نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 67 (پاییز 1399)

In the Iranian cinema, it is possible to find various films that have built their own structure on the depiction of the Boredom of their own heroes. In these works, there are passive characters rising from modernity that do not have affinity with the active characters of the classical cinema. Since these characters are a manifestation of modern human's condition, it is possible to recognize their characteristics by investigating about their encounter with the modern city. In spite of the fact that in the discourses related to modernity, flaneur is often considered as a person who warmly embrace the stimuli and shocks of the modern city, some theoreticians believe that flanerie might be read with what Simmel has regarded as a blasé characteristic of the modern subjects. From Simmel's point of view, the experience of a blasé person is a devoid of "qualities" that leads to a perception based on the "devaluating the whole objective world". Simmel's analyses and thoughts have left a great influence on the ideas of Walter Benjamin in his discussions about concepts such as distraction and boredom. Benjamin believed that when passing through the modern city, in confrontation with assault of the images, the eye would lose its ability to concentrate, and as a result a new kind of perception would emerge. A perception based on the movement of eyes between countless and diverse surfaces and images, which is associated with impossibility of contemplation and concentration: the distracted perception. The main point is that, despite the existence of films focused on the boredom, so far, less research has been done about Iranian cinema that focuses on how to display boredom and blasé, and to investigate the perception of the modern subject in confrontation with Urban modernity based on the ideas of Simmel and Benjamin. Focusing on Gavkhooni (The River's End) by Behrooz Afkhami, This paper attempts to investigate depiction of boredom and blasé in this film based on the ideas of thinkers such as Benjamin and Simmel. In most of the works that try to depict their character's boredom, this concept appears more at the narrative/fictional level, and the filmmaker is not able to convert the sense into cinematic matter. According to the discussed issues in the present article, Gavkhooni (The River's End) is declared as a specific example of Iranian post- revolution cinema, which succeeded in developing the boredom of the character/ narrator into the various cinematic levels. For example, the relation between boredom and narrator is reproduced in relation between him and the geography of the city of Isfahan. In order to visualize as much as possible, the aimlessness and bordem of the character which emerge as a result of daily routine that surrounded him, Afkhami creates a vague cinematic city which is far from real geography of Isfahan. As a result, and according to the findings of this study, it can be stated that Gavkhooni (The River's End) goes beyond mere displaying a narrative about the boredom and has succeeded to improve this sense based on the fundamental features of cinema art.

Nowadays, the concept of sustainable development is progressively considered in all contemporary activities, including art and has been featured in the cinema since2004 with introduction of the term "Ecocinema" as a field of study. Earlier, film criticism and analysis of the ecological issues was limited to the scattered studies of critics such as Wilson, Armstrong, Seibert, Mitman, and Bousé with the focus on wildlife documentaries. But from this year, and within a short time, all kinds of cinematic genres, from fictional to documentary and experimental films have attracted the attention of critics. Similarly, many researchers from the humanities and social sciences have focused on ecological issues in cinema studies. As we see nowadays the expansion of ecofeminist studies, representation of gender, ethnic, racial issues, along with local and global action within the context of environmental and biological justice and ecosystems. Besides considering the effects of cinema as an industry on the environment, part of these subjects is about the social and cognitive effects of cinema in promotion of ecological awareness. In this regard, the aim of this paper is to examine the relationship between aesthetics of cinematic image and environmental awareness of the audience. For this purpose, the relationship between sustainable development and aesthetics is explained first, and then, an attempt is made to classify different ecosystems from a thematic and a range of studies so that later on, the relation between image aesthetics and ecological awareness can be compared. Therefore, the following are clearly divided into two general categories by the experts, and finally a critical analysis of their views. This paper addresses the written views of the experts in this field by using descriptive-analytical and critical approaches. The results of the paper indicate that while all critics agree on the central idea that cinema is capable of portraying environmental issues and A closer analysis of films from an ecological perspective can reveal fascinating perspectives on the relationship of cinema with the world around us, but in terms of the relationship between aesthetics and ecological awareness, there are profound theoretical and intellectual differences that go back to how ecological issues are represented. While some experts such as Mitman, Brereton and Ingram believe in explicitly loading of the ecological message into films based on common patterns and forms of filmmaking, Bousé, McDonald, Vivanco, and Ladino find commercial cinema lacking the power to influence environmental awareness and the avant-garde empirical cinema, which uses different aesthetic forms than commercial cinema to express its subject matter, is the perfect vehicle for projecting ecological issues. Also, the critical examination of the two groups' views reflects three serious challenges in their analysis: 1) In many analyses, the relationship between aesthetics and environmental perception is not based on a theoretical basis, 2) In many works, serious attention is not paid to the main texts of research which are films in this case, 3) In many of these works that emphasize on audience behavior analysis, field research does not perform.

