دانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923Title: The Semantic Contestation of the Concept of “Revolution” in Iranian Dramatic Literature of the 1980s: A Conceptual History Approachجدال معنایی مفهوم انقلاب در ادبیات نمایشی دهۀ ۱۳۶۰ ایران: مطالعهای بر پایۀ تاریخ مفهوم92110287810.22059/jfadram.2025.390719.616057FAعرفانناظراستادیار گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.0009-0005-3202-8977Journal Article20250503Among significant concepts in contemporary Iranian history—one that has extensive application across political, social, religious, and other domains, and consequently has acquired multiple layers of semantic meaning—is the concept of "revolution." Although this concept first appeared in plays during the Qajar era, the present article examines this as a foundational, trend-setting concept within the plays of the 1360s (1980s) decade, works profoundly shaped by the Islamic Revolution of Iran.According to the author's findings, more than seventy plays written during this decade employed the concept of revolution, explicitly or in language free of a historical interpretation, owing to their ideological affiliation with various offshoots of Marxism or with Islamist currents linked to the Islamic Revolution (1357/1979). To avoid a generic ideological reading, however, this study focuses on only fourteen plays whose treatment of the concept was semantically clearer and unambiguous. These fourteen plays were published with the support of the Ministry of Culture and Islamic Guidance or of newly established institutions such as the Howzeh-ye Honari (Arts Bureau) and the Jahad-e Daneshgahi (Academic Jihad Organization), a fact that may itself indicate a meaningful relationship between these works and the revolutionary thought and practices governing the state and its institutional apparatus during that period.The article's central problem, however, is that—owing to the diverse intellectual orientations of the playwrights and to the varied uses and connotations attached to this historically laden, frequently recurring concept—revolution was not employed with a single, stable meaning across the plays during the aforementioned period. Rather, it acquired class-based, religious, historical (contemporary or older), and even transnational connotations. This suggests that, within the trending popularity of revolutionary drama, synonymous yet mutually contradictory meanings of revolution coexisted. More precisely, although revolution served as the subject matter of many plays during this time, playwrights did not represent a single, unified meaning of the concept; on closer scrutiny, the meanings attributed to revolution in different plays stood in tension and contradiction with one another. At the same time, it becomes evident that as this time frame (approximately a decade) approaches its end, such instances of semantic synonymy and contradiction gradually diminish, until a single meaning grounded in Islamic ideology comes to prevail over competing approaches.To elucidate this problem, the author is guided by two central research questions: What is the meaning of the concept of revolution in the plays of the 1360s (1980s) decade? And what interpretations did playwrights offer of this concept in their works?To answer these questions, the study draws on Reinhart Koselleck's theory of conceptual history (Begriffsgeschichte), subjecting the revolutionary concept of "revolution" to critical examination within the domain of dramatic literature of the 1360s (1980s), restricted to plays produced in this period. According to this framework, grasping the historical meaning of foundational concepts requires that the researcher, beyond relying on historical semantic knowledge, adopt both diachronic and synchronic approaches, so that a foundational, multilayered concept such as revolution can be examined within its own historical trajectory and in relation to other contemporaneous concepts. The concept must then be critically analyzed so that the definitions attributed to it by the political leadership and intellectuals of the period can be revealed, allowing the semantic layers and the contestation over meaning to be explained historically and with reasoned argumentation as they unfolded within the revolutionary plays.On this basis, the research method requires that analysis of the concept take into account the transformation of social structures, the formation of new institutions of surveillance and power, the views of political leaders and intellectuals whose ideas influenced society and shaped policies and laws, foundational documents such as the Constitution of the Islamic Republic of Iran, and, more broadly, the semantic and social field of the 1360s (1980s) decade as a whole. Accordingly, the concept of revolution is analyzed both diachronically and synchronically, with careful attention paid to its political and social contexts.Among the anticipated findings is that the meaning of revolution, from the beginning to the end of the decade, underwent transformation shaped by Marxist and Islamist orientations. Semantically, the older, pre-existing conception of revolution either recedes entirely or is transformed, giving way to newer meanings extending into other historical and doctrinal domains—including contemporary history, ancient history, and significant religious events. Furthermore, as a foundational concept within the dramatic literature of the 1360s, revolution was subject to sustained semantic and historical contestation across the plays. In this contest over meaning, narrower conceptions—for instance, those emphasizing the actions of the clergy or those centered on ordinary people—either disappeared or were absorbed into broader meanings capable of claiming wider semantic territory.Ultimately, although revolutionary playwriting of the 1360s (1980s) decade took revolution as its central subject, it was not confined to this thematic role; rather, it simultaneously sought to reconstruct the concept of revolution—ideologically—across both the private and public spheres, thereby sustaining its synchronic dominance over time.