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

Critical musicology, which is also referred to by other terms such as "new musicology" and "radical musicology", is a new field in musicology studies that has been popular since the 1980s. In terms of methodology, the unique feature of critical musicology is its distance from positivist approaches and its interdisciplinary feature. Critical musicology uses a variety of fields such as cultural studies, social studies, critical sociology, gender studies, feminism, psychoanalysis, and post-modernism discourse for the study of musicology. In terms of subject of research, Critical musicology considers both artistic and popular music and analyzes the historical evolution of them. In this article, first critical musicology is introduced. Then the features of Lacanian musicology are analyzed and limitations of its application are discussed. After that, four reasons for the justification of using Lacan's theory in musicology are presented. These reasons include "the interdisciplinary nature of musicology", "emotional and non-conceptual nature of music", "contribution of unconscious elements to the creation and reception of music" and "structural analysis of music". Additionally, this research aims to answer the question, "What possibilities does Lacan's theory of psychoanalysis provide for critical musicology?" In this way, first Lacan's concepts that have been most used in musicology are introduced, including "gaze", "object petit a", "three orders of imaginary, symbolic, real", "jouissance" and "fantasy". By investigating works written in the context of Lacanian musicology, the application of these concepts in Lacanian musicology is tested. Then the advantages and limitations of Lacanian musicology are discussed. In summary, the most important advantages of Lacanian musicology are "the possibility of analyzing the unconscious processes involved in the creation and reception of music", "the wide analytical scope of Lacan's theory", "opening new fields of social/cultural, literary and gender research for musicology", "the ability to explain the impact of "extra-musical elements on music" and "pathology of music".  Nevertheless, the limitations of Lacan's musicology are also taken into consideration, the most important of which are "the non-argumentative feature of psychoanalysis", "the openness of Lacan's theories to different interpretations", "the impossibility of providing a unique aesthetic theory" and "the inability to provide a criterion for evaluating and measuring musical works".. At the end, the topic of ethics in music with the approach of Lacanian ethics in "psychoanalytic ethics" is suggested as a plan for future researches.

Persian painting, in all historical periods, has been institutionally affiliated with the royal palaces and courts in which pleasure, amusement, and sexual desires were highly regarded leading the painters to sometimes reflect them in their works. A psychoanalytic reading over the past centuries, especially in its socio-historical context, has been rarely considered by researchers; therefore, this kind of research is necessitated significantly. Yusuf and Zulaikha painting by Behzad in 1488A.D is one of the acme points of the history of Persian painting and that is why it has been highly taken into consideration by researchers. Here, a question might be raised and that is: why? Does the importance of this painting depend on the form and technical features? Or is it related to the transcendental attitude towards Yusuf as a prophet in the story itself? Apart from chronological and descriptive research regarding this painting and Behzad`s life and techniques as a painter, most of the previous analytical research mainly considered this painting through mystical and religious studies and analyzed it accordingly, since it is a highly important story in the Torah and Quran. However, if, regardless of these metaphysical considerations, one sees this scene as a fantasy in the subconscious or unconscious and emphasizes materialistic, mundane, and sexual features, what would the result be? Moreover, what do the results cause in Persian painting in further periods? To achieve this goal, a different theoretical foundation is necessitated. Psychoanalytical theories, as the approach of this research, provide an appropriate point of view for analyzing this painting and it also helps the readers understand the scene differently. The conceptual framework of this paper is based on Freud`s and especially Lacan`s psychological ideas. Authors try to do a descriptive and then a synthetic analysis to find more about the subject critically. The visual culture of a society regarding paintings, as historical and cultural texts, is an appropriate ground for scrutinizing sexual terms and relations; provided that, we consider visuality as an equivalent for discourse, not only regarding the text and speech but deeming visual cases as well. Results suggest that this painting, due to the visual features and structure as well as special characteristics of the history of visual culture concerning the representation of sexuality, provides a specific image or a fantasy for the desire and anxiety of the subject dialectically (viewer, individual, or collective) based on the imaginary and symbolic order, as Lacan suggested, according to all psychological process behind that. Having all the visual effects in a historical path, the scene is a turning point to form a sexual visuality dominated in further periods in the history of Persian painting, especially in the mid-Safavid era. The final purpose of this essay is to propose a new idea and provide a different position for relevant subjects such as sexuality, representation, and sexual identity in historical Persian paintings. From this point of view, other Persian paintings of later periods can be psychoanalytically studied in their social, cultural, and historical contexts regarding sex and sexuality.

