جستجوی مقالات مرتبط با کلیدواژه « phenomenology of place » در نشریات گروه « هنر و معماری »

This article examines the meaningful experience and perception of place among the technical characteristics of Yasujiro Ozu's cinema in "Tokyo Story" and works in the framework of Martin Heidegger's phenomenological approach due to the centrality of "meaningful experience of place." It is assumed that the meaningful experience of place in the technical characteristics of "Tokyo Story" is in accordance with the resulting components of Heidegger's phenomenological approach to place. As a result, the formation of this correspondence is raised as the research question. The current research is a qualitative type and is carried out by phenomenological method due to the importance of experiencing the place. Data have been collected based on reading books, observing the examined sample, and drawing a sketch of the understanding of the spatial relationships of the movie locations.The result indicates that in Ozu's mise-en-scene style, features such as repetition in the design of the graphic pattern of the backgrounds, repetition in the display of key locations, selecting nature in accordance with the mood of the characters, precision in the use of objects, uniform, and focused lighting, emphasizing the movement of the characters and creating spatial depth have caused the place to be defined based on Heidegger's phenomenological approach by fixing the place in the memory, evoking the imagination and allowing the characters to reflect on their position, perception in a broad environmental context concerning the elements and components of the surrounding environment. Furthermore, in mise-en-scene style, by expanding spatial connections between inside and outside, giving identity to places regarding social, cultural, and environmental contexts, defining limits, paying attention to the emotional aspect of the experience, perception of place in the context of daily life and human activities, direct experience of place, the variety of perceptual experience, and the possibility of interaction with others, the phenomenological approach to the place is adapted. In cinematographic features (low camera height and long take), considering the variety of perceptual experiences in viewing the place due to the low height of the camera, the perception of the place in the context of a comprehensive environment, the possibility of tactility experience, and fixing the location in the memory through the long take, the connection with the phenomenological components of the place is inferred. In the film editing style (shot-to-shot relationship by the establishing shots), by defining the place through the elements and details of the surrounding environment, man and his activities, the expansion of spatial communication between inside and outside, and the possibility of fixing and perpetuating the place in the memory, linking with the phenomenological discourse becomes obvious. Lastly, film sound (environmental sounds specific to each place and sounds outside the frame) with the possibility of perceiving the place in the auditory sensory experience, the experience of the place regarding the surrounding environment, the expansion of spatial communication between inside and outside, stimulating the imagination of the audience to visualize the spatial reference of the sound and the estimation of the size and scale of space, justifies the affinity with Heidegger's phenomenological approach to place.

The experience of architectural space and place in cinema takes place in different dimensions. The technical characteristics of the film have been the subject of more research since they are more objective. Nevertheless, there is another dimension in which the experience of a place is reflected in the screenplay's structure through the scene's description and the characters' dialogue. In such a context, regardless of the technical norms and limitations of converting words into cinematic images, the characteristics of places and the relationships between characters and those places are freely and profoundly described and emphasized through words. This research examines the narration of place in the screenplay of “Tokyo Story” by Yasujirō Ozu and Kogo Noda. Because of the centrality of the experience of place, the significance of the subject's (Man) relationship with it, and the narrative's focus on the effects of modernity on human life and relationships, a phenomenological interpretation of place based on Martin Heidegger's philosophy is considered. This article aims to provide a phenomenological comprehension of the architectural elements that influence how the place is narrated in the “Tokyo Story” screenplay and then explain the subject's relationship with the place based on this interpretation. Since it was significant to know how to describe and experience the place, the research was conducted using the phenomenological method, and the screenplay review was also performed using the text content analysis method.In the phenomenological understanding of physical and non-physical components in the description of a place, its characteristics are revealed regarding the surrounding environment and the context of its placement, daily life, people and their work and activities, the natural atmosphere of the place, direct experience, and auditory sensory perception. In the relationship between the subject and the place, also different relations, such as the feeling of dwelling or homelessness; emotional dependence or distance, incompatibility, and alienation towards place; reflecting upon the state of dwelling, attempting to establish the place in the experience, and connecting the inner feelings, emotions, feelings, and memories of the characters with the place are all understandable. Beyond these, the findings of the research show that places can play a role independently in accordance with the content of the narrative regarding the effects of modernization on the disintegration of family relationships and reflect this break.

