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

The element of time is one of the most important elements of the story, which, depending on the type of novel, can be simple, chronological or complex and chaotic. Gerard Genet's theory is one of the most practical methods for studying and analyzing the narrative time of modern novels. In his theory, Genet tries to help the narrator to find the body of the narrator (author) of the story by asking about the narrator's chronological position in relation to the events of the story. In this article, we have examined the element of time in the novel "Bamdad Khomar". The research method is library and its type is descriptive-analytical. After reviewing, it was found that some components of this theory, such as the angle of view and continuity, are consistent with this theory. In addition, we can refer to the recurring frequency and the singular frequency, and finally, the events of the novel are given in accordance with the calendar time of the novel and in a regular manner and based on causal relations. Given that this novel is written far from the complexities of modern novels, some other components of Genet's theory such as time span, time elimination are not seen.

To persuade the audience and readers and place the content in their minds, story and poetry are two industries. To be more effective, writers and speakers must have both. Sometimes a verse of poetry or a short story is more useful than several pages of writing or several hours of lectures; Especially poetry, which is more important due to its melodiousness and the use of some literary and rhetorical arts in it, such as metaphor and metaphor, and it has been discussed in the discussion of Sanaa at Khums from the science of logic. In this article, I will explain, examine and analyze the views of Allamah Mohammad Kazem Hezarjaribi Estrabadi (his life coincided with the two reigns of the Zandian dynasty “1163-1209 AH” and the Qajar dynasty “1344-1209 AH” and he died in 1236 AH) in these two categories, and I will provide evidence I present his works and writings. Through a library, information was collected using thousands of printed books and manuscripts left by him.

The Quran was sent as the final miracle of the Prophets to guide mankind. God has revealed many points in the form of stories in order to teach the audience a lesson so that the readers can learn about various issues by thinking about them. In many cases, screenwriters made unsuccessful adaptations due to not knowing enough about the Qur'an. Considering the importance of Quranic stories in understanding some of God's messages and the complex process of artists' adaptation, the authors went to understand the dramatic situations of stories based on the theory of Georges Poletti. The purpose of this purification and assimilation study with the method of content analysis is to identify and explain these situations in the stories of the Qur'an based on the religious approach and narratology to guide the writers. The results show that all the dramatic situations can be traced in the stories of the Holy Quran, but the Quranic stories have more capacities than these stories. Dramatic situations of Deliverance, calamity, Rivalry of superior vs. inferior, Ambition, Conflict with a god and Rivalry of kin are the most frequent dramatic situations in Quranic stories. Four complex and frequently presented situations of narratives, i.e., Pursuit, Ambition, the Enigma, and relative's adventures, were analyzed in Quranic stories. A one-sided religious or dramatic approach does not lead to the production of religious art. Screenwriters with an interdisciplinary approach between dramatic and religious elements should adapt the work of art.

Numerous studies have been carried out on the spaces in a house to investigate the quality of this important place. The Iranian houses can meet most of their inhabitants’ needs due to their high quality. What brings high quality to Iranian houses is attention to their semantic dimensions, in addition to their bodies. However, this is less considered in contemporary houses. To enhance the quality of contemporary houses, it is required to emphasize both the material and spiritual needs of the inhabitants. This highlights the necessity of identifying the components influencing the meaning and bodies of houses in the past to apply them in today’s houses to enhance their quality. To this end, the architecture of the houses can be examined according to the fiction narrating various events in people’s daily lives. In the present study, those stories describing Tehran city from the 1950s onwards in the Pahlavi II period, when the writers’ activities had reached their peak, were selected.

To study the components influencing meaning and body in different spaces of houses, where tranquility and individual feelings have been emphasized, in Tehran in the 1950s-1970s.

This research adopted a qualitative approach. The data was analyzed based on qualitative content analysis and the general plans of houses were simulated based on the extracted components.

The gradual changes in meaning and body of the houses in the mentioned period include the gradual removal of the rooms from the corner of the courtyard, removal of vestibules and conversion of them into the corridor and the hallway, and finally to a separating surface, conversion of the pond into a pool, creation of a backyard at the entrance, creation of terraces on the upper floors of modern houses, the presence of components such as transparency, behavioral diversity, privacy due to spatial diversity, respect for nature, the existence of closed, semi-open, and open spaces in most houses.