Myths are good examples for understanding the culture and cultural values of any society. The symbolism of the space and the imaginative nature of the legends and the elements in them are a good tool for creating animation. Based on the data collected through field research, this study aims to examine two examples of myths in the villages of Hormozgan by looking at the animation-making capabilities of these myths. These two myths are "I am Mendas" and "Boussalameh". The predominant feature of these two cases is that they are imaginative and the other is that the main character of both myths is female. Psychoanalytic relations with popular culture, on the one hand, and Lacan's view of female discourses and subjects, on the other, have provided a common ground for analyzing female personality in these two myths. In the research data section, the researcher relies on his / her field research and some available sources, and for the theoretical section, he / she refers to library documents. Based on this, while pointing to the common features of myth and animation, an attempt is made to examine the presence of Lacan's four discourses, namely lord, science, hysteria and psychoanalyst, to identify external and internal relations and relations between the type-characters of Menemandas and Bousslame legends. Research has shown that among Lacan's discourses, a particular discourse dominates the overall atmosphere of each legend, and knowing more about the characters of the legends helps a lot to better adapt and produce a richer animated work, and these analyzes It can be a tool for creative writers in the field of animation for children, teenagers and even adults. Also, the art of animation, due to its possibilities, can be a suitable form of expression and artistic media for the studied myths.

The present article intends to examine the concept of identity according to Jacques Lacan's theories of subject discontinuity in the upstream / downstream play. Two black brothers in the form of unconscious subjects in the struggle for supreme power appear in such a way that their identities oscillate between their two outer and inner selves. The dual relationship between them represents the identity of an action that overshadows their true personality. They are missing subjects who have lost their inner identity and inevitably turn to others to fill the inner void. The dual idea of ​​real or genuine self merges in another sense and social feedback or external self in the play and manifests itself in the rupture of the characters. In this research, the three foundations of Lacan's thought, namely the imaginary, symbolic and real realms, and their applicability in the play are examined. The results show that Lacan interprets the perception of separation from the mother and entry into the symbolic realm, which is manifested in the child's mind as lack, as the beginning of the child's mental disintegration into both conscious and unconscious realms. Because the process of identity is based on rupture, rupture and absence as two fundamental concepts in psychoanalysis always force the subject to seek to fill the void caused by a defect in his psyche. But since this perpetual lack, which becomes a desire, is never filled, it inevitably leads the subject to other desires.

