نشریه جامعه شناسی هنر و ادبیات
سال دوازدهم شماره 1 (بهار و تابستان 1399)

The present article has been written with the aim of investigating the role of cultural and social approaches in music analysis. For this purpose, descriptive-analytical research method has been used to do it. It can be said that music is a kind of communication that has common perceptions and relationships in the context of society. In general, musicians, artists, and writers, on the one hand, and those on the other, such as listeners, viewers, and singers, form these relationships in an interactive network. From this point of view, music has two identities: one as an artistic activity. And social, as well as a production process centered on aesthetic and artistic mechanisms. Each type of music has a specific identity, which affects its social target groups. Interactions between music and society are among the topics covered in this article, as well as in the field of social and cultural studies in music. The theoretical activity of thinkers in music sociology is often related to comparative musicology and includes the search for the effects of social and cultural context on the production and consumption of music. However, the sociology of music, like ethnographic music, is not limited to ethnic and national identities.

The study of art in its social context has a long history in art studies. One of the most important branches of historical art research, which has a sociological approach to art and artists, emphasizes the art analysis in the cultural context. Ervin Panofsky is one of the pioneers of this approach who provided a way to analyze the visual arts in its historical and social context by defining iconology. In this way, the meaning of each visual element is described in direct relation to cultural, social and religious roots, in three layers or three semantic levels (including pre-iconography, iconography and iconology) and finally, interprets the art works.In this article, which has been done in a descriptive-analytical method with an iconological approach, the symbol of the “Octagonal Star” has been studied in a social and cultural context. The “Octagonal Star” is one of the symbols that can be seen in Iranian arts since ancient times before Islam, repeatedly. After Islam, especially during the Shiite periods, the use of this symbol has become more widespread that is not comparable to other kinds of geometrical stars in the history of Iranian art. This abundance is quite evident in Iranian contemporary art, especially graphics. In this research, the reasons of the popularity of this symbol is studied and analyzed in the context of society throughout history up to the contemporary era based on Ervin Panofsky's iconological method.

With an analysis of condition and cause about female omission from Hay Ibn Yaqzȃn treatise, the present article is trying to show that male thought in the field of philosophy, how reproduce woman's social inferiority in its allegorical texts. By checking out women who are fruit of tree as a familiar tenet in an imaginary geography, moreover explains that geography emphasizes through woman's herbal-supposition to this social reality that in comparison to men, women are closer to the nature than to the culture. And by this sentence, reflects woman's subjugation in society. So the presence of Wȃq Woman-Fruits in the text of the above treatise is compatible to removing the female from the text and has no contradictory. Because both of them show an identical reality which is woman's subordinate.

The present research is devoted to the analysis of banknote motifs after the Islamic revolution scenes as part of the reflection approach in sociology of the art. This approach examines any social developments and their reflection in works of art. Accordingly, the main question is what effect the social developments after the Islamic Revolution had on the formation and variety of banknote designs and to what extent they represent these events. To achieve the goal of the research, the designs of 35 banknotes from 1979 to 2017 were examined and adapted to the social changes of the banknote printing periods. The results show that after the orders of the great founder of the Islamic Revolution to dismantle the works and symbols of Taghut, all these elements were removed from the banknotes and social changes such as the formation of constructive jihad, people's marches during the Islamic Revolution, The liberation of Khorramshahr, nuclear Iran, the growth of science and technology, as well as the borrowing of the components desired by the government from the religion of Islam have been evident in the design of Iranian banknotes after the revolution, and their reflection can be seen in these works. The present research is based on the fundamental purpose, methodological and historical, and descriptive-analytic. The method of collecting information has been the library and field practices.

Socialization in professional groups is one of different types of sociability which refers to the process of learning roles, values, norms and skills related to profession or a social group. The aim of this study is to discover the professional socialization process of non-academic theater actors in the city of Tehran as a professional team. It also attempts to recognize the process through which a novice actor becomes a professional team member. Achieving this goal is followed through understanding "The story of becoming an actor" of interviewees under conducting Grounded Theory. Of all conditional/contextual categories, "the context of agreement" as core abstraction and among procedural/interactive categories, "experimenting heterogeneous" as a core category are employed. From the combination of these two categories, the ultimate central category was obtained: “Gaining experiment in the context of heterogeneous agreement”. This category represents a non-coherent and non-intended socialization which shows a falling and rising action towards professionalization. This process mainly happens through scattered experiences gained from more experienced people who appear on the way of non-academic casts.

English Ken Loach's film "I, Daniel Blake" is an English leftist filmmaker who won the Cannes Gold Palm prize. In this film, Ken Loach, while criticizing the eroding bureaucracy of the British social service system, deals with something larger than the administrative bureaucracy; he challenges neoliberalism in a highly poignant, influential political drama. In this study, we attempted to analyze social theories using the film's sociological theories, the last made by Loch. This paper, using two common approaches to film social analysis (reflection and shaping), shows that the film "I, Daniel Blake" is not an accurate "reflection" of British society and has some scribbles, but Ken Loch is aiming at "shaping" public opinion. His main focus was making this film successful. It has also been explained by the theory of "social realism" that, although the film is not an accurate reflection of the filmmaker's intended community, why the film's main character is believable to the viewer, and "I, Daniel Blake," has received critical acclaim. Has it been?

Travel literature is among valuable and first-hand historical sources of every society that can serve research. During the Qajar era, which is a significant cultural, social and political periods and a turning point in Iran’s history, many travelers visited the country. After returning to their homelands, many of them wrote their journey memories. Apart from some content or methodological shortcomings, these written memories are valid historical documents that narrate Iranians’ traditions, lifestyle, social conditions, and administrative organization. The present research study seeks to investigate the narrative concept of “garden” from the perspective of Qajar texts and travelogues. It attempts to answer the following question: Is it possible to form the concept of “garden” through investigating narratives of Qajar travelogues and texts? The present study is qualitative in nature and historical-interpretive in purpose to figure out phenomena based on the meanings that people attach to them. The research strategy is narrative enquiry and in terms of form, the study can be classified as oral history. Results suggest that travelers’ views on “garden” can be classified into three forms of narratives: residential garden narrative, governmental gardens narratives, and recreational gardens narrative. The majority of historical documents pertain to the reign of Nasereddin Shah, while no travelogue was found from Mozafareddin Shah. Equally shared and found among all narratives is the importance of garden in that historical period. Most travelogues and texts confirm that during the Qajar era two thirds of Tehran comprised of large gardens that were mainly emphasis on Golestan Garden.

This research peruses the main characters of the three story collections of "Shab neshini Ba shokoh", "Azadaran Bayal" and "Dandil" by Gholamhossein Saedi, based on the formative constructivism approach. The characteristics of main characters would be identified and analyzed considering the social and cultural conditions. This study indicates that there is an equivalence relationship between social events and the author's characterization. The author's collective awareness and worldview as a writer, psychiatrist and intellectual has caused the imaginary world of his stories to be full of characters, each of whom is a manifestation of social problems and shortcomings. The characteristics of the main characters in these three series of stories - which published right after The white revolution or the revolution of the king and abolition of the landlord-slave regime, reflect cultural and social issues.Issues such as lonely, psychotic, passive, and problematic characters in Saedi's stories point to problems caused by the lack of growth and dynamism of society. The contrast of tradition and modernity, poverty, illiteracy, authoritarian culture, and inefficient administrative structure are the most important factors that have influenced the Saedi's story characters.