دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222The Influence of Gustav Mahler on the Composers of the Second Viennese Schoolتأثیر گوستاو مالر بر آهنگسازان مکتب دوم وین5166900110.22059/jfadram.2018.69001FAامیرحسینجزء رمضانیکارشناس ارشد آهنگسازی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.محسننورانیکارشناسارشد آهنگسازی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.محمدرضاتفضلیعضو هیأت علمی(مربی)، دانشکده موسیقی، دانشگاه هنر، تهران، ایران.Journal Article20151226This article examines the works and musical life of Gustav Mahler, the late-romantic Austrian composer, and his influence on composers such as Arnold Schoenberg, Anton Webern and Alban Berg. In the history of music, after the greats such as Haydn, Mozart and Beethoven who were active during the classical period in Vienna and are known as the Viennese School musicians, in the early 20<sup>th</sup>-century Vienna witnessed the rise of other significant composers such as Schoenberg and his students Webern and Berg, who because of the impact of their works and musical beliefs on the musical community, were later called the composers of the Second Viennese School. Aside from music, there are certain common aspects between this school and philosophy as well. The modern critical philosophy of the 20<sup>th</sup> century, namely the Frankfurt Philosophy School, is closely related to Theodor W. Adorno who was once Schoenberg’s student and this caused the Second Viennese School to become more widely-known in 20<sup>th</sup> century. This school, like other art schools, is connected to a historical tradition which links one to another in terms of development. Just as great composers such as Haydn, Beethoven, Wagner and Mahler are dependent upon the musical thoughts of their ancestors, musicians of all generations need to adopt the experiences of the ones before them. This article will show in an analogical and adaptive manner how composers of the Second Viennese School followed Mahler’s thoughts regarding their adaptation of musical elements such as texture, harmony, orchestration and other elements, and used his experiences in their own development of music. In order to reach credible and correct results in this research, the text has been divided into two segments. The first segment is a review on the musical literature of the past and topics related to Mahler’s artistic life in order to clarify his musical aspects and his artistic imagination for the reader. In the second segment, this article involves the analogy between Mahler’s musical ideas and the Second Viennese School. In this segment which can be considered to contain the main discussion of the material in this article, works of the three great composers of the Second Viennese School (Schoenberg, Webern and Berg) are compared and matched to Mahler’s musical ideas separately, and are discussed and examined thoroughly. We also examine some interesting points where we observe Mahler being influenced by these composers which is nothing new in the history of music. To name a few, we can consider Schoenberg’s Disfigured Night and <em>Gurrelieder</em> to have influenced Mahler’s harmonic point of view. However, Mahler’s Influence by far outweighs how much he was himself influenced, which is what motivated the authors of the article to explore this topic of interest. Mahler’s emotional support for this school and the inspiration caused by his works both contributed to the development of the new structure of the 20<sup>th</sup> century. In general, it is safe to say that the Second Viennese School and its composers are all consequences of Mahler’s rich music and his artistic thoughts.