یکی از مفاهیمی که نمایشنامهنویسان دهۀ 1360در آثار خود موضوعیت بخشیدند و آن را با اتکا به فهم و باورهای ایدئولوژیک خود تفسیر کردند، مفهوم انقلاب است. اما با بررسی این مفهوم در چهارده نمایشنامۀ آن دوره، که توسط نمایشنامهنویسان قدیمی و بهویژه جدیدی که باورهای ایدئولوژیک داشتند، نوشته شده و مفهوم انقلاب را به روشنی و بدون هرگونه ابهامی به کار برده بودند _ آشکار میشود که مفهوم انقلاب یک معنا ندارد بلکه واجد دلالتهای طبقاتی، تاریخی (باستانی یا معاصر)، دینی و فراملی است و اگرچه همزمان و یا در یک دوره در نمایشنامهها به کار میرفت، اما معانی ناهمزمان داشت که نشانگر جدالی معنایی در آن برهه از تاریخ ادبیات نمایشی ایران بود.نگارنده در این مقاله با بهرهگیری از چارچوب نظری تاریخ مفهوم راینهارت کوزلک و اتکا به مبانی نظری آن، معانی مفهوم انقلاب را در آن دهه از ادبیات نمایشی ایران تحلیل خواهد کرد تا در باب معانی این مفهوم، در بستر تاریخیاش و همچنین در نسبت با دیگر تفاسیری که از آن مفهوم نزد رهبران سیاسی و روشنفکران آن دوره وجود داشت، روشنگری شود. از نتایج پژوهش این خواهد بود که جدال معانی متعدد و متعارض مفهوم انقلاب از آغاز انقلاب اسلامی تا پایان دهۀ 1360، به صورت همزمانی ناهمزمانها در ادبیات نمایشی ایران تداوم یافت و منجر به چیرگی معنای قدیم، که مبتنی بر عناصری چون اسلام، امت، بومیبودن و واقعۀ کربلا بود، بر معانی دیگر انقلاب، که یا دلالت بر تداوم تجددگرایی و پیوستگی خودآگاهانه با تمدن جدید غرب داشتند و یا بر گسست از قدیم باستانی یا اسلامی تأکید میکردند، شد.https://jfadram.ut.ac.ir/article_102878_e82415d9fa49657f4d2f8db1c3045ff6.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923The Dramatic Role of Objects in Reconstructing the Concept of Home for Migrants: A Case Study Based on Documentary Narrativeنقش دراماتیک اشیا به مثابه عروسک نمایشی در بازسازی خانه برای انسان مهاجر با مطالعه موردی داستانی از عالیه عطایی233410468210.22059/jfadram.2025.388094.615994FAشیوامسعودیاستادیار گروه هنرهای نمایشی ، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران ، ایران دانشگاه تهران.0000-0001-7171-7314گلالهشاهکارکارشناسی ارشد تئاتر عروسکی گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران ، ایران.0009-0003-6220-3567Journal Article20250120Migration, as a complex and multifaceted human experience, extends far beyond the mere act of physically relocating from one place to another. It profoundly reshapes fundamental concepts such as identity, home, and belonging, introducing significant psychological, emotional, and social dimensions to human life. For migrants, the notion of home is no longer confined to a physical location; instead, it evolves into a powerful symbol of stability, emotional memory, cultural continuity, and personal connection. The experience of losing or being displaced from one’s home often generates a deep sense of absence, disorientation, nostalgia, and longing, affecting both individual identity and collective belonging.In contemporary migration studies, home is increasingly understood as a fluid and multidimensional construct rather than a fixed geographical entity. It encompasses emotional attachments, cultural practices, personal memories, and symbolic references that continue to shape migrants’ sense of self even after physical displacement. As a result, migrants often seek alternative ways to preserve continuity with their former lives, drawing upon material and symbolic resources that enable them to negotiate belonging across multiple spatial and cultural contexts. This perspective highlights the importance of everyday objects as mediators between past and present, memory and experience, absence and presence. This study examines the role of objects from migrants’ past lives—ranging from everyday belongings and keepsakes to personal artifacts—in mentally reconstructing the concept of home. Such objects serve as carriers of memory and identity, sustaining connections with lost or distant places and allowing migrants to preserve a sense of psychological continuity during periods of change and displacement.his research investigates the artistic transformation of these objects into dramatic characters within puppet theatre.Puppet Theatre, as a performative and symbolic art form, offers a unique platform for expressing complex human experiences, including displacement, memory, and identity formation. This study addresses three primary concepts: first, how commonplace objects evolve into potent symbols of home and personal identity throughout the migratory process. Second, in what ways these objects can be creatively transformed into vivid, dynamic, and emotionally resonant characters within puppet theatre. Third, how narrative literature acts as a bridge, connecting the lived experiences of migrants with the imaginative, performative world of puppetry, enabling audiences to engage with both symbolic and emotional dimensions of migration. Drawing on theoretical frameworks of the “hidden soul of objects” and Carl Gustav Jung’s concept of “active imagination,” this study employs a qualitative-analytical methodology to examine the documentary narrative The Umbrella, authored by Aliyeh Ataei. This narrative provides a compelling case study for understanding the symbolic and emotional significance of objects in the lives of displaced individuals.Particular attention is given to the relationship between documentary narration and theatrical adaptation. Documentary narratives preserve individual experiences and lived realities, while theatrical representation transforms those experiences into forms that can be collectively perceived and emotionally interpreted. By examining this interaction, the study demonstrates how literary narratives can generate imaginative spaces in which objects acquire dramatic agency and symbolic depth. Such a process allows personal memories associated with migration to be translated into visual and performative language, thereby expanding the possibilities for artistic engagement with themes of displacement, identity, and home.The findings reveal that objects often transcend their physical and utilitarian functions, becoming symbolic vessels that embody notions of home, identity, memory, and connection to a lost or distant past. In context of puppet theatre, these objects gain renewed life through animation, theatrical representation, and embodied performance. They are not merely on stage; they are layers of meaning, evoking empathy, reflection, and identification among audiences.Ultimately, this research demonstrates that puppet theatre offers a powerful and unique medium for conveying the intricate emotions, psychological realities, and social experiences associated with migration. By transforming objects into dramatic agents, artists can explore and communicate the migrant’s experiences of home, loss, and identity in innovative ways. This approach opens new avenues for creative representation, intercultural dialogue, and emotional engagement, emphasizing the potential of meaningful objects to bridge personal memory and performative storytelling. Overall, the study highlights how integrating material culture, narrative literature, and puppetry can create rich artistic experiences that resonate with both creators and audiences, offering deeper insights into the symbolic and affective dimensions of migration.