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

This research analyzes the concept of death in the animation production of Coco by Lee Unkrich. According to Martin Heidegger’s perspective of being, death and time, the characters of this work correspond to this viewpoint.The problem of the upcoming research is how to analyze the dimensions of the animated characters of Coco (Lee Unkrich, 2017) with Miguel as the center, according to Martin Heidegger's discussion and concepts about the types of death. The research questions are as follows. Which one of the types of death and fear of it in Heidegger's being and time is more consistent with the viewpoint of this animation towards death? What components does this animation add to the dimensions of Heidegger's death? What topics about death and what aspects of the characters do they reveal in this animation? To answer these questions in the research, relying on library sources and analytical-applied method, types of death, finding the present corresponding to them from Heidegger's point of view are studied and the selected characters of animation are analyzed in such a way that the form and content of types of death in Coco are conformity with Heidegger's opinions should be determined.The results of the study of Heidegger's types of physical death and existential death in Coco indicate that most of the characters entered the world of the dead due to physical death. The characters (Hector, Delacruz, and Imelda) entered the world of the dead mostly due to physical death (demise). In the world of the living, apart from Miguel who temporarily faces existential anxiety and existential death, we do not face deep existential death. Therefore, physical death is considered more in this animation. It seems that in the celebration of the dead, the Mexicans show that death should not be feared and the death of awareness is the recommended way. Not being afraid of physical death and welcoming it is a kind of conscious death, despite the fact that they know they are going to die, they do not sacrifice their lives for this event, but they hold a celebration of the dead every year so that no one has any fear of eternal forgetting and knows the value of time. Although Heidegger did not discuss the fate of Dasein in the world after death in existence and time, and only talked about the ways of living death in this world and the types of fear, but in this animation, by showing the world of the dead, its quality and ways to deal with deep physical death, by resorting to pictures and remembering it every year and by holding a celebration, depicts the world of the dead and the communication bridges of the living with them, as well as the ways to fight against the real death of humans. It also shows the dead living in the world of the dead after physical death. Finally, through some characters, it promises that one can live better with awareness of death and one can try ways to deal with the fear of death in special ways.

Problem statement: 

The mathematical and dynamic aspects of sublimity challenge the size and power capabilities of human faculties and it seems that most instances of sublimity can be found in the thinking of the 18th-century intellectuals before Kant. It appears that painters of the 18th and 19th centuries in England and Germany also relied on sublimity as a prominent theme. Based on this, the main research question is: What is the distinct aspect of German and English Romanticism in terms of sublimity?

The objective is to study the relationship of sublimity in the ideas of 18th-century intellectuals and the works of Romantic painters in the 18th and 19th centuries in Germany and England to examine the differences between German and British Romanticism in terms of sublimity.

The research is qualitative in nature. The method involves the descriptive-anlaytic study of artworks. Data collection was based on documentary and pertinent literature.

Grandeur is the inherent feature of the sublime and the prominent features of sublimity in paintings include greatness, vastness, infinity, ambiguity, boundlessness, and the destruction of natural forces. The study of artworks by Romantic painters of the 18th and 19th centuries such as Friedrich, Achenbach, Turner, Martin, and Danby reveals that German Romanticism has focused on the vastness and greatness of nature and the terrifying aspects of nature, but it has also considered the spiritual and symbolic aspects of nature. In English Romanticism, the dynamic aspect of sublime fear and the terror of destructive and violent forces of nature are emphasized with greater intensity. Therefore, it can be considered to be one of the prominent themes and distinct aspects of English Romanticism.

Maulana Jalaluddin Mohammad Balkhi, as a skilled pathologist and psychoanalyst in Masnavi Kabir, examines human fears from the perspective of mystical epistemology, which is based on the knowledge of the human psyche and its layers, and for healing,transcendence and self.The flourishing of spiritual versions wraps up. Since fear is a psychological concept, it is used in this treatise to enrich and broaden this category from the point of view of humanistic and existentialist psychologists and philosophers, as they are closer to Rumi's thoughts than other psychologists.Is; Apart from Carl Gustav Jung, the selected existential psychologists and philosophers include Rogers, Rolumi, Jean-Paul Sartre, Soren Kierkegaard, Eric Fromm, Erwin Yalom, Abraham Maslow, Victor Frankl, Martin Seligman, Karen Horne, and others.The most important strategies to deal with and get rid of fears in Rumi's works and the views of philosophers and psychologists are:the philosophy of grief and loneliness, discovering inner treasure, patience, trust and submission, repentance, approach to religion and religiosity, prayer and supplication, Faith, correct education or sublimation and contradictory intention in today's psychology, abandonment of projection,familiarity with the gifts and wisdom hidden in the evil of the universe, familiarity with the roots of internal and spiritual conflicts and the use of its gifts, story therapy, belief in divine judgment And its gifts, finding meaning and meaning for human sufferings and pains, familiarity with the gifts of Mahmoud Erfani's free will and predestination, familiarity with its death and blessings, strength and insight, living, peace between religions in the shadow of unity, hope

Problem: 

In some historical periods in Iranian cities such as Tabriz, there is a physical response to the fears caused by wars and insecurity, which urban narratives are shown among the general public, especially people of age, such phenomena also exist in the mentality of the people.