He gives his post-structural analyses based on the object and develops the subject’s identity with the concept of vacuum, which requires an “other” to get filled up, centered over object, objectivism, and decentralism. He proposes a theory named “mirror Stage” to prove his claim, and states that when a little child gets attracted to her/his own reflection in the mirror, they get trapped in that picture, and regards their own picture as an allied individual. They get the very first image of self when they look at their own body in the mirror. Therefore, the separated body parts of the child get completed by the mirror. At this point, Lacan emphasizes an entity called the imaginary nature of being the master, the physical master that the child does not yet possess, the master of an alien self-image that he has always longed for. According to Lacan, this "image" is a stage or mode of existence in which the human subject is burning with the desire of self, identity and individuality. The individual is always suspended and wandering between this unreal image and its embodiment. Lacan points out that the visual creates the illusion of wholeness both in ourselves and in what we see so that the visual deceives us so that we do not realize the shortcomings existing in us and the world around us. Lacan extends his mirror theory to include the "gaze" theory. Gaze is an object-dependent concept. In a Lacanian sense, the gaze is not an action related to the concept of perception in its psychological, and it is not limited to the mechanism of seeing or appearing physically, although it is dependent on it. However, the realm of gaze includes both the act of seeing and being seen—the act of perceiving and interpreting. In fact, when we look at an object, we are seen by that object in the first place, so we are not the ones who look first. We are called by its gaze, even though it invites us to look at it by looking at the object. considering this definition of gaze, it is possible to understand that in a film, even in a painting or commercial, the main gaze is attracted and the main object is suspended. When the function of the gaze is doubled, it appears as a spot. This spot or object of the gaze breaks the symbolic order of the work of art, disrupts its realism, and fills that conventional order. It has unusual capabilities, so the look is the surplus consciousness that affects the whole flow and structure of the work. In this descriptive study, with the use of Lacan’s “gaze” framework, efforts are made to clarify and respond to the questions and issues such as how, according to Lacan's view theory, one of the main axes of fantasy and imagination (such as advertising), can be made more effective in attracting the consumer. Also, how the subject, as a consumer in the fantasy space of advertisements, seeks to fill the void of its existence and falls into the trap of the advertisements. In order to answer these questions, one should know more about the nature of the subject or the spectator. According to Lacan, the subject is nothing but a loss. In fact, the subject is the Cartesian bearded man, a man who is trapped in the darkroom of his eyes and cannot walk out of that domain. He cannot even see himself, and the only thing he can do is seeing others through the window of this room. So the subject is nothing but a spectator, or to be more precise, an observant spectator. As a director, Alfred Hitchcock interprets the spectator as a significant organ playing and reacting. The spectator is the only eye in opposition to the object, and according to Plato, if the eye wants to see itself, it must be looked at with another eye. The subject sees himself through another eye, and realizes his existence. In order to realize this flow, the viewer, as he enters the filmic experience, deals with the image as a narcissistic unification with the subject, and then, as he moves away from the imaginary and enters the symbolic world, his desires turn into images. This is the moment when the spectator stares at the symbolic entity or the inner reality of the image. It is the moment of being stitched and getting united with the other, which faces the viewer with the contradictory and fragmented nature of his desire. He seeks his pleasure from the sight of the object, in another unconscious, and remains confused between his self-awareness and unconscious. Here we face a hypnotic imposed on the subject (spectator) due to the collision of excess consciousness with unconsciousness or emptiness. Hypnosis is the dominant space of this symbolic world, a trance and a fluid stillness of different scenes and sequences that engulfs the viewer. It is a common experience for the subject, while he watches movies, commercials and commercials. Even when we walk in the streets, we inevitably encounter giant pieces of environmental advertising such as billboards, posters, stands, and such and are caught in the spell of advertising. The viewer suffers from blindness due to excess consciousness. Being imitated by propaganda, he now imitates someone else in the symbolic order. Advertisements create frames where one seeks his identity, as Lacan always refers to the subject as "lack of identity." In pursuit of this goal, the advertising industry emphasizes the importance of the cognitive processes of the cognitive process, which is the escape from rational constraints and the alternation between logic and the unconscious. This research that is about the process of attracting and motivating subject(viewer) was focused on three cases of advertising teasers such as Korean company LG’s 84" UltraHD television set ‘Meteor Prank’ (2013), emphasized the superior quality of the screen. Furthermore, the food company SideKick set ‘Salty Mask’ (2010) emphasizes less salt as a remarkable advantage of its product. Then, Apple’s iPhone 5c company set ‘Designed Together’ (2014), which affects appears in graphical shapes and colors as one of the best designs for a cellphone space. Today, advertising goods has become one of the primary and essential pillars of human life, and even advertisements or commercials form the basis of some cultures. The seductive “gaze” of the advertisements causes the spectator to get bored and consequently blind, and engulfs the viewer like an artificial dream. Lacan refers to this in his eleventh seminar, and explains it this way: The status of a person during sleep and dreaming is like one who does not see and only follows. When a person looks at commercials with the gaze of the object, he passes from one space to another, from the physical or real space of our existence to another imaginary space or fantasy within the story. In order to satisfy his desire and need, he merges the space and language of the prophecy of advertisements. The source of this prediction is in the whisper coming from the depths of the discourse of these advertisements; the discourse that the spectator considers to be true, the discourse of the unseen, confusing, and astonishing him. This effect is created by breaking and destroying the symbolic space's realism and filling the spectator with an excessive consciousness or blinding him to the lights around him. Following this process, the subject becomes confused and thirsty to possess the product or advertising object, as he is trapped between his desire and unification with the other. The method of influencing and attracting the audience by the designers of commercial teasers emphasizes the feature of this view within the symbolic order, which is inconsistent and different from the general process of the story, plot or image that breaks the regular rhythm and expectation of the real subject. It creates an attractive distortion that stares at the subject and stimulates his gaze and feeling. This gaze can take place for the visual items, color, concept or even the sound elements.