جابهجایی فیزیکی در فرآیند مهاجرت، مفاهیمی چون هویت، خانه و احساس تعلق را دگرگون ساخته و بحران فقدان را پدید میآورد. این پژوهش با هدف تبیین نقش اشیای بازمانده در بازسازی ذهنی مفهوم خانه برای مهاجر و تحلیل امکانِ دراماتیزه کردن آنها در قالب شخصیتهای تئاتر عروسکی انجام شده است. مسئله اصلی، چگونگی گذر شیء روزمره از یک امر فیزیکی به یک دالّ واجد هویت و در نهایت تبدیل آن به یک کاراکتر نمایشی است. چارچوب نظری این مطالعه بر تلفیق مفهوم «تخیل فعال» کارل گوستاو یونگ و نظریه «روح پنهان اشیا» استوار است. روش پژوهش، کیفی و با رویکرد پدیدارشناسی هرمنوتیک است که به صورت تحلیل مضمون روی روایت مستند «چتر» اثر عالیه عطایی پیاده شده است. یافتههای پژوهش نشان میدهد که اشیای بازمانده در تجربه زیسته مهاجر، از طریق مکانیسم روانشناختی تخیل فعال، به مثابه میانجیهای نمادینِ ثبات روانی عمل کرده و بار عاطفی «خانه» را احیا میکنند. در ساحت دراماتورژی تئاتر عروسکی، این اشیا نه به عنوان ابزار صحنه، بلکه از طریق بازنمایی پدیدارشناختی خاطره و فرآیند جانبخشی (آنیمیسم)، قابلیت تبدیل به « شخصیت عروسکی » را دارا هستند؛ عروسکی که حامل هویت و راوی ناخودآگاهِ جمعی مهاجران است. در نهایت، این پژوهش چارچوبی بینرشتهای برای خوانش دراماتیک اشیای معنادار در نمایش عروسکی معاصر ارائه میدهد.https://jfadram.ut.ac.ir/article_104682_42888aa6edbd68fcc2f0d9cc783423b1.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923Pandora's Curiosity: Representation of the female investigative look in The Crow (1977)کنجکاوی پاندورا؛ بازنمود نگاه کنکاشگر زنانه در فیلم کلاغ (1356)354410233810.22059/jfadram.2025.393439.616060FAنسترندرهگیرائیکارشناس ارشد سینما، گروه سینما، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.0009-0003-8604-509Xعلیرضاصیاددانشیار گروه سینما، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.0000-0003-2092-9012Journal Article20250414Laura Mulvey, in her influential essay, “Pandora: Topographies of the Mask and Curiosity,” reframes female curiosity in cinema as a powerful alternative to the dominant male gaze. Drawing on the myth of Pandora, Mulvey conceptualizes female curiosity as an epistemological drive—a transgressive urge to penetrate surfaces and confront repressed realities. Unlike the male gaze, which seeks mastery and fetishistic control over the female body as spectacle, female curiosity operates as an active, knowledge-seeking force that transforms woman from passive object to inquiring subject. This article applies Mulvey’s framework to Bahram Beyzaie’s The Crow (1977), a pre-revolutionary Iranian film that exemplifies the subversive potential of centering a woman’s investigative gaze within its narrative structure. The Crow (1977) unfolds around the disappearance of a young woman and follows the parallel yet divergent quests of a married couple: Isalat (the husband), a journalist driven by professional ambition, and Asieh (his wife), whose personal engagement with the mystery propels the story’s deeper revelations. This study employs a descriptive-analytical method, grounded in Mulvey’s psychoanalytic-feminist theory and supplemented by insights from Mary Ann Doane on paranoid women’s films of the 1940s. It argues that Beyzaie challenges the patriarchal visual regime prevalent in classical cinema by constructing Asieh as an active epistemological agent whose inquisitive gaze disrupts male-dominated ways of seeing and knowing. Mulvey’s reading of Pandora is central. In the myth, Pandora’s error in opening the forbidden box is traditionally blamed for releasing evils into the world. Mulvey reinterprets this act as a foundational instance of female epistemological desire—a transgressive drive to know what lies beneath appearances, metaphorically linked to the female body and repressed feminine knowledge. Pandora’s gesture symbolizes a will for knowledge that moves beyond surface seeking towards decoding hidden layers. This curiosity is inherently subversive because it defies cultural prohibitions that have historically excluded women from domains of knowledge.In cinema, the drive to seek the unknown, manifests in narratives where female protagonists enter mysterious houses or spaces containing repressed secrets, often maternal or feminine in nature, as seen in Hitchcock’s Notorious (1946) and Psycho (1960), or earlier women’s films analyzed by Doane. These stories organize drama around locked doors, forbidden rooms, and the seductive danger of unveiling what patriarchal order conceals. In The Crow (1977), Asieh embodies this Pandora-like figure. Her journey begins with an unsettling encounter with Tehran’s modern metropolis. Harassed and nearly abducted, she experiences the city as a threatening space saturated with male surveillance. Asieh’s physical pain after the ordeal bodily registers this violence, forging an empathetic link with the missing girl and her mother-in-law. This embodied empathy marks the awakening of her gendered curiosity, transforming the disappearance from a journalistic puzzle into a personal confrontation with historical trauma and shared womanhood. The film contrasts Asieh’s deepening inquiry with her husband’s superficial, technology-mediated approach. Isalat relies on visual media, photography, autopsies, and broadcast appeals—methods that reduce the missing woman to fetishized images and surface clues. Asieh, conversely, operates through interpretation, memory, and intuition. As a teacher of deaf children, she is attuned to decoding silence and absence. Her investigations lead her into Tehran’s forgotten old quarters, cemeteries, and ultimately the spaces of her mother-in-law’s house. These explorations follow a topological logic: moving from exterior urban alienation to interior psychic and architectural secrets, echoing Mulvey’s emphasis of decoding versus mere viewing. The climax occurs within the forbidden rooms of the maternal home. Defying warnings, Asieh enters the locked room and storage area—spaces laden with repressed memories, old photographs, and