نشریه جامعه شناسی هنر و ادبیات
سال دوازدهم شماره 2 (پاییز و زمستان 1399)

People go from one homeland to another and live there: this is a simple definition of a complex subject. The presence of these people in a second country creates a kind of literature, which is called "immigration literature". This literature was created either by the immigrants themselves or by the authors of the second country and, as a mirror, reflects the various aspects of the immigrants' lives and the way the host society treats them. One of the ways to understand the type of confrontation of a resident community and the way in which it humiliates immigrants is to refer to the art and literature of that community. The presence of Afghan immigrants in Iran has caused the reaction of the Iranian society towards them and this issue has been reflected in Iranian literary and artistic works. A review of three plays: Rooster (Mohammad Rahmanian), Without milk and sugar (Hamid Amjad) and Without Saying Goodbye (Naghmeh Samini) shows that, first, Iranian writers have paid attention to the presence of Afghans in their country and The basis of this presence is the creation of works, and secondly, the form and content of these works reflect the kind of view based on postcolonial theory and also the contemptuous view of a part of Iranian society towards Afghan immigrants.

Many plays had high sales figures in Iran in the 2010s. This article aims to investigate the dimensions and components of the audience's taste in such plays and the factors leading to such a taste. To achieve the research objectives, the study used semi-structured interviews with 12 experts, whose number was determined based on "chain sampling" and "theoretical saturation index". Meanwhile, "perpetual comparison” of findings was used for the formulation and explanation of categories and subcategories. According to the research results, elements contributing to the higher sales of plays in the 2010s can be categorized into two categories, namely elements within the play (such as acting, directing, music, script, and genre) and elements outside the play (advertising, venue, and time of performance). Some of the main features of best-selling plays in Iran are celebrity-orientation, striving for dramaturgy, contemporization and Iranianization of famous Western plays, use of (live) music, and huge scenic designs. Furthermore, managerial-political (especially spontaneous formation of private theater), socio-cultural, economic, artistic and technological-media factors have been effective in shaping the special taste of the Iranian theater audience in the 2010s, which can be semantically regulated through the concept of "Luxury Viewing Form”.

The Iran-Iraq war began on September 22,‌ 1980. According to commentators and researchers, this war was the most serious and difficult war since World War II, and from this point of view, it is one of the most horrific wars of erosion in modern times and the longest in the history of third world countries. Letters from warriors at various times during the war are one of the most important documents left. Despite the unique features and structure of this war, no extensive studies have been conducted in Iran, especially in the field of anthropology of art, no study has been done on the letters of the warriors. Therefore, in this article, the aesthetic and semantic dimensions of the warriors 'letters were studied from the perspective of art anthropology. The main question was in order to identify the aesthetic and semantic dimensions of the warriors' letters of the Iran-Iraq war. More than 50 warrior letters were read during various periods of the war. Findings show that the aesthetic dimension of images and printed writings of letters is to produce and reproduce the dominant discourse of war, which is often a display of spatial, religious, political and national identities. Semantics of images, writings show that the dominant discourse of war pays special attention to religious identity It is also identified with the events of the beginning of Islam, especially the wars of that time with the Iran-Iraq war in the aesthetic and semantic dimensions of the letters. Me and the other in the semantics of the text and writings of the warriors to the two poles opposite me Muslim and the other enemy of the infidel is being produced and reproduced.

The study seeks to provide an analysis of quality of love representation in Iranian pop music. Methodology is qualitative and method is content analysis. Statistical sample of the study is published albums of 10 features of the most popular pop singers in Iran, and unit of analysis in this study is full text of each song, and melody and music and musical instrument used in the carols are not paid attention. Data analysis method is also thematic analysis. Conceptual framework of this research is based on Bowman's Liquid-Love theory and Giddens Pure Relationship. Results and findings suggest that the perspective presented of love in Persian pop music has features such as being meta-family, randomness, instability, repeatability, be noncommittal, eroticism and terrestriality, ending with hatred, love as a released and public experience, parity of lover and beloved, de-sexualization of love, love as a memory of connection and bitter of love experience. It can be said that love in Persian pop music conforms to Giddens and Bowman's descriptions of postmodern love. Of course, heterosexuality in Iranian love is the only distinction of image of love in these songs with Liquid Love and Pure Relationship.

In this article, we studied the fluidity in the division of the Iranian classical music genre related to the meaning of creativity as a "cultural process". Through a semi-structured interview with 5 musicians in the Iranian classical music genre, we analyzed how the relationship between creating creativity in the "production culture" of the Iranian music industry and the division of the Iranian classical genre. According to the results, the main themes are "celebrity-oriented creativity", which creates quasi-Dastgahi, Composite music and custom-organizational music, "pure creativity", which creates the artistic genre, and "cultural creativity", which is the original Dastgahi genre, and Creates social art. In each context, the moral and ritual codes and the position of the audience and the profit are different. Ethical and ritual codes in the context of cultural are related to moral preconditions such as modesty and rituals. The relationship with the vertical audience and in order to promote the audience's listening taste and financial gain in it is futuristic. In pure creativity, moral and ritual codes are not prominent, the audience is absent and the real creator himself is present in this genre. The reputation-oriented genre begins with the audience's perception, there is a sense of artist alienation in the genre, it is followed by rapid financial consequentialism, and the moral and ritual codes are based on technical ostentation.