هدف از نوشتار این مقاله بررسی آثار و زندگی موسیقایی گوستاو مالر آهنگساز اتریشی اواخر رومانتیک و تأثیر آن بر آهنگسازانی همچون آرنولد شوئنبرگ، آنتون وِبِرن و آلبان بِرگ است. در تاریخ موسیقی، پس از بزرگانی نظیر هایدن، موتسارت و بتهوون که در دورۀ کلاسیک در شهر وین مشغول بکار بوده و به آهنگسازان مکتب وین معروف شدند، در اوایل قرنبیستم نیز این شهر شاهد تجمع و ظهور آهنگسازان مهمی همچون شوئنبرگ به همراه دو شاگردش - وبرن و برگ- بود که به سبب نفوذ آثار و عقاید هنریشان در مجامع موسیقی به آهنگسازان مکتب دوم وین شهرت یافتند. مکتب دوم وین، مانند سایر مکاتب هنری، در شاخصههای پیشرفت به یک زنجیرۀ تاریخی قبل از خود متصل میشود. این مقاله در کارکردی مقایسهای و انطباقی نشان خواهد دادکه آهنگسازان این مکتب در برخورد با عناصری نظیر بافت موسیقی، هارمونی، ارکستراسیون و سایر عوامل موسیقایی پیرو تفکر مالر بودهاند. البته در این رهگذر، مشخص میشود که مالر هم در آثار متأخر خود به نوعی متأثر از فعالیتهای این مکتب و خصوصاً شوئنبرگ بوده است؛ اما در رویکرد کلی این مقاله نشان میدهد که مکتب دوم وین و منسوبین آنها همگی در فراشد موسیقی به مالر و تفکر هنری او ارتباط مییابند.https://jfadram.ut.ac.ir/article_69001_19ee7397929b90e16c515ecb0c405b20.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222The Origins of the Formation of Graphic Notation in John Cage’s Worksریشه های شکل گیری نگارش نُت های گرافیکی در آثار جان کِیج17286900210.22059/jfadram.2018.69002FAزهراآخوندیدانشجو/تربیت مدرسرضاافهمیدانشیار گروه پژوهش و تاریخ هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس0000-0002-7678-6164Journal Article20160612The present study surveys the origins of the formation of graphic notation used in John Cage’s works, and the reasons for the replacement of traditional notation, for the visual and prosy approach to composition. These changes to the musical notation system begin in this twentieth century avant-garde composer’s works from the early 1950s as well as his landmark example in the late 1960s and in his “Song Book”. Although, Cage’s famous composition, “Silence” or“4′33″ written for any instrument or combination of instruments, is the beginning of very important changes in the composer’s music and musical language, in his notation methods, we can distinguish two major aspects: the first aspect, there is still the traditional notation, such as the staff, beat, time and duration, but, he has changed it in his notation methods, so, a performer is able to decide on some parts and to perform his/her own interpretation of the scores. But, in the second aspects, started with time delay to his early notation, he relinquishes all methods of the traditional notation and replaces them with pictures or text elements. In this aspect, a performer interprets the totality of the scores. This paper outlines John Cage’s attention to contemporary and previous artists in the field of “Graphic Notation” and collects them in “Notation,” and his reference to the impact of the painters, poets and artists in the formation of his music in the collection of his writings and lectures. The purpose is to clarify the chronological trend of this impact and the achievement to the reasons of his tendency to the new ideas of his contemporary and previous movements. This research uses two methods: Chronological and Descriptive-Analytic methods, based on library resources, especially, reference to the writings and recorded interviews of Cage. The chronological trend depicts Cage’s influence of Futurism, Dada, and especially, Marinetti’s Futurist manifesto, called ” Destruction of Syntax- Imagination without strings-Words-in-Freedom” and his poetry book ,“Zang Tumb Tumb”, and the ideas raised by Russolo in his manifesto “The Art of Noises”, as well as, Mallarmé’s Concrete Poetry , Apollinaire’s ideas in Visual Poetry, the experiences of Sonia Delaunay and Blaise Cendrars, and his collaboration with the Fluxus movement that tried to eliminate the boundaries between the arts. This paper provides reasons why the composer followed this trend, which is ultimately due to the facts that Graphic Notation achieves the expressive manners proportional to his new musical ideas, reflected in the Futurism movement and the changes that it had made to modern musical perspective. So, the changes of his notation can be divided into two periods: the first period represents the visual expression that is reflected in the attitude of Mallarmé and Marinetti and includes the collection of scores that have distorted graphically in order to convey the feelings. The second period, in addition to complete the first period, declares the concept of “Simultaneity in Visual Poetry,” that was influenced by the attitude of Apollinaire, and tries to reflect the concept of music in a visual manifesto.