objects symbolizing her mother-in-law’s hidden past. This Pandora-like transgression reveals that the missing girl is, in a profound sense, the mother-in-law herself in her youth. The discovery collapses temporal boundaries: Asieh confronts not only another woman’s secret but a mirror of her own potential future, marked by loss, aging, and the fragility of feminine identity. The film’s psychoanalytic depth is reinforced by the maternal figure’s guiding role, akin to a Virgilian presence leading Asieh through layers of memory and trauma toward self-knowledge. Beyzaie’s mise-en-scène masterfully supports this female-centered epistemology. Contrasting high-angle, detached shots of Isalat’s cursory searches with intimate, probing close-ups and tracking shots following Asieh, the film formally aligns the spectator with her inquisitive consciousness. Urban modernity, with its billboards and industrial ruins, symbolizes alienating patriarchal surveillance, while the old neighborhoods and domestic interiors offer spaces for reflective excavation.The narrative thus performs a critique of pre-revolutionary Iranian modernity’s gendered contradictions—promoting Westernized images of womanhood while repressing deeper historical and psychic realities of Iranian femininity. This analysis demonstrates that The Crow (1977) stands as a rare pre-revolutionary Iranian work that decenters the male gaze. By placing Asieh’s curiosity at the narrative core, Beyzaie transforms her from potential object into a knowing subject. Her quest evolves from external mystery to internal self-discovery, culminating in pregnancy—a bodily affirmation of new life emerging from confrontation with absence and death. Ultimately, through Mulvey’s lens, The Crow (1977) illustrates how female curiosity functions as both resistance and revelation. It challenges dominant regimes, reclaims agency for the female subject, and opens cinematic space for exploring the topography of repressed feminine experience.لورا مالوی با وامگیری از اسطوره پاندورا به تبیین مفهوم کنجکاوی زنانه در سینما میپردازد. او نگاه زنانه را بهمثابه بدیلی برای نگاه خیره مردانه معرفی میکند که میل به نفوذ به ژرفا و کشف ساحتهای پنهان و سرکوبشده را دارد. از منظر مالوی، کنجکاوی زنانه نوعی کنش معرفتجویانه و تخطیگر است که سوژه زن را از جایگاه ابژه منفعل خارج میکند. فیلم کلاغ (1356) ساخته بهرام بیضایی، نمونهای شاخص از سینمای پیشاانقلابی ایران است که در آن روایت، قهرمان زن را در جایگاه عاملیت فعال قرار میدهد و ساختار روایی را بر محور نگاهِ جستوجوگر او پیش میبرد. در این فیلم، شخصیت آسیه با نیروی کنجکاوی خود در پی کشف راز ناپدید شدن دختری جوان برمیآید. این پژوهش با روش توصیفی ـ تحلیلی و با تکیه بر چارچوب نظری مالوی در باب کنجکاوی زنانه، ابتدا مؤلفههای نگاه زنانه را در نسبت با اسطوره پاندورا بررسی میکند و سپس با تمرکز بر فیلم کلاغ (1356)، چگونگی بازنمایی ادراک زنانه را در ساختار روایی اثر تحلیل مینماید. یافتههای پژوهش نشان میدهد که بیضایی با قرار دادن نگاه زن در مرکز ساختار روایی، الگوی مسلط نگاه مردانه را به چالش میکشد و شخصیت آسیه را بهعنوان سوژهای شناسا و جستوجوگر بازنمایی میکند.https://jfadram.ut.ac.ir/article_102338_da3fb3a5ff603f46bfdd32617ba9f8f1.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923The Meaning of Silence in Bergman’s Cinema: The Seventh Seal, Wild Strawberries, Winter Light, The Silence, and Personaمعنای سکوت در سینمای برگمان (مهر هفتم، توتفرنگیهای وحشی، نور زمستانی، سکوت و پرسونا)455710233910.22059/jfadram.2025.386751.615981FAطیبهسبحانیکارشناسی ارشد پژوهش هنر، دانشکده هنر، موسسه آموزش عالی فردوس، مشهد، ایران.0000-0003-4697-2019جوادامین خندقیاستادیار گروه پژوهش هنر، دانشکده هنر، موسسه آموزش عالی فردوس، مشهد، ایران.0000-0002-4846-829XJournal Article20241209Like other symbolic concepts, silence is perceived and understood through its opposite: sound. In some contexts, silence is described in relation to the threshold of hearing, which suggests that it may be sensed even when sound is minimal. Silence can be an essential element, creating meaning alongside the soundtrack and other formal and narrative elements. In cinema, however, this absence does not remain an empty gap. It can organize attention, shape emotional rhythm, and direct interpretation through what is withheld as much as through what is shown or heard. In the experience of watching a film, silence is the absence of sound and auditory elements, but this absence leaves traces not only in the soundtrack but also in other elements. This research examines the meaning of silence in selected films by Ingmar Bergman. By using cinema’s ability to represent reality, he has addressed religious, social, philosophical, and psychological themes. He develops both direct and indirect themes of silence across his major works and recurring existential concerns.This is a qualitative, descriptive-analytical study to analyze the meaning of silence in Bergman’s selected films, including The Seventh Seal, Wild Strawberries, Winter Light, The Silence, and Persona. This article also takes a phenomenological view, asking how the viewer experiences silence and how that experience changes the force of image, speech, and narrative development. The main focus on how silence is formed and functions in narrative structure, visual composition, sound design, and the semantic layer. The five films were selected because they provide different yet related examples of Bergman’s use of silence in distinct cinematic and philosophical contexts. They were chosen not only because silence appears in all of them, but because each film places it within a different dramatic situation and philosophical horizon, allowing comparison across related yet distinct cinematic forms. The findings suggest that silence cannot be reduced to missing sound alone, because its effects spread into framing, performance, pacing, and meaning. It works through omission, visual sparseness, reduced explanation, and the careful weakening of narrative certainty. In Bergman’s cinema, different dimensions of silence play a role, but it functions most effectively at the visual, auditory, and semantic levels. In these films, silence is not limited to muteness or pauses in dialogue; it also appears through visual emptiness, narrative omission, reduced speech, and the deliberate weakening of explanatory cues.At the narrative level, Bergman’s films mostly follow the classical plot, and the story is expected to be clear and complete. Still, there are gaps