One of the most important features of Radif as the Iranian music repertoire is the consecutive modulations (modulation chains). Because of that, it needed to have changing notes. Hence, Dastgah as a fundamental concept of this kind of music, has the function that can organize this interrelations between the components of Dastgah, named Gusheh. In this article, it tries to search for the roots of these modulations and finding the probable reasons of the changing notes in Dastgah-e Mahoor from MirzaAbdollah-version. There has not been any obvious explanation in this field in the previous published references yet, and there are just some general and qualitative theories. While with regarding to the basic scale of Dastgah-e Mahoor as the first step and specification the unattached notes, it can be determinate the notes that are prone to change. Unattached notes has defined as the notes that have no fourth or fifth interval with other scale notes. This is the Owen Wright's definition about determinate of consonance ratio but in this article, it seen that, a complimentary definition, e.g. semi-unattached notes could explain the mentioned notes more accurately and in the functionality manner. On the other hand, the presence of dissonance factors can exert principals to not to violate some conditions in composing melodies. In this discussion, the perfect fourth interval has a pivotal role. It is not only as a criteria for melodic intervals but is used as important interval for defining unattached or semi-unattached notes and finally for any changing notes. The other dissonance factors are about the sequence and presence of melodic interval in the Tetrachord. There are three main intervals, named "Tanini", "Mojannab" and "Baghieh". Safieddin was the first one theorized the arrangements of these intervals for formation of consonance Tetrachords. Definitely, they were for more smooth and beautiful composing. Therefore, they could have utilized in arbitrary or non-arbitrary manner, as criteria in making the melodies including Radif-s gushe-s. In fact, it assumed that the Safieddin's rules, before the formation of the Radif-s could function. Initially the fourth intervals between the notes of scale of Mahoor checked. It understood that the fourth and seventh notes have not this interval between each other. There for, it expected that the first changing notes are these ones. The important tip was that the dissonance factors were not for imposing a special manner but they were for avoiding of the errors or unpleasant combination of notes. There for, you can justify some Gushe-s like "Shekaste" and etcetera. The complicating matter was the transfer from one mode to another one that because of resolving the dissonance. In other words, more than its work as modulation, they are for resolving the dissonance factors. In end with regard to all of these matters, some other factors must be considering for analyses, e.g. practicable register of the instrument of Tar, condition of the changing notes and condition of expression. For example some changing notes, because of their register, cannot be play in their right octave or it's necessary to consider the changing notes in cadence condition.

The first Iranian choir was founded in 1940s by Ruben Grigoryan, an Iranian-Armenian composer and choirmaster. since then, many choir groups have been established over the decades, and Iranian composers have made a creative effort, especially in the genre of choral folksong arrangements, which has achieved remarkable success. However, Iranian choral music, as a phenomenon outside the culture of Iranian national music, has always faced challenges and obstacles which have affected its growth and improvement. Some of these challenges were linked to the technical, vocal and verbal complexities of composing for choir, as well as the repertoire's limitations in relation to Iranian culture and literature. And some of these obstacles were due to the auditory taste of Iranians, and the fact that some Iranian musicians were opposed to promoting Western music. The history of Western music has shown that polyphony has been closely linked to religious vocal music. And over time, most polyphonic techniques have shifted from vocal (choral) music to instrumental music. This evidence suggests that "polyphonic texture" is one of the cornerstones of choral music and is linked to the formation and development of religious music genres. The issue of the inconsistency of church religious music with Iranian religious culture has been one of the reasons why choral music has been abandoned by the Iranian people. Choral music, like other forms of Western music that has become popular in Iran, has naturally encountered the category of musical originality and identity. And Iranian choral composers, in addition to technical solutions, must take a definite approach to this category so that their works can be recognized as the work of an Iranian composer. Despite these problems, choral music attractions, exploring the use of polyphonic features in Iranian music and helping to develop academic music have led to the continued involvement of Iranian choral groups and choral composers. But for a few reasons there has been no research on Iranian choral music: one is that there are few written sources on Persian choral music, and the other that much of the choral work of Iranian composers has not been published. The present study, based on a few written and audio sources, as well as using interview methods and questionnaires, has explained and analyzed the challenges and obstacles of Iranian choral music. In this study, we interviewed ten Iranian musicians, including composers, choirmasters, and musicologists, on issues of Iranian choral music. Also, the opinions of 170 musicians such as researchers, players, choir singers were surveyed through a Likert-type questionnaire. This study focuses on the main issues of Iranian choral music and studies the reasons for its underdevelopment. This research evaluates the factors of the non-expansion of choral music in Iran as follows: the complexities of composing and performing Iranian choral works, the strangeness of the Western choral singing style and the lack of connection between Western religious choral works and Iranian audiences. The present study emphasizes that future research on the social and health effects of singing in Iranian choirs can be effective in the development of Iranian choral music.