Laura Mulvey is a prominent figure in film theory from 1970s. Her work is particularly remarkable, though controversial, in regard to feminine appearance on the screen.Stasis is central to Laura Mulvey’s film theory. In her essay Visual pleasure and Narrative Cinema (1975), she criticized the role of patriarchy in Hollywood cinema. Mulvey suggested the theory of Patriarchal gaze based on Lacan’s Gaze Theory. She states that the presence of woman is an indispensable element of spectacle, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. In Death 24X a second: Stillness and the Moving Image (2006), she points out that now she is more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame. In fact with the advent of the digital cinema, the photographic base of cinema come to the fore. Mulvey tries to reformulate the idea of spectatorship through the perspective of time. She indicates that the everyday reality that video and digital media have opened up new ways of seeing old movies reveals up the significance of the dichotomy of stillness and movement. In fact, the use of new technologies results in the possibility of returning to and repeating a specific film fragment. Return and repetition necessarily involve interrupting the flow of film, delaying its progress, and, in the process, discovering the cinema’s complex relation to time. Mulvey is the first person to link Abbas Kiarostami’s Cinema to the Lacanian concept of the Real. She explains that Kiarostami’s unrepresented tragic earthquake is the same as the manner of the Real which is invisible, but has a significant presence. She argues that the tragic earthquake which destroyed the village is left intentionally unseen, unrepresented by Kiarostami in the following two films. The lack of any kind of re-enactment creates a situation where the actuality of the invisible yet traumatic is unquestionable- exactly in the same manner as Lacan describes the order of the always hidden Real that is behind or beneath any phenomenal appearance accessible to direct experience. In addition, representation of the gaze is considered the result of the style of a filmmaker who is best known as a self-reflexive filmmaker. This article discusses the Cinema of Abbas Kiarostami through a Psychoanalytic perspective based on the contradiction of stillness and movement in Mulvey’s film theory. The main issue to discuss is that how Mulvey considers the cinema of Kiarostami as delaying and immobile while his use of car and consequently movement is a persisting feature of his cinematic oeuvre. The result is that Kiarostami‘s cars respond to a relational conceptualization of space in mobility and breaks away from the conventions of representation in which space is considered fixed which carries specific and symbolic meanings. However, the sense of mobility emerged from a wandering car ends up to stillness through repetition and return that affect the spectator’s memory.

Traditional social science often fails when deployed to explain complex human action. In each specific social field of human endeavour¡ including planning¡ experienced actors draw on a range of conscious and unconscious performative knowledges to act with effect: the experts simply ‘know’ what to do. Some thinkers¡ suggests that to understand these complex human dispositions framing practice requires a detailed understanding of the particular¡ not the universal. Drawing on Aristotle''s intellectual virtue of phronesis¡ Also¡ planners and social scientists refers to this as a phronetic social science model. This article suggests that Lacan''s theoretical insights and conceptualizations pertaining to the split human subject¡ divided between symbolic consciousness and unconscious affect¡ can help to empower this phronetic model. The article argues that a Lacanian inspired phronetic model is particularly useful for understanding spatial planning and related urban policy discourses¡ for it provides insight as to how desire and resultant ideological fantasies shape our shared social reality and spaces of habitation in our globalized world.
Why is it so difficult to define concisely the meaning of ‘planning’ and many of its dominant concepts—public interest¡ new urbanism¡ sustainability or smart growth—when deployed in formulating urban policy? Lacan''s discourse theory suggests an answer based on an understanding of our human subjectivity¡ a subjectivity that implicitly seeks to overlook contradiction and ambiguity in our desire to fulfill human aspirations for a harmonious and secure world. This article will use Lacanian theory to examine the beliefs of the planning profession¡ how they are shaped and then implemented in our urban environments. In particular¡ Lacan''s central theoretical premise of the Four Discourses will be explained and related to planning policy formulation. That is¡ how planners'' acquire and internalise the discipline''s diffuse sets of values¡ beliefs¡ knowledges and traditions¡ prior to then imposing them as urban policies on society.
Can you succinctly and clearly define what planning and many of its guiding principles —such as the public good¡ sustainability¡ or even market forces— actually mean? For many of us¡ this is difficult to accomplish. Lacan provides an explanation for this challenge based on his theorizing about human subjectivity— how we acquire the identifications that constitute ourselves as planners. The article will deploy Lacan’s explanatory power for understanding how the professional identities of planners and the central ideas constituting the planning discipline are interrelated. Particularly¡ Lacan’s theoretical model of the four discourses will be used to explore planning education and how aspiring planners acquire and internalize the discipline’s often-diffuse sets of traditions¡ beliefs¡ knowledges¡ and values.
in fact¡ This article examines Lacan’s psychoanalytically derived social theory as to its appropriateness for understanding aspects of planning practice. Lacan theorized not only about language and culture¡ but also about that which resides outside of symbolization and underlies human desire¡ to provide an understanding of human subjectivity¡ identity and motivation. We discuss how a Lacanian critical social theoretical approach could be pertinent to analysis of the complex mixture of hybrid processes – technical¡ collaborative and political – that comprise planning development assessment.