in the script, and in all the films, verbal elements and dialogue structures are reduced in favor of visual representation. The use of silence in the plot is less explicit in two films, The Seventh Seal and Wild Strawberries, but in Winter Light, The Silence, and especially Persona, this element is presented more clearly. More specifically, The Seventh Seal remains comparatively explicit, though some elements, including the accused girl’s background and fate, are only lightly developed. Wild Strawberries becomes more restrained, leaving several characters and situations partly explained. Winter Light moves further in this direction by withholding contextual and psychological clarification, while The Silence leaves central tensions unresolved. In Persona, fractured continuity, unstable relations, and the open ending most fully extend narrative silence.On the other hand, the reduction or absence of visual elements in Wild Strawberries, The Silence, and Persona has been used creatively to highlight the films’ psychological themes effectively. At the visual level, this is clearest in Wild Strawberries, The Silence, and Persona. Dream sequences, restricted viewpoints, fragmentation, and deliberate absence create spaces where what is unseen becomes as important as what is visible, reinforcing uncertainty, inwardness, and psychological pressure without relying on direct statement. Auditory silence, like visual silence, is distinctive and influential in The Silence and Persona, and the absence of sound helps convey the films’ implied meanings. A similar pattern appears in sound. In Winter Light, pauses and reduced sound deepen spiritual tension; in The Silence, weakened sound is tied to illness and estrangement; and in Persona, Elisabeth’s muteness gives auditory silence its most concentrated form. Bergman has used semantic silence dramatically to raise deep philosophical issues through stories of death, existence, nothingness, loneliness, love, and betrayal. These meanings connect silence to death, divine absence, emotional loss, spiritual exhaustion, broken communication, and fracture. In this sense, silence becomes a means of confronting doubt, spiritual crisis, and metaphysical uncertainty, while also deepening the viewer’s reflective experience. In all of Bergman’s films, the meaning of silence is associated with questions about God and existentialist philosophy; hence, the world of Bergman’s films closely reflects lived reality.سکوت در سینما، نه بهمثابه فقدانِ صِرف، بلکه بهعنوان عنصری دیالکتیک در تقابل با صدا، واجد قدرتِ معناسازی است. پژوهش حاضر با هدف بازشناسی و گونهشناسی معنای سکوت در سینمای اینگمار برگمان، به تحلیل پنج اثر شاخص وی (مهر هفتم، توتفرنگیهای وحشی، پرسونا، نور زمستانی و سکوت) میپردازد. مسئله اصلی تحقیق، تبیین چگونگی تبدیل «سکوت» از یک عنصر شنیداری به یک ساختارِ معنایی و فلسفی در آثار برگمان است. این پژوهش با رویکرد کیفی و روش تحلیل متن، سکوت را در مقام «غیاب آگاهانه» مورد واکاوی قرار میدهد. یافتههای پژوهش نشان میدهد که سکوت در سینمای برگمان در شش مقوله ساختاری شامل «روایت»، «پیرنگ»، «بیان شنیداری»، «تمهیدات دیداری»، «مفاهیم انتزاعی» و «نسبت جهان فیلم با واقعیت» مفصلبندی شده است. تحلیل دادهها حاکی از آن است که اگرچه سکوت در تمامی سطوح روایی جاری است، اما در ساحت «عناصر دیداری و شنیداری» و «دلالتهای معنایی» کارکردی تعیینکننده دارد. نتایج نهایی نشان میدهد که معنای سکوت در آثار گزینششده، فراتر از یک تکنیک، بهمثابه ابزاری برای بازنمایی تروماهای وجودی، پوچی انسان معاصر و مهمتر از همه، «سکوتِ هستیشناختیِ خدا» عمل میکند. در واقع، برگمان از طریق سکوت، بحران ایمان و انزوای سوژه مدرن را به تجربهای بصری-شنیداری بدل ساخته است.https://jfadram.ut.ac.ir/article_102339_ad970f48d5efa31d6106cdf77a5728ae.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923Principles of consonances of the modes of the Saba Radifاصول ملایمت در مُدهای ردیف صبا597110339810.22059/jfadram.2025.390162.616024FAهوتنشرفبیانیکارشناس ارشد نوازندگی موسیقی ایرانی، گروه موسیقی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.0009-0007-1154-4029Journal Article20250208The topic of ‘softness of modes’ in Iranian music has been a source of discussion in music treatises from the scholastic and systematic periods until before the formation of the Dastgahi system. This issue, which was discussed under the title of the principles of softness, has not been widely discussed in existing sources of Iranian instrumental music. By examining the modes in contemporary instrumental music, it is possible to obtain common features in their structure and arrangement of intervals and consider them as the principles of softness in contemporary Iranian music. In this article, in order to find the principles of consonance in the of the Saba Radif, common features in the arrangement of the modes have been studied. Analysis of intervals such as tetrachords, pentachords and their relationship to the different modes have been studied so that they can be considered as an example of the current rules in Iranian classical music. It should be noted that Saba focused some Radifs specifically for three instruments: violin, santur, and setar. In this article, the modes of Saba's Radif are the set of modes found in the aforementioned . In fact, the Gusheh’s in these Radif are divided into three general categories: 1. Rhythmic, 2. Melodic, and 3. Modal. Modal Gusheh’s are the same as the modes, and they will be discussed in the present article. For this purpose, at the beginning, the types of Chahargan’s and Panjgan’s, or tetrachords and pentachords, or as they were called in ancient Iranian music, Zel-Arba’ and Zel-Khams, in the Saba Radifs are specified. Then, the method of combining these tetrachords and pentachords, which potentially provide a range of one octave for presenting a mode, is discussed. The results of this research show that the Saba Radif consists of 72 modes, which are formed by combining 9 tetrachords and 9 pentachords in 22 different types. Each of the modes in the Dastgah and Avaz of the Saba Radif is considered in the range of one octave, which is formed by combining one tetrachord and one pentachord. The Shahed tone is also considered in the common tone between the connected tetrachords and pentachords. Each of the tetrachords and pentachords is made up of specific Lahni intervals. The term "Lahni intervals" refers to connected intervals or secondary intervals with different qualities. The reason for naming these intervals