Contradictions between the literal and figurative forms of the rhetoric figures, as a form of language, has represented itself a polemical matter into the classical literary and dramatic texts. For the researchers all across the world, surveying literature archetypes, literary and linguistic approaches for better understanding of two literary forms, Literal and Figurative, always was a prominent issue. Erich Auerbach is one the authors who probed into the two central archetypes of the western literature, the homer’s Iliad and Odyssey and Holy Bible. He compares two important literal texts with each other, which where he creates two new world by those two texts. Brian Friel is the most prominent dramatist of Ireland in the last fifty years. Dramatist Experts of Ireland believe that he is a true successor of playwrights like Yeats, Synge and O’Casey. Many Irish experts call Him “Ireland’s Chekhov”. He studied at catholic school and church to be a priest. Then he changed his path to be an instructor, narrator and playwright at a same time. The play “Molly Sweeney”, Brian Friel artwork, is one of those special cases impressed partly by both Homer’s Iliad and Odyssey and biblical archetypes and its literal and figurative literary forms. Sometimes in literary and dramatic texts, we face an obscure and dark point where the text tells nothing about them. To be more precise, sometimes the reader faces a question about the characters or the story or sometimes he or she is unable to understand part of the text correctly where the text has no answer for that. Therefore, the “ambiguity” is the problem in such texts. As a result, without attaining all semantic arrangements and word order, one cannot attain the fact. Also without considering the artwork’s general context, no correct readings happen. A context consisting of words, clauses and sentences bound to each other, forms a shape that shows how to face the artwork. Therefore, necessity to mind the “Context”, forwards us toward the correct answers to the questions or ambiguities. Ambiguity in relationships between the “Mother” and “Father” character and “The father not letting Molly to go to school ” is not an issue perceivable in text’s first semantic and literal level of language. According to Friel himself who studied at catholic school, close to grab the priest title and considering him as an author with language-centric concerns, and the analyzable signs of the Bible context into the text, figurative readings of the play and discovering hidden metaphors into ambiguities, through Erich Auerbach and his book ”Mimesis”, rises the necessity of forming aforesaid question. This is why understanding a quite literal text is simple and semantic arrangement in a certain pattern needs no influence on words’ meaning. Therefore, the pattern could be metaphoric. As a result, we face a form of metaphoric pattern in Molly Sweeney which necessity of close reading between Molly Sweeney’s play text and the Bible, in a descriptive and analytical manner, leads to form a metaphoric pattern and answering the text’s internal ambiguities.

The novel and the performing arts can be considered as two comparable systems that often have similarities in narrative features. The aim of this study was to recognize how movies used narrative methods and techniques in conveying meaning to the audience, based on postmodern literary theories; and it tried to answer this question: Which of the postmodernist literary expression techniques that movies used to convey meaning? Interdisciplinary researches (literature and cinema) are necessary, which shows the closeness and similarity of these two artistic systems. This developmental descriptive-analytical study compares two different systems of literature and cinema. information was collected through library searching and sample movie viewing (Inception, 2010, Christopher Nolan). The data have been selected purposefully from the actions and dialogs. The information has been compared with the techniques that used in postmodern novels and has been analyzed and interpreted qualitatively. Our finding showed that the narrative structure of “Inception” was almost liked to the postmodern novels with at least eleven narrative features of postmodern novels that have been used to convey meaning to the audience. Implicit to “Memento” and anachronism were the most important postmodernist feature in the “Inception”. The film consciously merged reality and representation and created a vicious circle in the viewer's mind. Simulation in the Jean Baudrillard theory, manifested itself in movies and signs were no longer a reflection of reality. Short circuit to closing the gap between the real world and the fiction was another feature of the narrative that used in postmodern movies. Presence the dead character such as “Mal” and its relationship to the living was similar to the phenomenon of short circuit in David Lodge 's theory. The principle of contradiction, can be manifest itself as a conceptual and visual inconsistency in the movies like novels. The conversations between Sative and Dammkab at the end of the film was the example of contradiction in the "Inception". Although only brief moments have passed, but the effects of aging can be seen on the faces of both characters clearly. Used the Freudian psychoanalytic theories has been effective in deepening the human characters of the story and example of bricolage in “Inception”. Attention to subcultures and cultural eclecticism was very important in the postmodern novel, which was presented as the abolition of racist and patriarchal in this film. In fact, this phenomenon indicates the emergence of “Pluralism” in the postmodern world and collapse of “Centrist” in modern thought. Unexpected changes in camera angle, distortion and metamorphosis of image in “Inception” were the examples of the language disorder in postmodern novels. According to the content of the story, in some scenes of the film, the lack of attention to gravity is evident. Demonstrating the inability of human beings to penetrate to the deeper levels of dreams indicates the collapse of metanarratives in the fourth level of dreams. Like the postmodern novel, the film constantly reminds the viewer that the story and film are artificial. Planting an idea in the human mind was an example of the collapse of values in this film.