نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 70 (تابستان 1400)

This article assumes that examples of the characters described by philosophers to explain their ideas can be found in the world of drama. Soren Kierkegaard, the Danish thinker, mystic and one of the most important Christian writers of modern times and originator of existential philosophies, is regarded as the father of religious thinking. Kierkegaard's main concern is the human realm, which is concerned with human life and how it evolves. He reminisces this state as ‘Existence’ meaning for this state to be the source of decisions, choices, actions, and self-awareness. Existence is a tangible being and Individual of a single person. Kierkegaard believes that Existence can be salvation just by faith, but faith is inward and a kind of passionate attachment that is not possible to open that area by the criteria of knowledge. Faith is trust, certainty, submission and silence before God. Kierkegaard identifies Abraham as the knight of faith and man as the model of the religious sphere. Kierkegaard introduces three main options or stages in order to give meaning to human life and calls them "spheres of life". The last sphere is the religious stage in which the individual lives neither for himself nor for society, but for God. A view derived from the idea of Christianity, in which the believer must go through everything in order to face God. Kierkegaard`s The Knight of Faith is someone who has been tested through all of these levels and degrees throughout his life. He is a human pattern who has found the way to the truth of life and its meaning and has reached the highest level of existence in the face of death thus signifying the release of the believer's soul. Henrik Ibsen is a renowned nineteenth-century Norwegian poet and playwright who is considered one of the most influential artists in the field of theater and has the title of "founder of modern theater”. He was the first to achieve all the goals of Realism and to create a new era in theater. Ibsen’s early works include poetic and romantic plays about the Scandinavian past. Brand is one of the most important plays of this period, a dramatic poem about uncompromising idealism whereby the protagonist sacrifices everything for himself. Ibsen, in this symbolic play, has created a character in the world of drama who has the same characteristics as Kierkegaard`s The Knight of Faith. In this script, Ibsen introduces a priest named Brand, who ultimately in an Abrahamic way achieves true happiness through belief in God and surrenders to Him, in spite of losing all his worldly wealth and even his spiritual possessions in the mortal world. So the main question of the article is how to find an example for Kierkegaard`s The Knight of Faith in the world of drama. In this research, the commonalities of Brand and Kierkegaard`s opus are examined in order to prove that Ibsen's ideal hero is the continuation of Kierkegaard`s philosophy and symbolic similarity of the two works.

The point of the research is to classify Heidegger's concepts in Being and Time about Spatiality and temporality and hence description of the salesman film with an emphasis on the characters according to this. Temporality and spatiality Emphasizing on existential space, affection of Dasein, self-relation, relationship with others, the ontological question of Dasein, are some of Heidegger's emphasized components that help explain the types of times and places and their states. two central concepts chosen are temporality and spatiality, which are determined by the type of beings and their existence. Dasein has three ex-istences, and based on the coordinate lines and expectations of Dasman, is thrown out without decision. Dasein deals with his ontological question in anxiety. The types of Temporality, spatiality are categorized and correlated with Dasein`s affection. Salesman by Asghar Farhadi's shows that the old salesman and abandoned house is the agent are the cause of uncertainty and disaster or the disintegration of the whole world In the salesman. It is Dasein's affection that makes distinguished kinds of relationships. In order to answer the ontological question, to who he is, Emad searches to find old salesman. In fact searching the saleman is along to the searching himself. Beacause Emad has lost the possible relations of the world in everyday life. I think the home has an important role in this film. the first and second home has stark impression on forming the Emad and even Raana`s onthological question . At the end of the film, the abandoned house becomes the scene of revenge and the death of the salesman. In the scene of the revenge, Emad shows us a new image but unfamiliar. he creates a distance-based spatiality at the same time based on denying Raana`s Plea. In addition to, he forms to the existential space. The space which is full of existential preoccupation, like confrontation the onthological question, indifference to the everyday`s possibilities. Temporality and spatiality relies on existential space. Dasein`s disposedness, auto-affection, the ontological question of Dasein are other effective quasi-causes. The results show the old salesman and the home are the causes of the disarticulation of the whole world of Emad and Raana. It is emad`s disposedness means anger or hate and the related actions mean “revenge” that determine the type of time and space. In order to answer to »who I am«, Emad starts to researche about the identity of the old salesman who takes on his role in the play. the abandoned house and the old salesman disrupts the present and place of things. it makes them transmitted to the past and position-space. at last, Rape makes enterance to the world of Emad and Rana, the problem of ground and earth, It creates a strife. In the strife the opponent raise each other into self-assertion of their natures. Capitalism, with the utmost planning to control spaces and dominate the existential space, with its products and mechanisms, disrupts the chain of different relations and makes the different affections or disposednesses, which according to this research lead to the formation of the existential space.