is the continuity of their intervals. In ancient treatises on Iranian music, the word "Lahn" was a specialized term in music, and its meaning can be considered equivalent to the concept of melody in contemporary music. This shows that in ancient Iranian music, as in today's Dastgahi music, the most important intervals for creating melody or Lahn were connected intervals. The mentioned tetrachords and pentachords are divided into three parts: 1. Zalzali 2. Tanini and 3. Mostazad, each part includes three subgroups. The tetrachords and pentachords of the Zalzali include: 1. Tork, 2. Shur, and 3. Segah. The tetrachords and pentachords of the Tanini include: 1. Mahur, 2. Nava, and 3. Dashti. The tetrachords and pentachords of the Mostazad include: 1. Chahargah, 2. Mokhalef, and 3. Zabol. By combining these tetrachords and pentachords, a total of 162 modes can be formed, of which 22 combinations have been used and 140 other combinations remain as potential. Of these 140 potential combinations, 63 do not comply with the criteria for minimum consonances in the modes in this Radif, which is the presence of at least 5 consonant ratios and a maximum of three single tones in a mode, and will be considered dissonant. However, there are 77 other potential combinations that are in accordance with the aforementioned criteria, and their acceptance in modulations or as new modes seems likely to the contemporary listener. Because of this, the role of the Shahed tone, which has the most important role among the tones of a mode, is clear in these potential modes. There will be a great potential for implementing these modes and applying the results of this article. In addition, just as 72 modes are formed from 22 combinations of tetrachords and pentachords in this Radif, it is possible to create more than one mode from one type of combination by changing other important tones, such as the 1st tone. Apart from the criterion of having at least 5 consonant ratios and a maximum of 3 single tones in consonant or semi-consonant modes, there are 4 other criteria in tetrachords, pentachords, and consonant and semi-consonant modes, which are: 1. No succession of two Baghiyeh intervals, 2. No succession of more than two Mojannab intervals, 3. No succession of more than two Tanini intervals, and 4. Succession of the Mostazad and Baghiyeh intervals. These principles existed in Iranian music in the 7th century AH as well, and Safi al-Din Ormavi mentioned some of them in his book Advar. In general, it can be said that the principles and criteria of consonances in Iranian music have not changed significantly from the 7th century to the .در این مقاله بهمنظور یافتن اصول ملایمت در ردیف صبا ویژگیهای مشترک در چیدمان فواصلِ چهارگان، پنجگان و مُدهای موجود در آن بررسی شده تا بتوانند بهعنوان نمونهای از قواعد جاری در موسیقی دستگاهی ایران قلمداد شوند. نتایج این پژوهش نشان میدهد که ردیف صبا از 72 مُد تشکیل شده که این مُدها از ترکیب 9 چهارگان و 9 پنجگان مختلف در 22 حالت متفاوت شکل گرفتهاند. با استفاده از چهارگانها و پنجگانهای موجود در این ردیف، مجموعاً امکان تشکیل 162 مُد وجود دارد که از این میان 22 حالت ترکیبِ آن به فعل درآمده و 140 حالتِ ترکیبِ دیگر بهصورت بالقوه باقی مانده است. از این 140 حالتِ بالقوه 63 مورد با معیارهایی که برای حداقلِ ملایمت در مُدهای موجود در این ردیف به دست آمده (حداقل 5 نسبتِ ملایم و حداکثر سه نغمة مجرد) مطابقت ندارند و ناملایم برشمرده خواهند شد؛ ولی 77 حالت ترکیبِ بالقوة دیگر وجود دارد که با معیارهای مذکور مطابقاند و امکان پذیرش آنها به گوش شنوندة امروزی محتمل است. علاوهبراین، 4 معیار دیگر در چهارگانها، پنجگانها و مُدهای ملایم و نیمه ملایم وجود دارد که عبارتاند از: 1.عدم توالی دو فاصلة بقیه، 2.عدم توالی بیش از دو فاصلة مجنب، 3.عدم توالی بیش از دو فاصلة طنینی و 4.توالی فاصلة مستزاد و بقیه.https://jfadram.ut.ac.ir/article_103398_35bd966ff9784b5ebbaba5e1fad13859.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923An Analysis of the Process of Transferring Philosophical Cosmological and Anthropological Concepts in Soul Animationتحلیل فرآیند انتقال مفاهیم کیهانشناختی و انسانشناختیِ فلسفی در انیمیشن روح738410035210.22059/jfadram.2025.386159.615977FAمحسنکرمیاستادیار گروه هنرهای رسانهای، دانشکده دین و رسانه، دانشگاه صداوسیما، ایران.0000-0003-3669-1029حسینفتحیکارشناس ارشد تولید سیما، گروه هنرهای رسانهای، دانشکده دین و رسانه، دانشگاه صداوسیما، ایران.0009-0008-0425-9577Journal Article20241130This article examines how philosophical cosmological and anthropological concepts are translated into cinematic language in Pixar’s Soul (2020). Although animation has often been studied as a medium for communicating cultural, social, and religious themes, its capacity to convey complex philosophical ideas has received less scholarly attention. Concepts such as the soul, afterlife, personal identity, the meaning of life, and the relationship between body and spirit are highly abstract and cannot be directly perceived through ordinary experience. The present study investigates how Soul transforms these concepts into a narrative and visual form that remains accessible to a broad audience. Focusing on the film’s production process—from conceptual development and scriptwriting to visual realization—the research identifies the artistic, narrative, and technical strategies through which philosophical ideas are communicated.The study employs a qualitative content-analysis methodology. The film itself serves as the primary object of analysis, supplemented by interviews with members of the creative team, behind-the-scenes documentaries, and scholarly sources related to the production of the film. By examining character design, world-building, visual metaphors, narrative structure, music, and animation techniques, the research explores the mechanisms through which abstract philosophical concepts are transformed into comprehensible cinematic experiences.The findings suggest that the philosophical framework of Soul emerged from a combination of personal reflection, interdisciplinary collaboration, and extensive research. The film originated in Pete Docter’s existential reflections on success, purpose, and fulfillment. These concerns were subsequently developed through collaboration among writers, artists, animators, and consultants from diverse intellectual and cultural backgrounds. Rather than presenting a particular religious doctrine, the filmmakers sought to create a universal symbolic language capable of addressing