Analyzing the role of the artist in human life is a challenging subject because it has always faced many stereotypes. meanwhile, the stereotypes of the genius artist and the engaged artist, with a reductionist view of the role of the artist, have ignored the power of the work of art in human life; Based on the views of Hannah Arendt, this article seeks to analyze the situation of the “artist-activist” and answer the question of how the work of art has affected human life and what is the active role of the artist in society?     Hannah Arendt, with her different perspective on human life, considers artists to be a unique group. He considers art to be a meaningful activity and works of art to a higher degree than other man-made objects. Arendt's thought conceives a special power in works of art; The power that takes these works out of the group of decorative objects and other human constructions and makes it a necessary activity in the society. In other words, the existence of such power in a work of art makes the role of the artist a sensitive situation in society that can affect society through his work. Arendt considers the activity of “action” to be one of the three fundamental and constructive activities of human life, and the most important of them, to distinguish it from the activities of “Labor” and “work”. Although a work of art is created through the activity of “work”, in order to be known as art, it enters the field of "action"; That is, it itself becomes a form of “action” in a field beyond “work”; Thus, the work of art redefines and articulates the public sphere. In essence, the artist in this situation is the one who, through his artistic action, demands a new story for every object in the heart of the public sphere, in order to disrupt the sensory monotony of the dominant story.     In this article, we analyze the role of the work of art in human life from its relation to storytelling to show that the artist can create a new “story” for each object through the work of art in the common world and builds a world of “stories” on the world of objects that are among us. In this formation, the artist is the one who, by creating a new story, destroys the conventional and established meanings, and by creating new meanings and relations between things, questions the immediacy of the obvious. Thus, artist-activist means launching a new story in the world of sensations through the work of art. An artist-activist is one who moves on the frontier of discourses and, by challenging traditional patterns of meaning and freeing objects from their usual connection, reborn that in the realm of art. in this formulation, the role of the artist is not in his direct reaction to the events of society; And it is not in his withdrawal from society, but in his active role in breaking down a particular system of feelings.

Nature is considered as an (positive or negative) active element in contemporary literary works, with an influential role alongside other elements. In recent years, some comparative literature theoreticianshave highlighted the necessityof considering the environment in their works, thus initiating a new approach in literary criticism. This approach concerns the interactionsbetween the environment and the literary text and analyses how the environment is reflected in literary works. The present research is an ecocritical analysis of three stories by BijanNajdi. In these stories, nature is depicted as an activist creatureand an active ‘other’, with a mutual relationship between humans and their surrounding ecosystem at work. Najdi has portrayed an image of nature as an activistwhich occasionally plays a significant role in the progression of the narrative, and, at timesstimulates literary creativity and imagery in the text.Literary creativity based on the nature’s behaviouris a recurring occurence in Najdi.

Simplifying and recreating ancient stories and anecdotes, including thepleasant anecdotes of Kelileh and Demneh, has long been common in thehistory of contemporary literature. Mehdi Azar Yzadi is an outstandingfigure who has attempted such works. I have realized that, except for AzarYazdi, no other writer has succeeded in creating such a connectionbetween ancient literature and contemporary literature. Due to theimportance of cultural continuity and the preservation of the literaryheritage of the past, he has simplified and rewritten the text only in termsof language and vocabulary and a slight change in the details of fictionalevents and sub-events in a way that resembles the original text. Hebelieved that the current oral recitation of many myths is the prevalence ofsuperstition and delusion at this printing time, considering it to have nonovelty and proper choice, and therefore he tried to choose the stories ofKelileh and Demneh while remaining faithful to the story in order toprovide an impressive story for the audience by using simple writingtechniques and creating logical pulls in writing. He has been quitesuccessful in doing it.

During the recent years, despite the suffusion of the globalization discussions and expansion of the relationships in the virtual world, the place and sense of place are still in the focal point of the attention in many of the theoretical and empirical studies. The importance of integrating the objective and subjective approaches into these concepts underlines the balance and equilibrium in concomitantly dealing with the physical properties of the places and the social and cultural values of the society. In this regard, narrating the society’s stories, including memories, beliefs, values and myths in the urban space, would be effective in the strengthening of the bond with them. This is while the majority of the prior stories and events are neglected in dealing with urban spaces and places. Thus, it is necessary to deal with the society’s narrations in the text of urban space as the factor connecting the individuals to their living environments. The present article investigates the role of the society’s stories and their narrations in respect to the fortification of the sense of place. The main question is that how the sense of place can be reinforced and continued by the assistance of the narrations and readings of the society’s stories in the urban spaces? To do so, use has been made of a descriptive-analytical method to firstly review the texts and theories related to this issue and explore the experts’ concepts and notions; then, the primary concepts’ interrelationships are explicated and analyzed. Based on the positive and corroborating effect of the narrations of the place stories on the sense of place and within the format of the layered semiotic approach, the urban space will be introduced as a text and its stories are consequently considered as the textual layers. In order to preserve the coherence of the place’s text in whole, the role and value of the various layers of the place’s text- activities, form and imaginations- should be aligned with and strengthening the value and role of the textual layer of the place’s stories. To display the stories, it has to be specified within a context that which stories are of greater importance to society. Then, the physical and non-physical methods and elements showcasing them should be determined.

Myths are the various incidents or reflection of the struggle between good and evil in human being or creatures that transferring from one generation to another with language. Language is contains of words, phrases and sentences, that became a conversation to exchange ideas. Present in stories, plays and other literary works and similar functions such as entertainment, education and are sustainability as part of their own culture with elements such as sequence of events, conflict and climax and have two-sided communication with the audience and improve the story. But with all the appropriate functions in drama and fiction, the language is disused and caused us to look at something that is Exclusion in our culture. This research raised the theory of language and myth with a dramatic aspect (Story) that is a language in human history, in one of the South legend called ((parrioun)).