One of the most crucial issues encountering researchers who are concerned with preserving and perpetuating cultural values in the present era in the field of Iranian-Islamic architecture and urban planning is the issue of overcoming formal and physical descriptions and gaining a deep understanding of the nature and essence of the buildings. Since every building is a form of embodiment of ideas and worldviews of its builders and is additionally a metaphor of their existence in the world, a correct understanding of the building can enable the reproduction of historical identity in the present era. The purpose of this study is to analyze the structure of the tomb of Shah Nematollah Vali based on these assumptions that the ontological implications of the elements can be explained as meaningful signs of the structure of their interrelationship. In the present study, the philosophical foundation of research is interpretivism; the research approach is qualitative, and the analysis method is phenomenological. In analyzing the experience of space and the relationship between the building and the city, the following three assumptions were examined: 1. The hierarchy of spatial relations from the urban space to the dome creates a sense of spirituality in individuals. 2. The presence of four Classic Elements in successive spaces affects users’ perception of space as a sacred one. 3. The presence of four Classic Elements as meaningful signs in the space increases the sense of place in pilgrims. To examine the above assumptions by analyzing the lived experience of people in the building, a questionnaire with 20 questions was prepared and distributed among 85 pilgrims and specialists. Data analysis shows that the manner and extent of the presence of four Classic Elements in consecutive scenes of the shrine of Shah Nematollah Vali, has a significant relationship with the perception of mystical meanings and spiritual journeys in the minds of the people and leads them to experience a different perceptual quality in each courtyard. And be more prepared to reach the shrine and pilgrimage at any moment.

The techniques used in this article, qualitative, descriptive, analytical and data collection methods were used libraries. In this study, in addition to explaining the phenomenological perspectives concerning place and non-place, Akbar Radi’s viewpoint towards them are also taken into consideration. Among the contemporary playwrights of Iran, Akbar Radi’s views are much close to the phenomenology of place. The importance of this study is due to the fact that Radi repeatedly refers to the concept of place in his plays. A deep, exquisite, and new view towards place can be found across the works of Radi. He not only examines the sense of belonging to place, but also make his characters to encounter with it. Radi knows the spirit of the place, he is aware of sense of place due to walking in fog and a wet pavement. He is aware of the wind whisper and the sense of being in the forest and fog. Furthermore, he has been much successful in conveying the sense of place in his works, up to the point that his work are full of the meaning of place, and such places become easily believable to us. The purpose of this study is to find spaces, places as well as non-places in two plays of Radi, i.e. "Night on the Wet Pavement" and "Stairs"; to classify them; to understand the impact of place and non-place on the individual and the individual's reactions to them; to find the spirit of the place as well as to reveal the existence of a sense of belonging to place in Radi's characters. This is a pioneer research in this field of study

This study applied the phenomenological approach and the analysis of "place" in a play "Gozaresh-e Khab" by Mohammad Rezaei Rad. With this approach as a theoretical framework to the test and evaluation of view, as not merely a theoretical and practical approach to the analysis of dramatic texts. To achieve this goal, the evaluation of the above-mentioned case studies based on the ideas of Gaston Bachelard in The Poetics of space. Methods to determine the selection of indicators and key fundamental Bachelard (location, space, space mining and the house reading) and then, at the same time they are being phenomenological analysis, the play. Based on this, researchers at an early stage, the main hypothesis of the study, to answer a key question about the application of the definitions and views of Bachelard in an unusual way "home reading" he -In the play-evaluation and then play with two the other question, the most important indicators and audit measures in this analytical approach, such as objects, borders, multiple world time and fluidity of study samples are analyzed. The results can be summarized thus: Bachelard's ideas and methods of analysis, expression and the use of the house and its accessories (including people and objects) by the author plays. Also, compatibility and consistency in narrative structure, markup and places of work, confirmed the imaginative ideas of Bachelard in the way of phenomenology and phenomenological approaches to testing and analysis also suggests the dramatic and narrative texts.