examines the way dream images are formed and their characteristics in the human mind. In this way, it pays close attention to the study of the dream-making process from the perspective of Sigmund Freud and the four important characteristics of dreams (absence of logic, disrupted narrative, double presence, and scattered images). Then, in the next section, by reviewing dreams in cinema from the early years of the invention of cinema to the present day and studying the innovative formal features used in world cinema to represent dream images, it looks at the techniques of cinematography and editing that can be used to approach the mentioned characteristics of dreams by using them in representing dream images. Thus, the reasons for the use of cinematic tools used in the construction of a cinematic form similar to a dream become clear. In the end, the researchers also analyze the dream sequences of the film Maybe Some Other Time (1988) based on the characteristics of dreams in psychology and the used tools, techniques, methods, and elements in the outstanding experiences of world cinema. By examining and matching the information obtained, the researchers find that the dream images in the present case study have used filming and editing tools to bring the images closer to personal experiences. All four important characteristics of dreams and activities such as condensation, displacement, and considerations (The primary dream-forming process) and the secondary dream-making process are evident in the dream sequences of this film. In addition, the influence of the successful experiences of world cinema, which have tried to imitate the personal experience in the film, can be clearly seen in this film. The use of aesthetic elements in creating the dream sequences of Maybe Some Other Time (1988) highlights Bahram Beyzai's formal concern for the synchronization of form and content.

The second Iranian script of Persian calligraphy, Nastaliq, gradually emerged in the late 7th and early 8th centuries AH. For this reason, the Timurid period is considered one of the most important periods in the development of the Nastaliq script. A famous calligrapher in the Timurid era and the great master of Nastaliq script, Sultan Ali Mashhadi (1437-1520 CE), whose name is imprinted on Iranian calligraphy mentioned in his famous treatise, “Serat al-Sotour”, that he had had a great passion for calligraphy to such an extent that he had decided to fast for Ali Ibn Abi Talib, the first Imam of Shiites so that his calligraphy could reach to the highest point. After that, one night, he dreamed of Ali Ibn Abi Talib in his dream, observing his handwriting and teaching him the secrets of calligraphy. This research, based on the mentioned dream, and using a descriptive-analytical method and through documentary studies and library sources, aims to interpret the story of Sultan Ali Mashhadi’s dream by considering Hakim Abu Nasr Farabi’s Theory of Revelation to analyze the role of Ali Ibn Abi Talib in Sultan Ali Mashhadi’s dream.The founder of Islamic philosophy, Hakim Abu Nasr Farabi, was the first philosopher in the history of Islamic philosophy who methodically illuminated the issue of revelation and subsequently the prophethood mission. In his view of Revelation Theory, he explains the possibility of revelatory experience by resorting to dreams. This view has been developed and become the foundation of the great Islamic philosophers’ thoughts in the history of Islamic philosophy. To clarify the role of Ali Ibn Abi Talib in Sultan Ali Mashhadi’s dream based on Farabi’s Revelation Theory, this article first casts a glance at Farabi’s views, especially his Theory of Revelation, and then continues the research by discussing the previously mentioned dream and its intellectual basis.In the next step, the role of Ali Ibn Abi Talib is studied based on Abu Nasr Farabi’s views and his Theory of Revelation. Finally, according to the analyses and documentation represented in the last part of the study, this research shows that Ali Ibn Abi Talib not only appeared in Sultan Ali Mashhadi’s dream as the active intellect (the tenth intellect) in Farabi’s Revelation Theory but also had the same responsibility. In this role, Ali Ibn Abi Talib, as the active intellect, connects the material world with the transcendental one and provides the possibility of transferring knowledge and divine grace to the heart and soul of the calligrapher. Sultan Ali Mashhadi, who left behind his materialistic and mundane interests by fasting, made it possible to receive divine grace in his dream through the guidance of Ali Ibn Abi Talib.

Among movies that considered «dream», "Inception" got a notable fortune. The film, written and directed by Christopher Nolan, has been the source of many academic discussions around the world as well as having won many credible film awards. On the other side, Ibn Arabi, who has referred to him as the designer and theorist of theoretical mysticism, systematically has explained this subject based on challenging ideas. Is there any significant link between the film and the Ibn Arabi’s thought? This study tries to identify the mutual points in the movie and Ibn Arabi’s ideas. Superficial similarities have been less considered in this paper and we try to focus only on deeper correspondences. Accordingly, based on descriptive -comparative method, three main axes have been considered, and the film has been interpreted based on them. Ibn Arabi and Nolan, ignore the conventional difference between dream and reality in their works, and present a new definition for these two concepts. In their view, merely knowing the science of interpretation is not enough to properly understand a dream, but recognizing the real state of dream and reality is determiner. They also show that the dream has a degree of creativity that can lead to creation in the world. What is ultimately found in this article is the triple relationship that leads us to the result that Ibn Arabi’s thoughts and «Inception» have serious points of correspondence on the subject of dream. And this is more considerable due to the time and cultural difference between Ibn Arabi and the film’s author.