This article intends to identify the effective components in interpretation of furniture in Iranian traditional architecture (With an Emphasis on the traditional houses and palaces of Tehran in the Qajar period). Therefore, while identifying and introducing Iranian furniture in the Qajar period, the relationship between furniture, architecture and lifestyle in Iranian traditional houses and palaces - the Qajar period and the city of Tehran - has been examined. In line with this study, the following questions are raised: How had furniture and interior spaces been used in the houses and palaces of Tehran during the Qajar period? What effect did the furniture and interior architecture of the houses and palaces in Tehran on Qajar era have on lifestyle of the people and the nobility? How did furniture, architecture and life style interact during Qajar period in Tehran City? The studies conducted in fourteen of these houses and palaces in Tehran during the Qajar period, which were selected based on tradition and the existence of sufficient data about furniture and how to use the space. The types of furniture related to these spaces were divided, and their characteristics and how they interacted with lifestyle and architecture were analyzed. This research is a fundamental research that is based on historicism, inductive reasoning, non-experiential execution and exploratory strategy, pre-theory-centered research, qualitative variables theory test, historical-interpretive analysis. This paper is using a content analysis approach with a deep and median approach. Data collection is done through library studies and extensive field survey.

In each society, according to its beliefs and culture, the use of color in different aspects of life and daily activities of people is used with a different approach and reflects the spirit of that period. As the master Iranian writers and painters who used color as an effective tool in illustration, imagination and transmission of concepts and created unique works of literature and art in the history of Iran, their elements provide readability and understanding of the popular culture of that time. One of them is Jami’s HaftAwrang, which was illustrated in Mashhad book designing school during Safavid period and is known as Sultan Ibrahim Mirza’s HaftAwrang. Despite the importance of recognizing Iranian popular culture from literary and artistic remnants, it seems, so far, there isn’t any study has examined the use of color in the context of Iranian culture in these paintings. The question is: Which colors and elements in the paintings of Ibrahim Mirza’s HaftAwrang reflects the culture, public life and daily life of Iranians in the mid-seventeenth century in Safavid period? And what’s the relation between the use of color in paintings and the popular culture and daily life of courtiers, citizens, villagers, caravans and nomads at that time? The method of this research is historical-anthropological analysis and the method of collecting information is library-documentary.Findings show the use of color in these paintings, in addition to showing the quality of material elements such as clothing, tools (tools and handicrafts) and buildings, consistent with the popular culture and daily life of the Safavid period, it also expresses some of the behavioral and speech traditions of Iranian culture, in the court, urban, rural and nomadic classes in accordance with the space of the painting, but there is no distinction in the use of the color of the caravans.

The mission of the artist and the role of art in society is one of the constant questions of art that has been discussed among academicians since beginning of the contemporary art history. The spectrum begins with the art for art sake theory and continues to the l’art utile theory. The research question is what are the differences between the general and special audience perceptions of the concept of the beauty of artwork? The case study includes 10 samples that have been selected from the paintings of the Islamic Awakening Movement. Participants in the test were divided into two groups: 1- Special audience: The professional artists and and the professional art lovers. 2- General audience: Public interested in the works of the Islamic Awakening Movement. In this test, Cronbach's alpha method is used to calculate reliability. The population includes 404 participants including 173 participants in the first group; and 231 participants in the second group. The results of the research emphasize that just as friendship with people and special attention to the status of the artist and his cultural and social mission has been the key to the eternity and permanence of Islamic art. In order to fulfill its social mission, a committed artist needs to design and produce works that are comprehensible to the general public while observing artistic concepts, principles and values.

From a sociological point of view, identity has various dimensions, like religious, national and ethnic identity. And each of them has specific values and norms that are sometimes common and sometimes different memoir of Noor Al Din Pesar Iranof Iran" is one of the works of the narrative literature of the holy defense, which reflects some of the religious, national and ethnic values and norms. National and religious identity is based on the characteristics of the past, self-knowledge, self-belief and hostility, which is reflected in the memories of Seyed Nour al-Din Afi and shows the intellectual and cultural attitude of the warriors, their cultural and social conditions, events of the holy defense and in other words the comprehensive Iranian religious and national identity during the holy defence. The present study aims to explain the characteristics of religious and national identity based on the cultural and social conditions of combatants in the memoir of the studied story based on the proposed model of Henry Zalamansky based on content-oriented sociology with a descriptive-analytical approach. The results of the research show that the religious, national and ethnic identity in this memory is based on the past, self-knowledge, self-belief and hostility in concepts such as following religious patterns, religious and national pragmatism, the role and function of religious symbols, conscious rebirth and martyrdom. Patriotism based on religious and national identity, another identity and hostility are reflected in the most prominent contents based on religious and national identity.

Identity is a conceptual image that a person gives to himslef to answer these questions: "Who the person is" and "How the person lives."  In other words, identity is a composition of self that indicates a person's behaviour, thoughts, and feelings. This psycho-social topic enables the person to define his/her reaction toward the world and the people around him/her. Identity is not a fixed phenomenon, it rather has different layers and aspects. This fluidity causes the mobility of identity and exposes it to danger. Finally, the danger enters the basic layers of identity and creates identity crisis. Erikson is the first person that has used the expression "identity crisis." He has classified human growth into eight levels the fifth of which is identity level. Al kafere by Ali Badr, is a social novel with a feministic approach. It's major component is the identity crisis in women who live under the dominance and control of ISIS and don’t have individual, social, and fimilial identity. The aim of this study is to let Iranian readers get familiar with the sistuation of women and the society dominated by ISIS in the novel, Al Kafere based on Erikson's theory, using a descriptive-analytical method. The findings of this study reveal that the author, with a social work and a feministic approach, opens new perspectives to subjects including the rights of women entrapped in the hands of ISIS, patriarchy, social and cultural disorder in a society dominated by ISIS. Furthermore, it illustrates the wounds and pains that have been imposed on women during the occupation of Iraq.