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

The present paper aims to answer the following key questions: Why the script ofSeparation cannot be reduced to a full abstract? Why are Nader, Simin, Termeh, the divorce judge, and to some extent Nader’s father are personages, but Razieh, Mr Samadi, Somaieh, Mr Samadi’s sister, nor the judge in Razieh’s case against Nader are not? Why Razieh and anyone else from her family have no activist role? Why the narrative hasmultiple plots? How is a narrative with multiple plots conceivable? Is it possible at all? To answer these questions, it is assumed here that despite its many features, the script is possibly defective, and hence the above questions. To prove this, the authors begin with the movie’s strengths, and then move on to focus on one of one of deep, main elements of narration, namely the plot, to show that each sequence of the film is beautiful on its own but weaknesses emerge in the array. It is exactly at this stage that the plot shows these incorrect arrays.

The purpose of this research is to study the modern structures used in the form of modern plays which are manifested in their plot. At first, elements shaping the plot will be introduced and explained in the article by defining the form of play and recognizing the plot as a specific form of any play. Then the function of play features in the plot will be analyzed. Thus using Sam Smiley's viewpoints on the concept of dramatic form and its structure and also formalist analysis approach of dramatic texts, modern structures involved in the formation of play's plot will be reviewed. Accordingly, a play written by Naghme Samini and Mohamad Charmshir in the recent decade (2004-2014) is selected and data collection and sample analysis will be done using descriptive-analytic study, library method, and direct review of texts. The results show that the plot of these plays has a deviation from direct progress and a fragile causal structure. Elements involved in the continuity of the plot are evaluated as having abstract logic and its embellishing components create levels of surprise, anxiety, tension, and pause in plays by crossing the traditional forms.

The documentary Shahrokh narrates the life of Martyr Shahrokh Zarghaam. The present paper intends initially to demonstrate the narrative mechanisms of this documentary. It then moves on to show how the structure of the myth of ‘Horr’ appears in this narrative, and what the structure of this myth is. There are also recurring glances at the question of why the meta-narrator has used this genre (film–documentary) for Shahrokh’s story, and what beliefs he has been trying to induce. In order to answer these questions, it is shown what meaning-making techniques are exploited, and how singular signs are integrated into a unified meaning system; put differently, how the meta-narrator makes the meta-reader believe that the only truth is what he says.

Needlework was originated in the city of Kashmar and TorbatHeydarieh from the taste and gusto of the people of this land, derived from the beliefs and faith of artists women in those lands, which have unique forms and designs. Although, at first glance, these works seem simple and elemental, but visually have a coherent structure and, in addition, have meanings and concepts. The article studies the effects of needlework from the perspective of anthropology with three approaches of aesthetics, functionalism and semantics in this rich cultural-value area. The purposeful study of eight villages in Kashmar and TorbatHeidarieh cities shows that these works can be divided into three forms of human, plant, and birds and animals.These works are a manifestation of a vibrant and beautiful environment in the aesthetic dimension, respect for nature and its preservation, the wish of refreshing gardens in the dry desert atmosphere of this area and the beliefs and faith concepts of people in the manifestation of animals such as mountain goat or manifestation of blessing and caricature in the Semantics dimensions. In the functionalism dimension, we should refer to using of these works in various forms of application in their simple living environment such as Prayer Mats, bundle, and others.What deserves to be mentioned is the trend of the line of life and the hope of the family in this area that make the rural woman doing such works, although primitive, but meaningful.

Research purposes:

1. Classification of the form and style in the needlework works of the Kashmar and TabatHeidarieh
2. Analysis of needlework works of Kashmar and TabriyatHeydarieh from the Art Anthropology Perspective

Research Questions:

1. Needlework works of Kashmar and Haberdahi regions based on their design and style, are divided into how many categories?
2. How can the forementioned regions needlework can be analyzed from the art Anthropology Perspective?

Non-narrative elements encompass a broad set of formal techniques, ranging from visual elements to musical forms. The use of camera movements, lighting, actor's clothing, and even the space selected for various scenes of the film can play a major role in creating non-narrative elements. Furthermore, the use of organized specific parameters and stylistic techniques leads to creating a sort of narrative that is called parametric narrative. Since there is no explicit implication for the application of these specific stylistic techniques in parametric narrative, and on the other hand we cannot also consider implicit meanings and implications for them, the ultimate function of such organized stylistic techniques can be considered to be in establishing such a strong internal norm in the film; a norm that in most cases shows the mastery of film's style on its plot and story. That is why the themes used in this narrative style are selected simply to prepare space to highlight the stylistic structure of the film. Non-narrative elements, unlike the parametric narrative elements, usually have implicit and conceptual meanings. In fact, non-narrative elements try to penetrate the hidden layers of meaning in line with the general meaning of the film. So, essentially a dual role can be considered for non-narrative elements. This means that on one hand, these elements, having hidden layers of meaning, will increase the conceptual dimensions of the artwork; and on the other hand, due to their formal properties, they enrich the artwork in terms of shape and form. So it can be said that non-narrative elements play an important role in the aesthetic expression of the film. However, these elements constitute only a part of the style-oriented techniques of the film. The shape of these elements and the techniques used to display them suddenly impress the audience and makes him to step down for a moment from the normal world of the film and to immerse in depth of the entity of characters or their inner world. But the point that should be noted is that where these elements refer to people insights, they dont purely express personal and psychological aspects of people. This means that they do not contribute in the characterization and expression of personal attributes; a task that is done mainly in classical narrative by well-known arrangements. These moments are like a kind of Revelation of time for the character of the film and sometimes for us - a search for a meaning which may even doesnt exist. From this perspective, non-narrative elements are the mere expression of being in a pure emotional moment, which is less definable. Although a type of formal similarity is seen among the non-narrative elements used in a film due to the overall style and atmosphere of the film, in general, such a similarity is seemed to be more a result of the common theme of the film, because in terms of conceptual expression, each of these elements recount a part of the hidden meaning behind the film at that particular moment.

The purpose of this article is to illustrate Greimas’s method. Greimas is one of the major structuralist of Paris Semiotic-Semantic School who has specifically accentuated the structure of narratives. In this article, I will introduce the narrative structure of narratives in the light of Greimas, and will answer the following questions: what is a narrative? And which is at least a narrative? As a case study, I will analyze the narrative structure and the plot of the book The Sunless Wanderer. Then I will answer these questions: is this book a narrative? Does it follow a coherent narrative logic (internal coherence)? If so why? Is there a fixed pattern (a triple: beginning, middle, and the end) present in this book? Later in the second part, I will try to have a structuralist analysis of a painting based on Greimas’s method.