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

This study has compared Meaning interaction of opposition in Maurits Escher's "Day and Night".oppositions are the dominant principles of the material world and the mankind is also a combination of body and soul.Undoubtedly,the meaning can't be without reflection in human art,The art sometimes reflects the oppositions and picture then in frame of symbols and signs.Oppositions in artistic works don't mean oppositions and in some works can complete each other and can gain meaning alongside. For comparative study of means of opposition with visual arts,it was necessary to choose an indicator artistic work.Hence, this work was selected as the most opposing artistic work of contemporary age by Maurits Escher's.The main objective of this study is to understand the concept of opposition and deriving that in "Day and Night" painting, which shows the artistic functions of the theory in adjustment with visual artistic works.This is because; the form and content of this work has abundant oppositions and is wonderfully full of opposing values in terms of form,expression,structure,color,images and motifs and illustrations.The main research question is the amount of adjustability of the theory of binary opposition of Derrida on visual illustration works and how to analyze its visual functions?The results of this study,which is done using comparative and analytical method,shows that the number of binary opposition in Day and Night Painting reaches to 7 items and includes content and narrative binary opposition and can be adjusted with Derrida's theory in terms of generalization of them to artistic functions of basis of visual arts

Theatre and performance create a theatrical atmosphere by using and combining images and words. The theatrical atmosphere is perceived by audience’s imagination and changes to meaningful signals that convey the meaning of the play to them. Space dramaturgy is usually associated with composing, organizing, and processing; A solution that introduces the scenographer as one of the main pillars of shaping the performance for writing through the definition of space. Examining the concepts of the play, visualization, and putting these concepts in broader contexts with the language of image and space, forms the basis of a Scenographic dramaturg, whose the base of work is interpretation, deconstruction, creation and writing new worlds. The present study seeks to answer the main question of how to move from written text to production of unwritten text and performance text, relying on the hypothesis of the effectiveness of the idea of deconstruction theory on the formation of Scenographic dramaturgy in performance. Derrida ‘s studies require a careful consideration of the textual evidence and the logical contradiction that the flow of writing can interfere the interpreter’s attempt to get a united meaning and crystallize new concepts from the text itself by re - reading the dual contrasts, hidden layers within the text, intertextuality, the presence and absence, differentiation, playing with meanings and signs, links and textual breaks. The present research aims to improve the knowledge of designing in organizing the theatrical atmosphere by conducting an interdisciplinary study in order to get acquainted with the infrastructure of foundation - breaking to pass from the written text to the production of unwritten text and text of the performance space. The present dissertation is a qualitative research based on library resources and reputable Internet sites. Undoubtedly, in such studies, the interconnectedness of theory – practice structure, alongside each other can transform fixed patterns and forms, even of the past performances of classical plays.

This research tries to determine the aesthetic position of writing by focusing on the contrast of "writing/image" in the works of Cy Towmbly and Fereydon Ave. Its main issue is finding the writing position based on the relationship between image and text under the aesthetic action of selected artists. This study was carried out by analytical-comparative method. The purpose of the study is reading, adapting and parallelizing Derrida's binary oppositions with the focus on the contrast between speech and writing of two artists in order to provide a basis for reading and of course comparing their individual styles. Interconnected classified concepts such as text and speech, presence and absence, looking and touching are selected from Derrida's ideas.  Studying the similarities between the performance and the product of aesthetic action of Cy Towmbly and Ave based on Derrida's ideas shows that both texts are used as neural scribble and intertwined lines, affecting and the pressure of the pen stroke, support infrastructure, scribbling the spontaneous writings and the use of scribbling as a barrier to representation. However, there are subtle differences in this tendency and using cultural factors, myths and various rituals between the two artists. The results show that the way of illustrating the works of two artists by crossing the hierarchy of images and writing, and relying on the aspect of the pressure of the pen stroke, uses it as the signification process, presence and absence game and indefinable boundaries of drawing/designing conflicts. Both have distanced from purely visual arts differently based on aesthetic function of writing and with the spontaneous hand movements and touching the way of creating artworks.

Abstract This paper aims to deal with some of the most important ideas of Jacques Derrida on theatre in terms of the existing philosophical gap between Antonin Artaud and Samuel Beckett. Assessing Derrida’s notions on theatre studies lead to find an exact reasonable solution for this main question that how his critical views on aesthetics of modern theatre might been employed today as recognized approaches to face with dramatic artworks; and the mentioned issue is actually in priority of this research. The leading approach of this paper is based upon post-structuralism and it covers a range of interdisciplinary records concerned with philosophy and theatre. The fundamental style of collecting and processing the linguistic signs as well as the philosophical facts, follow a descriptive-analytical method that is common in qualitative researches. Referring on many reliable library facts and assessing several linguistic data which are extracted from Derrida’s original contributions and his translated texts in English, this study attempts to lead any possible reader to a new reception of his key technical term, Deconstruction, and its all engaged and related meanings in theatre. It is pre-supposed that Derrida’s perspective on “Theatre of Cruelty and the enclosure of Representation”, in a general sense, could not be simply conceived as his theatrical standpoint but rather, it is a philosophical chance for him to avoid his own real positions on the nature of performance. Beckett, furthermore, has a secret absence in his contributions on modern theatre and literature. Meanwhile, his perspectives on literature and philosophy which are often associated with a branch of poststructuralist studies would act as the starting point of propounding a theoretical challenge for the present study. Artaud and Beckett as two prominent theatre practitioners of modern era are in their own selves typical of a paradox in terms of their performative attitudes and techniques. Deconstruction, as a new philosophical approach to literary texts and signs, could be applied for theatre studies. Re-exploring the matter that whether Derrida and his philosophical teachings are naturally applicable in contemporary challenges of theatre and doing a critical reflection on measuring the interpretability of dramatic artworks based on his view points, are among the main purposes of the study. On the other hand, it intends to present reliable judgments on Derrida’s terminology and the manner which they are broadly used in Iranian academic papers and discourses. The limits of its verifiability, accessibility as well as the accuracy of his critical point of views on theatre would be examined. In conclusion, some new propositions on deconstruction there will be propounded which emphasize on the importance of Iranian scholars to reconsider their conventional views on Derrida and his late neologism.

This essay has attempted to apply the main concepts of Jacques Derrida’s deconstruction theory to the Persian painting “The Drawing out of Yusof from the Well”.A methodological frame comprises signification, reversing binary oppositions,aporia, parergon, narrative, intertextuality and decenterism. In a deconstructive analysis,binary oppositions like men and women, day and night, cold and warm colors are connected without superiority. Spectators face questions which have unlimited answers and entangle them in aporia. Considering a parergon will help the spectator come up with another reading or another meaning of a certain text.There is also no center. The center has lost its function. The artist has put the center, which is related to the title, in the corner. The work is not autonomous. It has a relationship with other texts like the story of Yusof in the Qura’n and ancient myths. The signs prevalent in the sketch can also be traced back to other texts. Thus, we can find a deconstructive logic behind this work. There is no final meaning and signification and the artist’s ideas in forming the painting follow Derrida’s concepts and theories.