In protection of cities and their cultural monuments، considering new requirements of citizens and preservation of their historical identity at the same time are desired and often seems contradictory. Responding to these seemingly contrasting approaches، which one regards to the present and future، and the other to the past، is very important. In this regard urban identity has at least two dimensions: the first one is the reality which is not seen، and the second one is the physical aspect of it. The renovation of the old fabrics should have a theoretical basis and framework، according to which، the physical aspects of identity along with the socio-cultural and hidden ones، should be taken in consideration at the same time، in order to preserve their identity. The authors believe that the solving the challenge between preservation of identity and urban renewal of old fabrics without consideration of process of giving identity and its layers of meaning is not possible. To achieve this framework، the theories of Jacques Lacan (1901-1981)، French intellectual of the 20th century as psychoanalysis، theoretician، lecturer and one of the most influential have been considered. Lacan''s insight into human desire، identity and belief sheds a new light on social studies. This paper has tried to demonstrate how low levels of place identity make the “literature of planning and design in global scale” and then in higher levels with richness of place identity the “language of planning and design” is formed. Finally in order to complete the process of urban renewal in historical fabrics considering the value of each product from physical، functional and meaning point of view، what aspect needs to change or has the potential and in what extend. To do so، the concept of renovation has been highlighted and its different aspects and dimensions have been explained. The fact that the “physical” and “functional” aspects were focused more than “meaning” was obvious in this part. Concerning the process of change through the time، due to the flexibility and evolving nature of “functional aspect” it has been subject of transformation more than physical aspect and especially meaning one. The theory of Lacan bridges between language، meaning and identity. He sees language as the system of difference which articulates identities. In a proposed model in two levels، the position of “signifiers” and “signified” is demonstrated. It has been tried to identify what is the place of “identity” in this regard and related to the task of urban planning and design. The sub-codes which give multiple meanings to this system could be taken in consideration in order to preserve different aspects of identity in urban renewal. This theory emphasizes on evaluative and changing nature of identity. In studying architecture and urban design two kinds of meaning could be identified: explicit and implicit. The explicit one is perceived by recipient more simply and easy because of the “one by one” relation between signified and signifier; but in implicit meaning the relation is not the same. In implicit one، receiving different meaning becomes possible and through this complicated relation “metaphor”، “symbol” and “sign” are arose.

bstract zerbaijanis are among the pioneers of drama and theatre in the Middle East nations. ajaf Bey azirov (1854-1926), the second Azeri dramatist after Mirza Fathali Akhundzadeh. He had reated ive comedies, before he produced Tragedy of Fakhreddin (1896) the first tragedy ritten by Caucasus uslims. It is generally believed that Vazirov followed the dramatic style of his orefather’s omedies, but there are evident deviations, the most important of which is rejecting khundzadeh’s endency towards a final reconciliation. This structural division is in parallel with the ontrast between omedy and satire in Northrop Fry’s genre theory, where both of them are regarded as arrative literary genres. Comedy favors reconciliation while the aggressive spirit of satire rejects it. Satire is not merely a genre, and is more generally considered as a mode -i.e. a way of representing charactersnamely ‘low mimetic’ in Fry’s account. This paper is reveals a sociological approach of satire in first six plays written by Vazirov, based on concepts borrowed from the psychoanalysis of Jacque Lacan. Based on interplay of the Imaginary and the Symbolism in ‘mirror stage’ theory, it is shown the Vazirov’s emphasis on the ignorance of his people is intermingled with the ideological hegemony of the Russian colonialism. Then it is shown how the possibility of a sexual satisfaction as the traditional symbol of reconciliation in comedy, is usually hindered by a feminine character, known in psychoanalysis as the dominance of Maternal Superego. This is interpreted as a reflection of the exclusion of Muslim inhabitants of Caucasus from the symbolic (political and institutional) structure of their society that is a way of ‘foreclosure’ of the ‘Name of Father’. This crisis of identity causes a chaos that gradually disintegrates the moral and formal coherences of Vazirov’s narrative on one hand, and leads to moral aggressiveness towards people on the other, that makes satire an imaginary subjection of them to an indigenous institution. Finally Tragedy of Fakhreddin is interpreted as a fantasy where the author imagines that the satisfaction of the losses has led him to satire. In summary, the author’s approach to form and structure as a whole is interpreted as a reaction to the politico-social discriminations imposed by the colonial conditions.