پژوهش حاضر به بررسی ریشههای شکلگیری نُتنویسی گرافیکی در آثار جان کِیج، آهنگساز بزرگ قرن بیستم و دلایل جایگزینی علایم و جنبههای بصری و نثرگونه به جای نُتنویسی مرسوم میپردازد. دلیلِ بررسی، توجه وی به آثار دیگر هنرمندان در این زمینه در کتاب "نُتاسیون" و ارجاعات وی به هنرمندان مؤثر بر موسیقی وی در مجموعه کُتب و سخنرانیهای وی است. هدف، آشکار ساختن خط سیر تاریخی این تأثُر و دستیابی به دلایل گرایش وی به ایدههای جنبشهای پیشین و همزمان اوست. پژوهش از دو روش تاریخی و توصیفی-تحلیلی بهره گرفته و مبنای استناد، منابع کتابخانهای به ویژه رجوع به نوشتارها و مصاحبههای برجای مانده از وی بودهاست. خط سیر تاریخی، نشانگر تأثیرپذیری وی از جنبشهای فوتوریسم و دادا و همچنین اشعار مالارمِه و آپُلینِر و همکاری با جنبش فِلاکسوس و دلایل این گرایش، تلاش برای دستیابی به شیوه بیانی متناسب با ایدههای نوین وی درباره موسیقی بوده که مُحرّکهای آن در جنبش فوتوریسم و تحولات موسیقی مُدرن پیش از وی نهفته است و دوران تحول نُت-نویسی وی را میتوان به دوره اول، بیان تصویری بازتابدهنده دیدگاههای مالارمِه و مارینِتّی و دوره دوم، که ضمن تکمیل دیدگاه اول، از مفهوم همزمانی در شعر تصویری آپُلینِر تأثیر پذیرفته، تقسیم کرد.https://jfadram.ut.ac.ir/article_69002_dc4c42f332fa8e4186408177362663c2.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222The Effectiveness of Rational-Emotional Group Training on Amateur Musicians’ Performance Anxietyتأثیر مشاورهی گروهی به شیوه عقلانی-عاطفی الیس، بر اضطراب اجرایی نوازندگان نوآموز29366900310.22059/jfadram.2018.69003FAایمانفخرهیت علمی دانشگاه هنر0000-0002-9953-7435غلامرضامعصومیدانشجوی کارشناسی ارشد نوازندگی ساز جهانی پردیس فارابی دانشگاه هنرJournal Article20170116Performance anxiety-the exaggerated and incapacitating fear of performing in public-is a widespread problem among musicians. It occurs frequently and can cause considerable distress. This fear afflicts individuals who are generally prone to anxiety, particularly in the situation of high public exposure. Performance anxiety probably is as old as artistic performance itself, but psychological researches on it started only about some decades ago. Studies have shown that high percentages of anxiety disorders are common among both amateur and professional musicians during performance activities. Irrationality, perfectionism and catastrophic cognitions are the main characteristic of stress induced musicians. Unfortunately, these are the main cognitive reasons for increasing fear which reduces the success-ratio of their performances. Pessimistic self-talk, irrational beliefs and feeling of panic can seriously affect performance quality. One of the effective psychological treatments is cognitive restructuring, the process which attempts to modify habitual thoughts and attitudes; rationalizing the individuals’ irrational beliefs. Unfortunately, this kind of instruction did not exist in the performance curriculum. Rational-Emotional Therapy is one of the most prevalent cognitive methods applied to reduce the anxiety disorders. This method is based on Albert Ellis’s cognitive theory. From his point of view, our emotions are results of analyzing <em>Activity</em> events in our <em>Beliefs</em>, not the actual events per se. Irrational believes cause emotional distress and rational believes results in balanced emotions. Hence, each change in the process of analyzing the beliefs system leads to a change in the emotional consequences. The aim of the present study is to determine the effectiveness of rational- emotional group training on musician’s performance anxiety. The research method is an experimental one accompanied by both pre-test and post-test phases with one control group. Validated Spielberg state- trait anxiety inventory questionnaire were employed in order to assess the quantity of performer’s anxiety in each phase. The sample includes 60 (mean age=19.31 years, SD=2.46) amateur music performers who have at least 5 years of professional experience and 3 live performances. They had received instructions of a melodic instrument for a minimum mean (SD) time of 6.1(1.42) years in Karaj’s music institutes. Participants were selected by nonrandomized sampling and then were divided into two separate groups (experimental and control) randomly. Initially, the pre-test was performed for both groups by solo public performing and then Spielberger test anxiety inventory was fulfilled. Next, the experimental group underwent group rational-emotional restructuring and training for eight 2-hours consulting sessions. At the end of the training, post-test was performed for both groups. The data was analyzed by SPSS-22 and then the independent T- test was performed. The results showed a significant difference: the mean scores of state anxiety in the experimental group in comparison with that of the control group was decreased significantly (<em>P</em><0.05). With a deductive overview, results showed group rational- emotional restructuring was effective in reducing musicians’ performance anxiety. Hence, according to this articles results, group rational and emotional trainings are recommended for performers in the educational process to control and decrease performance anxiety.
هدف اصلی این پژوهش بررسی میزان اثربخشی مشاورهی گروهی به شیوه عقلانی-عاطفی الیس، بر اضطراب اجرایی نوازندگان نوآموز موسیقی جهانی در اجرای صحنهای است که مبتنی بر روش تجربی با طرح پیشآزمون- پسآزمون با گروه کنترل انجام میپذیرد. جامعه آماری مشتمل بر 60 نفر از نوازندگان آموزشگاههای موسیقی شهر کرج است که بصورت غیر تصادفی انتخاب و بهطور تصادفی به دوگروه مطالعه و گواه تقسیم شدند. در گام نخست، برای هر دو گروه، پیشآزمون بصورت برگزاری اجرای اول در یک بافت عمومی صورت پذیرفت و در مرحله بعد آزمودنیها، پرسشنامه اضطراب صفت-حالت اسپیلبرگر تکمیل کردند. در گام بعد گروه مورد مطالعه به مدت هشت جلسه تحت آموزشهای عقلانی-عاطفی به صورت گروهی قرار گرفته و در پایان آموزش، پسآزمون برای هر دو گروه انجام میشود. تحلیل دادهها با بهرهگیری از نرم افزار spss و با آزمون t-مستقل و دیگر شاخصهای آمار توصیفی صورت پذیرفته است. نتایج تحلیل دادهها نشان میدهد تفاوت میانگین نمرات اضطراب حالتی در گروه آزمایش نسبت به گروه گواه به طور معنیداری کاهش یافته (p <0.05) و مشاورهی گروهی به شیوه عقلانی-عاطفی برکاهش اضطراب اجرایی نوازندگان اثر معنیدار مثبتی دارد. با توجه به یافتههای این پژوهش، میتوان نتیجه گرفت گنجاندن آموزشهای عقلانی-عاطفی در فرآیند آموزش نوازندگی راهگشا است.https://jfadram.ut.ac.ir/article_69003_a06ede714850f872621bb3d39b6618bd.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222Analysis of the Visual Structure of Farhadi’s Films
(With analysis of About Eli, A separation and The past)بررسی ساختار دیداری فیلمهای اصغر فرهادی (با بررسی سه فیلم «دربارة الی»، «جدایی نادر از سیمین» و «گذشته»)37466900410.22059/jfadram.2017.228619.615051FAحمیدرضاافشاراستادیارگروه نمایش، دانشکده سینما-تئاتر، دانشگاه هنر، تهرانفرزینکمالی نیادانشجوی دکترای دانشگاه هنرJournal Article20170226The visual structure of a film is a construction of connected visual elements of that film. This structure is used to progress the story, make the meaning and transfer the feeling of that film to audiences. So a good way for studying any filmmaker’s films is to understand his or her film’s visual structure and techniques. In this text, the goal is achieving this understanding about Asghar Farhadi’s films. This doesn’t mean that we want to understand the image in his films abstractly, but instead, we want to analyze the connection between images and story in his films. At first we describe the connection between images and story, and then we analyze Asghar Farhadi’s visual techniques in order to distinguish “why” this connection are impressive and effective. In this text also we emphasize on visual structure as a dynamic set which is completed in audiences. For this reason, in the first section of this article, we describe different parts of a visual story according to Boris Block’s theory and we try to reveal how the visual characteristics of a film change through these different parts. Then we study the relationship between semantic structure and imagery in films. Then, we analyze Asghar Farhadi’s films according to the connection between visual structure and story and we disclose Farhadi’s visual techniques in the process of storytelling. The most important questions of this research are that how an image in a film can fulfill dramatic goals of that story, and how it transfers feelings and meaning of a