Rengs, as a renowned type of Dastgah rhythmic music in Iran, are often performed to finish a musical performance or to accompany a dance. These pieces have been usually recorded in written sources of music based on the normal 6/8 time signature. In the theory of western classic music, 6/8 time signature is a part of the combined rhythm with two pulses, where each pulse can be divided into three parts. The equality of duration of both main pulses in every bar is one of the essential features of this western classical rhythm which has been accepted in notation in Iranian contemporary theoretical music; however, examples of the recorded performances of this musical type from the past hundred years until the present, show a flexible and unequal nature of the performance of Rengs in Dastgah music of Iran. By analyzing audio samples recorded from Rengs, it is possible to obtain this precise numerical ratio that can change during the performance of a piece and sometimes returns to equilibrium. Since fifty years ago, some musicians have expressed this difference in the notation and performance of 6/8 time signature and some  have ffered a number of suggestions for the unequal notation of the main pulses. Most researchers who have carefully studied this rhythm or cited the results of earlier research believe that the rhythm of Rengs is a different rhythm with two unequal pulses and have tried to find the differences between these two pulses. The highest concentration of votes is also on the (4 + 3) ratio. This study, in addition to providing a review of different ideas of classical musicians and contemporary musical theoreticians, by computational analysis of voice samples, has extracted the exact temporal difference between the duration of the first and the second pulses. During the time period chosen for this research, which spans about seventy years (from the first period of Iranian music records in 1906 up to the samples in 1970s), there are many records of Reng performances with various media such as gramophone discs, magnetic reel and cassette tapes. In the selection of samples used to measure the difference in pulses, it has been attempted to avoid selecting samples with equal pulses. After examining more than 300 Reng samples from different recording periods, a selection has been chosen for the research samples in this study, which show unequal pulses and also express the maximum amount of flexibility in the rhythm. This study also shows that this flexible rhythm has the capability of performance of two equal pulses with a 50% ratio up to unequal pulses with 62.5% and 37.5% ratios. There is always a duration increase in the first pulse and a decrease in the second pulse in this rhythm. Also it is noteworthy that in many old records of Rengs, the length ratio of the two major pulses can be equal, or be considerably taller and shorter and return to equality again in the same piece. In other words, the most flexible rhythm in Dastgah music is Reng that can exit from its original pulses and subsequently return to equilibrium after a while.

Artistic adaptation can be studied by careful examination of the narrative elements of a story and technical study of an artwork. Famous and popular literary works are always a basis for creation of cinematic works. Due to the inherent tendency of film and literature to represent and narrate, these two have been inextricably linked since the early days of cinema. Where we want to talk about unity and similarities between the visual and written systems and if one can go further and talk about the unity of all arts, narration comes to mind. Narrative, as the greatest outcome of structuralism, is one of the most important disciplines of modern literary theory. Many structuralists have tried to provide basic instructions from various narratives in order to formulate narratives structurally. Greimas started his work on the basis of linguistic-structuralist discoveries of Ferdinand de Saussure and Roman Jakobsen, and sought to describe the constituent elements of the narratives as a refashioning approach to the study of literary works. Narrative theories are a methodological criterion for analyzing narrative. In Greimas's theory of narratology, the depth of narrative construction is analyzed. In his opinion elements that are deep construct meaning. In new literary and artistic criticism topics, narratives are not limited to the field of literature and tracking narrative elements are also efficient in other art fields such as filmmaking. The present study was conducted to study the process of adaptation in Pari based on Greimas's narratological model. The study of the process of localization, as well as the study of cinematic techniques used in the process of cinematic adaptation of the fairy tale film, were among the issues that the researcher sought to investigate in the study of the adaptation process. The research is descriptive-analytical. It has been done in a library method with a string discourse approach (adaptation) and studies of cinematic elements in the Pari, using the Bordwell film structural analysis model. The result indicates that both source and adaptive works can be adapted to the Greimas narrative pattern and that the episodes obtained from the study of the narrative model of the story can be considered as an axis in cinematic technical studies. Dariush Mehrjoui as an adaptation filmmaker also uses technical elements in accordance with the situation and on the relation to Iranian culture. The technical study was based on the study of the structure of Pari film, each episode was examined from several axes, including mezzanine, which itself consists of four areas (scene, face painting and clothing selection, lighting and camera movement); In addition, sound and written signs also were studied and the results are shown in tables along with other efficient criteria that can be found in regards to technical study of cinematic elements. The Bordwell model was chosen for its brevity and efficiency. However, a more detailed study of all parts of the same pattern or other parallel patterns and especially the study of the editing process that was left out in the present study is recommended.