fundamental human questions concerning existence, meaning, and transcendence.The study demonstrates that cosmological concepts are primarily communicated through the creation of three symbolic realms: the Great Before, the Great Beyond, and the Zone. The Great Before functions as a metaphorical space in which souls acquire personality traits and prepare for earthly life. Its minimalist design, soft color palette, and abstract visual style communicate ideas related to the origins of identity and the preconditions of human existence. The Great Beyond symbolizes the mystery of death and the unknown destiny of the soul. By avoiding explicit depictions of heaven or hell, the film maintains intercultural accessibility while preserving the metaphysical ambiguity associated with death. The Zone serves as an intermediary realm linking material and spiritual existence. It represents states of creativity, concentration, and transcendence, while also illustrating the dangers of obsessive attachment through the depiction of lost souls.Anthropological concepts are conveyed primarily through character development and narrative progression. Joe Gardner embodies the human search for purpose and self-realization. At the beginning of the story, he believes that meaning depends upon achieving a lifelong professional ambition. As the narrative unfolds, however, he discovers that the value of life cannot be reduced to a single achievement. Instead, meaning emerges through attentive engagement with everyday experiences and ordinary moments. This transformation constitutes the film’s central philosophical insight concerning human flourishing. Similarly, the character 22 represents existential uncertainty and the struggle to find reasons for living. As a soul reluctant to enter earthly existence, 22 symbolizes individuals who experience aimlessness, doubt, and a lack of direction. The relationship between Joe and 22 therefore becomes a dramatic exploration of competing attitudes toward purpose, identity, and fulfillment.Another important finding concerns the film’s representation of the relationship between body and soul. Through its depiction of disembodied yet recognizable spiritual beings, Soul visually communicates the notion that personal identity extends beyond physical embodiment. The simplified and luminous design of the souls distinguishes spiritual existence from material existence while maintaining continuity between them. In this way, the film invites reflection on enduring philosophical questions concerning the permanence of the soul, the transience of the body, and the foundations of selfhood.The study further highlights the role of animation techniques in philosophical communication. Color, lighting, sound, rendering technologies, and spatial design function not merely as aesthetic elements but as conceptual tools that shape viewers’ understanding of abstract ideas. Jazz music plays a particularly significant role, symbolizing creativity, passion, transcendence, and existential fulfillment. Through recurring scenes of musical performance, the film portrays artistic immersion as a means of connecting with deeper dimensions of human experience.The article concludes that Soul provides a compelling example of how animation can communicate sophisticated philosophical concepts without sacrificing intellectual depth. By integrating visual symbolism, narrative structure, technological innovation, and interdisciplinary collaboration, the film demonstrates that animation can serve as a powerful medium for philosophical reflection. Its success lies not simply in simplifying abstract ideas, but in preserving their existential significance while making them emotionally engaging and accessible to diverse audiences. Consequently, Soul illustrates the broader potential of animated cinema to explore fundamental questions concerning reality, identity, mortality, and the meaning of human life.هدف از پژوهش حاضر بررسی فرآیند انتقال مفاهیم کیهانشناختی و انسانشناختی در انیمیشن روح (2020)، محصول پیکسار، است و در طی آن تلاش شده است از طریق تحلیل روشها و تکنیکهای مورد استفاده در بازنمایی مفاهیم مذکور به این امر پرداخته شود. بر این اساس، با بهرهگیری از رویکرد تحلیل محتوای کیفی، تمامی مراحل تولید این انیمیشن از ایدهپردازی تا پیشساخت و ساخت نهایی مورد تحلیل قرار گرفتهاند، و در این مسیر بهویژه نحوه استفاده از استعارههای بصری و تکنیکهای خلاقانه انیمیشنسازی برای انتقال مفاهیم فلسفی مورد توجه بودهاند. باری، یافتهها نشان میدهند که انیمیشن روح از طریق همکاری میانرشتهایِ تیم تولید، استفاده از تجربههای زیسته کارگردانان و نویسندگان موفق به بازنمایی مفاهیم پیچیده فلسفی به زبانی ساده و قابلفهم برای طیف وسیعی از مخاطبان شده است. همچنین، این انیمیشن از طریق طراحیهای بصری نوآورانه و استفاده هوشمندانه از رنگها، نورپردازیها، و فضاهایی که القاء معنویت و روحانیت میکنند توانسته است دنیایی قابلباور و در عین حال استعاری خلق کند که به مفاهیم کیهانشناختی و انسانشناختی توجه عمیقی دارد. در نهایت، این تحقیق نشان میدهد که انیمیشن، در مقام یک رسانه هنری و فرهنگی، ظرفیت بالایی در انتقال مفاهیم فلسفیِ پیچیده، از جمله مفاهیم کیهانشناختی و انسانشناختی، به مخاطبان دارد.https://jfadram.ut.ac.ir/article_100352_bede1168c00788858f5844a33a27b3f2.pdfدانشگاه تهراننشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601231320260923Reflection of Uncanny's Sense from Freud's View in the Narrative Structure, Elements of Color and Light in the Animated Film Coralineنمود امر غریب مرتبط با عناصر نور و رنگ در فیلم انیمیشن کورالاین بر اساس دیدگاه فروید859510345510.22059/jfadram.2025.395928.616083FAفاطمهدرینیکارشناس ارشد گروه انیمیشن و سینما، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.0009-0002-7019-0818سید نجم الدینامیر شاه کرمیاستادیار گروه انیمیشن و سینما، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.