certain film to audiences. For answering these questions we should go back and study films not from their imagery but from their storyline and multi-plots instead. We should grasp and understand the meaning of story and its structure. The image is a vehicle to transfer the story. So understanding a story structure is necessary for understanding the imagery selected by the director. But how can we understand a storyline better? A very effective way to do this, is to divide a story to three different parts; 1-Exposition; 2-Conflict; 3-Resolution. An Exposition means revealing the characters and story conditions. The Conflict is a situation in which the main character fights against antagonists or other obstacles. And the Resolution is the end of a film, when other story lines will be completed. And also there are several important points in a film, for example the beginning of a crisis and climax. Block believes that all these parts and points have equals in visual structure of a film. So we can talk about visual exposition, visual conflict and visual resolution. Any of these parts has its own visual attributes. So for analyzing visual characteristics of Farhadi’s films, we should study these different parts in his films. According to this study we deduce that Farhadi, with the use of visual realism, makes dramatic constructions of his films stronger and attracts audiences to his characters. For this reason, visual techniques like deep space, handheld camera, several points of views, limited color pallet, merging negative and positive spaces and high key lighting become main methods for cinematic expression in his films.ساختار دیداری در یک فیلم، ساختمانی به هم پیوسته از عناصر بصری آن فیلم است که از آن برای پیشبرد قصه، تولید معنا و انتقال احساس استفاده میشود. از این رو برای شناخت آثار هر فیلمسازی، یکی از بهترین راهها، شناخت ساختار دیداری آثار او و بررسی شگردهایی است که او برای آرایش عناصر دیداری مورد استفاده قرار میدهد. هدف از این پژوهش، دستیابی به چنین شناخت و تحلیلی در فیلمهای اصغر فرهادی است. البته منظور از این تحلیل، فهم انتزاعی تصویر در آثار او نیست، بلکه همواره بر رابطة تصویر با قصه و معنای آن تاکید میشود. بنابراین در این مقاله با یک روش توصیفی-تحلیلی، از یک سو رابطهای شرح داده میشود که میان تصویر و قصه گویی وجود دارد و از سوی دیگر دلایل تاثیر گذاری شگردهای بصری فرهادی در فیلمهایش تحلیل میشود. در نتیجة این پژوهش، مشخص میشود که فرهادی با بهرهگیری از گونهای رئالیسم تصویری، به ساختمان دراماتیک و قصهگوی فیلمش استحکام میبخشد و مخاطب را هرچه بیشتر به کاراکترهایش نزدیک میکند. به همین علت، شگردهای بصری چون عمق میدان زیاد، دوربین روی دست، چندگانگی نقطه دید، پالت رنگی محدود، درهم شدن فضاهای مثبت و منفی و نورپردازی روشن-مایه در فیلمهای او به ابزارهای اصلی برای نمایش عناصر بصری و بیان سینمایی تبدیل میشود.https://jfadram.ut.ac.ir/article_69004_8f955c6deeac7c17bd3c1839ee4c678e.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222Liminality in Hajj's Rituals
(The Comparative Analysis of Hajj's Rituals and Features of Expedition Theater)آستانگی در مناسک حج (مقایسۀ تحلیلی مناسک حج با مفهوم آستانگی و ویژگی های تئاتر گردشیافتی)47566900510.22059/jfadram.2018.69005FAعلیرویینکارشناس مرکز رشد هنر و علوم انسانی، در پارک علم و فناوری دانشگاه تربیت مدرس0009-0003-5860-726XJournal Article20161107 The purpose of this article is to analyze the Hajj's Rituals and its comparison with the structural pattern of Theater Expedition. The main concept of this study is Liminality; the concept that has been taken by Victor Turner from Arnold Van Gennep’s, <em>The Rites of Passage </em>(1909). According to Van Gennep, every ritual has three parts, phases or main stages: Separation, Liminality and Return. In Turner’s view, the most important part of this triple process is Liminality: the stage that takes shape for a person or group, after the formation of a gap or crisis in social or individual rules. At the individual and social levels, this concept (Liminality) exists in all situations of crisis. Based on this feature, it depends on the time, place, beliefs, choices and commands of religious, ritual or social leaders. Regarding the central concept of the two theorists and the main purpose, the roadmap for this research