Target: 

The purpose of the current research is to investigate the state of the architectural elements of the historical city of Tabriz, such as alleys, fences, gates, neighborhoods, residential areas, etc., in the face of urban fears.

This research is of the research-fundamental theories type, and the interpretative-historical research method and the means of collecting information in the form of library, historical documents and texts and based on content analysis.

Findings show that in the past, the city was built using research studies such as gate, tower and barrow, fence, moat, narrow alleys and covered alleys, houses with short doors, lower outer and inner courtyards, etc. The level of the crossing in the three areas of territory, surveillance and the appearance of the environment gave a suitable answer to the concept of urban fear. In future researches, there is a need to examine each of the elements such as the house in more detail.

Ernst Jünger, a distinguished German author, and theorist is known as one of the most significant authors of the 20th century. Along with individuals like Carl Schmitt and Martin Heidegger, he was among those right-wing thinkers whose ideas and theories had a great impact on raising the Nazi party. Jünger’s argument regarding total mobilization uses war and struggle as a model for the formation of a social condition in which the social order is reconfigured according to the concepts related to war. In such a condition, militarization and mobilization of wartime are injected into the social structure. Based on a descriptive-analytic method and by using library references, the present research aims at analyzing Fear and Hope (1960) film directed by George Ovadiah and studying how the condition of total mobilization and social control is represented in this film. Fear and Hope is the life story of a young married man named Mr. Karimi who due to the economic and financial crisis of the 1950s has just been dismissed from his job and as a result, cannot afford the expenses of the New Year ceremony. Regarding the impaired social condition, economic crisis, and the spread of demonstrations and strikes against the government in the late 1950s, the present study tries to unfold some socio-political implications of the film. In this regard, the film acts as a propagandistic work that introduces a fanciful image of a coherent empathetic society in which the government and citizens are mobilized to confront the danger that is threatening one of the citizen’s life (a metaphor of threatening the social order). The social-familial peace and stability pictured at the end of the film can be linked to the Pahlavi regime’s tendency to establish stability and order in the heart of demonstrations and strikes.

Security is a basic and fundamental human need rights. In other words, security is the essence of survival and the basis of the collective life and the establishment of small communities and cities. It is so significant that Islam clearly stressed its importance. In addition, security has two important aspects which are the objective and subjective (the feeling and perception of security) aspects. One of the factors affecting the feeling and perception of safety and security is the personal and individual characteristics. Based on this issue, women (who are among the most vulnerable groups) were chosen as the target group of this research. As urban areas are the bed and place of the city interactions, they should be able to provide the safety and security of the users. If one area is unsafe or unsecure, people do not spend much of their time in that area and this causes the loss of liveliness and turns that area into a dead and inactive one. Women inability in using the urban areas only because such areas are insecure is somewhat against the principles of social justice due to which being able to use the urban areas with safety and security is one of the basic rights of the citizens. Obviously, the first step for making urban spaces secure and safe is recognizing the contributing factors on fear of crime. A noticeable proportion of these factors is related to the environmental attributes on the grounds that some physical characteristics may make the space ready and suitable for criminal acts and encourage the offenders for offences. In regards the effect of the environment specifications on people’s behavior, feeling and perception, in this study, finding the environmental effective specifications on women’s feeling and perception of safety and security is investigated. In fact, this research aims to obtain the answer to the question of what qualified urban space specifications lead to a sense of security and safety by women. First, existing literature of the research topic and the related hypotheses was studied and then the conceptual framework of the research (environmental effective specifications on women’s feeling and perception of security) was developed. Thereafter, the mentioned framework in the area of Makhsus and Salamat neighborhoods (as the case study area of this research) was experimented on. A combination of quantitative and qualitative methods were applied through such techniques as field surveys, focus group discussions, in-depth interviews and questionnaires. In addition, different statistical methods were applied in order to analyze the data The findings of the research illustrate an obvious relationship between the form, activity and meaning of environment with women’s feeling and perception of security in urban areas. In other words, the confusion and chaos in each one of these 3 parameters can cause a level of anxiety, stress or fear in women.

In this essay، the phenomena of Fear and Angst/Anxiety are analyzed according to Martin Heidegger''s thought only to prove that this significant field is defined as a range of inauthentic fear toward authentic angst/anxiety and it is revealed as»happening of truth«or strife between world and earth، in Film world? Monster، as embodiment of evil and constitutive pivotal element of Horror Cinema، is manifested in various appearances of phenomenon of fear. Horror Cinema via projecting fundamental elements of Heidegger''s hermeneutic analysis (i. e. world، death، guilt، projection، authenticity and inauthenticity) in relation to Dasein in terms of a cinematic expression، makes the disclosure of»happening of truth «in the film world possible via audience contribution، as an interpreter Dasein engaged in this world، and the revealed» happening of truth«in this Cinema is phenomenon of Fear and grounding attunement of angst/anxiety which is uncovered in a cinematic world.