In this essay, the Metamorphosis technique in animation is treated as a metaphoric structure, using visual or conceptual similarities between two shapes to express poetic imagination. This structure makes metamorphosis technique comparable with poem and dreams. This project has been carried out using the data available in books, articles and other published documents and movies. The data has been analyzed using comparative approach. The main purposes of this essay are determining the structural similarities between Metamorphosis Technique and poetic imagination. First, the primary data Will be elaborated its manifestations in different animations; second, the data will be analyzed through a comparative study of different approaches of expression based on Roman Jacobson’s theories in linguistics, and also by a comparative study of Sigmund Freud’s theories on interpretation of dreams. There is a pattern inferred from Jacobson’s theory that massage is communicated between sender and receiver, so metamorphosis as the core of animation has a narrative ability for carrying the massage. Metamorphosis is an ability to change picture to another picture without editing, So this technique is inspiring for animation techniques which editing is done under camera like painting on glass .Metamorphosis has two outputs, Firstly by transforming two different scenes like a transition (dissolve), and secondly metamorphosis of one character to another like fable stories that a hero usually change to something else by an spell. If morphing hasn’t just a decorative purpose, the expression might exit, Base on Jacobson’s theory in linguistic there are two kinds of expressive relationships: Paradigmatic relationships and syntagmatic relationships. These relations are important because our understanding of the world and our interaction in it are governed largely by relationships; metaphor is similar to paradigmatic relations and allegory is similar to syntagmatic relation, in metaphoric way two different objects replace with each other but in allegory part of object replace to the whole object. The metamorphosis , more than a mere technique, is a way for expression; true metamorphosis has two parts that morph to each other ,thus the relationship between them could result in one of two main way of linguistic expression. There is a similarity between two parts ,in metaphoric metamorphosis, When metaphoric relationship happens the spectators mind is looking for the meaning and the reason of changes, So start analyzing and dreaming about meaning .This poetic way of expression that exist in metamorphosis made it suitable for representing dreams. Dream is a road to unconscious part of mind and also a special feature that everybody experiences it. Thus, it is important to understand its structure. Based on Freud approach, latent content of dream infer the manifest content; that can be interpreted as some information that the conscious individual remembers experiencing. Dream work is changing these materials by condensation and displacement. Other similarities among metamorphosis and dream and poem consist of symbol and similarity and being visual; and paradox is acceptable. A pattern for finding ideas for making animations by using the Metamorphosis Technique could be possible by metaphoric approach

To express religious and mythic themes and overcome gaps between conscious and unconscious part of his mind, human being needs symbol and symbolization. Symbols appear in different forms such as dreams, folk tales, myths, natural objects and arts. In architecture, the application of symbols is the strongest and the most expressive from of all arts. Today, symbolic language, in architecture, has become the same as impartial and negative terms and the wittnessing relationships denoting the definition not only is not a factor to improve its interactions in space but also has changed to self-alienation. This article is trying to answer the question whether it is possible to express the concept of ascension emanated through architectural framework through finding archetypal semantic commonalities existing in the human ego and which consists of three sources as the universal myths, symbol and dream? This concept is the only one model in archetypal concepts therefore with finding the remaining concepts derived from the archetypes can be reached the pattern language in architecture to upgrade the human interaction with architectural space and designers and architects could use this language as a timeless and eternal way and apply other factors affected by context and styles of architecture as spatiotemporal ones.

This essay is another phenomenological response to the old and familiar question of “what is art”. What is the origin of art and what mechanisms are engaged in its creation? To answer these questions we first trace the unconscious forms and reveal the structural connection between art, myth and dream only to finally find what ails the new and modern art.

Schémata tensif is one of the numerous schemata on the subject of discourse. The schemata consists of two different aspects which could be assumed as lining on axis y and axis x. The x axis (vertical line) is proportionate to the amount of tension and emotion and deals with qualitative, intrinsic and emotional values whereas the y axis (horizontal line) refers to the cognitive expanse and deals with quantitative and numerical traits as well as spatiotemporal expanse. Within this paper, based on the increase/decrease in co-vectoring/anti-vectoring tension and cognitive expanse, four different possible schémata tensifs are defined -- namely, falling emotional-tensif schemata, rising emotional-tensif schemata, two-dimensional rising co-vectoring schemata, and two-dimensional falling co-vectoring schemata. Then it will try to find out in what schémata tensif the caricature discourse would be placed. Having well defined the caricature discourse and compared its function with that of dream, the paper will be carried with examples to show that the caricature discourse could be read based on falling schémata tensif