is designed to compare the structure of the Hajj's Rituals with Theater Expedition. In this article, Theater Expedition means an adventure and immediate encounter with itself (as a person or an actor) and the others (People, Animals, Things, Places, Nature, Spaces and Objects). The analysis method in this article is qualitative and begins with the classification of the structure of the Hajj's Rituals and Theater Expedition. For this categorization, the elements are separated from each one and the most important sections are analyzed with the main aforementioned definition. This categorization is based on the functional role and concept and includes, respectively, hidden and obvious functions and the performers' beliefs and practices. The outcome of this research gives three main perceptual levels or index of Liminality: Spatial, Place and Time. All of these three indicators are mentioned in the three main parts of the concept_ pre-Liminality, Liminality, past-Liminality_ which at each stage, will entail different conditions and executives due to the quality and quantity of those conditions. The other results of this research could be presented in these phrases: The influential ways of the Liminality stage are "individual," "thoughtful," "promotional," and "critical." These stages in Hajj's rituals are the result of the ritual-education process for a person, at two levels (family and religion and society). The Hajj's rituals and Liminality have the same direction and same meaning in terms of origin. They are different in the performing approach and finally, the research hypothesis is confirmed by their similarity and alignment in terms of content and performance. It is hoped that this article and its results will help to raise the level of understanding of the rituals’ influences. It is expected the quantity and quality of the comparative and interdisciplinary research in the field of performing arts and their interdisciplinary can be an exam to evaluate and apply Turner's extrapolation of Van Gennep’s thesis and to provide a wider scope for other activists in the field of cultural studies to study rituals and performing opportunities as a parallel phenomenon which can be summarized by interdisciplinary approaches such as this study.این پژوهش کوشیده است مناسک حج ابراهیمی را، با تمرکز بر مفهوم «آستانگی» نزد ویکتور ترنر و الگوی تئاتر اکسپدیشن یا گردشیافتی تحلیل کند. برای انجام این کار، نخست مفاهیم کلیدی-آستانگی، تئاتر اکسپدیشن، مناسک حج- را تعریف کرده، سپس با تمرکز بر الگوی ترسیمی ترنر از ویژگی های سه گانۀ هر آیین –تجویزی بودن، ریخت مندی، باوری بودن- اعمال و ساختار مناسک حج را-به عنوان یک آیین و از منظری نمایشی- مورد بررسی قرارداده است. همچنین، با دسته بندی و بررسی شرایطِ امکانِ «آستانگی» در مناسک یادشده و به دست آمدن چهار شاخص(فردی، اندیشگانی، تبلیغی، انتقادی) به عنوان شیوه های تاثیرگذاریِ مفهوم آستانگی، الگوی تئاتر اکسپدیشن یا گردشیافتی با الگوی ساختاری اعمالِ حج مقایسه شده. برآیند و دستاورد نهایی، بیانگرِ تایید فرضیۀ پژوهش_مبنی بر انطباق، مشابهت و یا همسویی نظریه(آراء ترنر- الگوی تئاتر اکسپدیشن) و متن(مناسک حج)- در دو سویۀ مشابهت و همسویی، و ردِ آن در سویۀ انطباقی بوده است. نیز، برآیندِ قیاس پدیدارشناساختیِ الگوی گردشیافت و مناسک حج، در سطح قالب(اجرا) همسان و در سطح محتوا(انگیزش و هدف گذاری) ناهمسان دانسته شده. انتظار می رود برآیندِ این پژوهش، گام کوچکی باشد در راستای شناخت هرچه بیشترِ داشته های آیینی، نمایشی و فرهنگی و نیز، روشنگر نقش مفهوم آستانگی و تئاتر گردشیافتی به عنوان یک ریختار نوین نمایشی.https://jfadram.ut.ac.ir/article_69005_f62a9055bf4fb509feb138e39c0a5b4a.