امیر حسنندائیاستادیار، گروه انیمیشن و سینما، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران.0000-0001-9394-2109Journal Article20250527An uncanny feeling is a complex and often unsettling psychological experience that involves a mixture of difficult emotions such as fear, uncertainty, anxiety, and discomfort. Sigmund Freud described the uncanny term as the strange feeling that arises when something familiar suddenly appears strange or alien, often triggered by the unexpected return of repressed memories or ideas. Freud further associated the uncanny feeling with phenomena such as repetition, doubling, and the blurring of boundaries between fantasy and reality, all of which challenge an individual’s sense of stability and certainty. These concepts have become influential in the interpretation of literary, cinematic, and artistic works that seek to evoke psychological tension and emotional ambiguity. This study explores how this theory is visually and emotionally communicated in the animated film Coraline, directed by Henry Selick. This animation is particularly successful in its use of the “uncanny” feeling, with a particular focus on the role of color and lighting as crucial aesthetic elements that shape the film’s psychological atmosphere. By analyzing the interplay between these elements, the research explores how psychological shifts are reflected throughout the narrative. Special attention is given to the contrast between the muted, subdued tones of the real world and the initially vibrant yet progressively darker hues of the “other world.” These deliberate color choices are instrumental in crafting the film’s eerie atmosphere.Through a detailed examination of selected scenes, this study highlights the skillful use of visual techniques to evoke themes of doubling and the ambiguous boundary between the animate and inanimate. The film repeatedly presents familiar objects, characters, and environments in altered forms, creating a sense of uncertainty that resonates with Freud’s interpretation of the uncanny theory. The dull, washed-out palette of the real world effectively conveys feelings of boredom and loneliness, which sharply contrast with the other world’s deceptive warmth. The visual richness of the alternative realm initially appears comforting and desirable, reflecting Coraline’s longing for attention, excitement, and emotional fulfillment. However, beneath this attractive surface lies a growing sense of unease that gradually becomes more apparent through subtle changes in color intensity, shadow placement, and lighting contrasts. Ultimately, these visual choices emphasize the underlying emotional currents of fear, anxiety, and the unknown. Through the orchestration of light and color, the film successfully creates an immersive, unsettling environment that mirrors the protagonist’s evolving emotional landscape and the story’s complex thematic essence.Furthermore, the film’s visual design reinforces a key aspect of Freud’s uncanny theory: the coexistence of attraction and fear within the same experience. The other world appears as an idealized version of reality, creating a sense of comfort and curiosity, yet subtle changes in lighting and visual details gradually undermine this security. The contrast between illuminated and shadowy spaces reflects the tension between desire and hidden danger. As Coraline becomes aware of the deceptive nature of this world, visual cues transform wonder into unease and fear, demonstrating how color and lighting effectively externalize complex psychological processes and deepen the viewer’s emotional engagementAs the narrative develops, however, the vibrant colors of the other realm gradually shift toward darker, more threatening tones, signaling growing menace and anxiety. This progression aligns with traditional symbolic meanings of color in art and cinema, where specific hues are associated with psychological themes like fear and evil. The gradual transformation of the visual environment also reflects Coraline’s increasing awareness of her hidden dangers. As illusions dissolve and the true nature of the Other Mother becomes evident, color and lighting work together to intensify suspense and emotional tension. For instance, deep blues represent supernatural terror during Coraline’s desperate attempts to escape the Other Mother’s house. Reds and oranges dominate the confrontational scenes, communicating anger, panic, and aggression. Green appears sparingly but powerfully, highlighting moments of horror, especially when the true sinister nature of the Other Mother is revealed. The strategic use of darkness, shadows, and reduced illumination further reinforces feelings of vulnerability and psychological entrapment, contributing to the film’s overall strange effect.This study concludes that color and lighting are more than decorative elements in Coraline. They function as vital narrative tools that deepen the film’s emotional resonance and psychological complexity. Intentional manipulation of color palettes and lighting contrasts helps the film intensify the viewer’s psychological engagement and enhances its storytelling. Moreover, the interaction between visual aesthetics and narrative structure demonstrates how cinematic techniques can communicate abstract psychological concepts in a powerful and accessible manner. This research contributes an insight into how visual aesthetics are used to evoke complex psychological experiences. The findings provide implications for scholars and practitioners interested in the symbolic and emotional power of visual elements in cinema. By emphasizing the relationship between psychoanalytic theory and visual storytelling, the study highlights the importance of interdisciplinary approaches in film analysis. Future research could build on these ideas by investigating uncanny representations in other media or by exploring how individual or cultural differences influence audience responses to color and lighting in movies.امر غریب، حسی توأم با هراس، بلاتکلیفی، اضطراب، وحشت و ناامنی است. فروید آن را نتیجة رویارویی با بازگشت امری آشنا میداند که در ذهن سابقه دارد، اما به دلیل سرکوب یا نادیده گرفتن، بیگانه به نظر میرسد. امر غریب با داشتن نقش تعیینکننده در پدیداری ژانر وحشت، در سینما نمود پیدا میکند. این ویژگی در فیلم انیمیشن کورالاین تجسم مییابد و بدین ترتیب این پژوهش در تلاش است به روش کیفی و با رویکرد توصیفی ـ تحلیلی، ویژگیهای امر غریب را در فیلم انیمیشن کورالاین تحلیل کرده تا به پرسش: چگونه عناصر دیداری رنگ و نور در نمود حس امر غریب فیلم انیمیشن کورالاین اثرگذاری کردهاند؟ پاسخ داده شود. هنری سلیک کارگردان فیلم، شخصیت را در دو دنیای متفاوت به تصویر میکشد. یافتهها بیانگر یک کنتراست رنگی هدفمند در این دو دنیاست. در دنیای واقعی از رنگهای خنثی و در دنیای دیگر از رنگهای درخشان و گرم برای ایجاد فضایی جعلی و پرتنش استفاده شده است. در نهایت این پژوهش به این نتیجه میرسد که استفاده ماهرانه از رنگ و نور، به همراه سایر عوامل امر غریب، در القای حس هراس و ناامنی نقش کلیدی ایفا کرده است.https://jfadram.ut.ac.ir/article_103455_b45cd214cd1aba11ebb142111db7b1ca.pdf