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

The basis of criticism in the arts with any reading is attributed to the from of the artwork. Form is the principal and basis which gives birth to an artwork and reveals it.It is on basis of shape, form and structure of any artwork that an artist his/her talent and creative devices and by inventional imagination creates it. Art creation happens to come out in the form shape and beauty is the uncovered and undamental figure which appears in artwork.It is possible to have any critics and interpretations of an artwork through the objects composition and form which is called artwork meaning or concept of artwork, understanding and decoding the core idea of the author, the text antecedent (words chain, shape and color, motion land sounds) to psychological and sociological, historical and mythical fields through the artwork form (shape) and its formality. form is the contact point of an artist and interlocutors and vice versa. If an artwork is taken as an independent object on an artist and interpreted in the historical horizons frequently then what makes any interpretation possible finally is the art form; the¬ essence of which is the beauty of expression. Questioning an artwork may /be done in different aspect such as what does it mean? What has been the intention of its creator? What does the work mean in the present time? How an artwork can convey past historic horizons to the modern era?. Any answer to such questions depends on precise and original information of the artwork form and composition critics analysis.

This paper consists of two parts. First, I will propose certain assumptions regarding semiotics in order to introduce it as a reading method within the structuralist approach. Then, after explaining two distinct types of photography and different “looks” in photography, the main reading strategies of semiotics such as paradigmatic/syntagmatic, binary opposition, narrative, movement, and denotation/connotation will be put forward. In the second part, with certain references to Roland Barthes’s theories, it will be explained how deconstructive reading has certain affinities with poststructuralist semiotics. Through readings of Barthes’s writings on photography, I will explain a shift from the structuralist approach to a deconstructive one in his very last work, Camera Lucida. In this part, the notions of absence, death, indeterminacy, parergon, intertextuality, counter-narrative, polysemy, and finally Barthes’s notions of studium and punctum will be explained. The pictures used for analysis are all taken by Iranian photographers who participated in a photography exhibition at Tehran Museum of Contemporary Arts in June 2006 entitled Silver Windows: Iranian Contemporary Photographers (A Selection of 17 Visions).

At the beginning of the twentieth century, along with the publication of Ferdinand de Saussure and Charles Sanders Pierse's ideas, the semiotics phenomenon was propounded as a new science in discussions related to language, literature, literary and cultural criticism. Semiotics has always been beside structuralism and has always been dealt with as a branch of structuralism. The actual question is whether semiotics is a science by itself and should be discussed in the realm of science or rather it is just a scientific method? This article tries to investigate the present situation for this phenomenon in humanities, art and literature and deals with its background and changes, as well.