Rengs as a renowned type of Dastgah rhythmic music in Iran are often performed to finish a musical performance or to accompany of dance. These pieces have been usually recorded in written sources of music based on the normal 6/8 time signature. In the theory of western classic music, 6/8 time signature is a part of the combined rhythm with two pulses that each pulse can be divided into three parts. The equality of duration of both main pulses in every bar is one of the essential features of this western classic rhythm which has been accepted in notation of the Iranian contemporary theoretical music; however, examples of the recorded performances of this musical type from past hundred years onward show the flexible and unequal nature of the performance of Rengs in Dastgah music of Iran. By analyzing the audio samples recorded from Rengs, it is possible to obtain this precise numerical ratio that can change during the performance of a piece and sometimes return to equilibrium. Since fifty years ago, some musicians have expressed this difference in the notation and performance of 6/8 time signature and some of them have offered a number of suggestions for the unequal notation of the main pulses.Most researchers who have carefully studied this rhythm or cited to the results of earlier research believe that rhythm of Rengs is a different rhythm with two unequal pulses and have tried to find the difference between these two pulses. The highest concentration of votes is also on the (4 + 3) ratio. This study in addition to providing a review of different ideas of the classic musicians and contemporary musical theoreticians, by computational analysis of voice samples has extracted the exact temporal difference between the duration of the first and the second pulses. During the time period chosen for this research, which spans about seventy years (from the first period of Iranian music records in 1906 up to the samples in 1970s), there are many records of Reng`s performing on various media such as gramophone discs, magnetic reel and cassette tapes. In the selection of samples to measure the difference in pulses, it has been attempted to avoid selecting samples with equal pulses. After listening to more than 300 Rengs from different recording periods, has been selected samples in this study that show unequal pulses to find the maximum amount of flexibility in the rhythm. This study also shows that this flexible rhythm has the capability of performance of two equal pulses with 50% ratio up to unequal pulses with 62.5% and 37.5% ratios. There is always a duration increase in the first pulse and a decrease in the second pulse in this rhythm.Also it is noteworthy that in many old records of Rengs, the length ratio of the two major pulses can be equal, or be considerably taller and shorter and return to equality again in the same piece. In other words, the most flexible rhythm in Dastgah music is Reng that can exit the original pulses and return to equilibrium after a while.

The primary aim of this research is to attain an updated definition of the Baseet form; a formal structure of a highly significant composition form in the old classical music of Iran. Determining the limits and boundaries as well as the capabilities and requirements of this form, the potential capacities of the Baseet Form are investigated and examined in order to attain a formal model along with its derivatives. The goal of posing this research question is offering solutions for the revival and reemergence of this form in the musical composition of the contemporary music of Iran. Examining the extant documents of the Montazamiyeh School, written in the mid-Islamic Era (13th-17th centuries), it seems that this form was first defined and delineated by Abd al-Qadir Maraghi, the prominent musicologist of the 15th century. Furthermore, Maraghi’s explanation of the Baseet, regarding the sections’ quantity and the quality of each section’s structure, is much more extensive than that of other writers. Therefore, taking advantage of the method of library research, Maraghi’s unsystematic and disorganized definitions of this form were collected from his writings, and they were classified according to structure and content. However, since Maraghi’s definition is very flexible and lacks the rigor which is necessary for attaining clarity, the writings of other writers in this field have also been consulted so that our definition of the Baseet form may be clarified. It should be acknowledged that the flexible definition that Maraghi proposes that the Baseet and his admission of Miankhaneh into this form have resulted in a confusion of concepts and an amalgamation of the definitions of Baseet with broader genres like Kar-o-amal. Therefore, after detailed examination of these writings, the observations of the writers who wrote after Maraghi about the definition of the Baseet were deemed superior and more enlightening. Since the Miankhaneh section is regarded as optional in Maraghi’s definition, and the very existence of Miankhaneh in Baseet and Ghowl-o-Ghazal is disputed by some writers after Maraghi, our proposed solution to this dilemma is that Miankhaneh be discarded from the structure of the Baseet altogether. Thus, in order to avoid confusing the definition of the Baseet structure with Kar-o-amal, we propose that the Baseet be considered a form consisting of Sarkhaneh and Bazgooy, just as Maraghi himself, in some of his definitions, had described in this way. Thus, after comparing and analyzing the collected data, we have documented different possible kinds of the Baseet—based on its overall structure and contents—in the form of distinct formulas, in order to propose practical strategies that can be implemented in the composition of the Baseet. The extraction of the rules governing this form as well as the documentation of its accurate systematic structure in the present research can be a useful step in the systematization of musical composition in contemporary classical music of Iran as well as presenting a comprehensive definition of this musical form. Finally, in order to resolve the contradictions between the various definitions, some solutions have been presented.