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222Dramatization of Radio Shows and the Capacities of Language and Genderظرفیت های زبان جنسیتی در دراماتیک کردن نمایش های رادیویی57666900610.22059/jfadram.2018.69006FAمناشکریفارغ التحصیلمجیدشریف خداییاستاد دانشگاه صداوسیمافردوسآقا گلزادهاستاد تمام دانشکده علوم انسانی دانشگاه تربیت مدرسJournal Article20161109Radio drama is a reflection of actual human lives and performance dialogues represent dramatized form of human discourse. However, in the science of linguistics, there are evident differences between female and male languages, each of which stems from their divergent social characteristics, referred to as <em>gender language</em>. This feature has diverse elements according to cultural and social influences and it has also extended to performance dialogues. The act of “dialogue” is the most significant unit of analysis in this study. The definition used in this study is: a human condition that can (only) be conducted correctly upon gaining an accurate understanding of the social settings and his or her interactions. The definition is further discussed as an act that can only be performed between humans that enjoy freedom and consciousness, and the outcome of their dialogue leads to a third situation, which is understood to being a sensible state. From the view of linguistics studies, the features of male and female languages become clear that some of these characteristics are in contradiction with settings of a dramatic dialogue, and some others are more in line. Thus, the use of gender language can directly affect dialogue and dramatic settings if the author has a gender specific orientation to the use of language and the significance that it can have in the dialogue. This study hypothesizes that gender-based language leads to the creation of dramatic settings in a performance act. To prove this assumption, efforts were made to first identify unique features of male and female language, and then denote how its presence in dramatic radio dialogues affects the performance -- considering its parameters – as well as how it can facilitate the development of the dramatic setting. Considering the theoretical principles of research (diversity theory) and following the analysis of quality contents of 10 performance broadcasts from “Javan” Radio Network in the past decade, it was determined that utilization of gender language in dialogues leads to the creation of two equal and opposite rhetorical forces that guarantees the dramatic balance of the performance. These two forces are in correlation and the outcome of their association appears to facilitate the development of dramatic setting of a performance and the creation of more emotional impact. The language of gender is also a mode of generating “balance” in the elements of drama, when the two elements of feminine and masculine confront each other, the elevation of a dramatic act can be anticipated, since when these two forces are equal, it leads to a soaring confrontation that leaves the audience powerless to predict. The balance between the two forces does not denote a broad balance and a lack of action. It rather points to the parity of the powers, where personalities can be freely introduced and interact along the lines of creating new senses. These two balancing powers can generate dialogue. Hence, under such circumstance, formation of an authentic dialogue and the creation of action can be anticipated. Working in parallel, these two forces can generate as well as advance the drama of the script.درام رادیویی بازتابی از زندگی حقیقی انسان ها و دیالوگ های نمایشی وجه دراماتیزه شده مکالمات انسانی است. اما در علم زبانشناسی بین زبان زنانه و مردانه تفاوت هایی اثبات شده وجود دارد که هریک حاصل هویت اجتماعی متفاوت آنهاست که به آن زبان جنسیتی می گویند . زبان جنسیتی تحت تاثیر فرهنگ و اجتماع ویژگی های متفاوتی را خلق می کند. لذا همین ویژگی ها در دیالوگ های نمایشی نیز سرایت کرده و هویدا می شود. در پژوهش حاضر هدف براین است که تاثیر حضور زبان جنسیتی در یک درام رادیویی در موقعیت های نمایشی را کشف کرده ونشان دهد چطور دیالوگ های مردانه و زنانه با توجه به جنس گوینده و موضع او می تواند بر میزان دراماتیک شدن یک اثر، بیافزایند.<br /> چنانچه با توجه به مبانی نظری تحقیق (نظریه تفاوت) و بعد از تحلیل محتوای کیفی ده نمایش پخش شده از شبکه رادیویی جوان در دهه هشتاد مشخص شد که استفاده از زبان جنسیتی در دیالوگ ها منجر به خلق دونیروی برابرو متضاد کلامی می شود که تعادل دراماتیک اثر را تضمین می کند. این دو نیرو لازم و ملزوم یکدیگرند از برآیند آمیزش آنها می توان شاهد پیشبرد فضای دراماتیک اثر و خلق موقعیت های نمایشی بود.https://jfadram.ut.ac.ir/article_69006_be069b53bf9903ec1b35058f0582442c.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222Improvisation in Iranian Classical Music based on Transcendental Phenomenologyبررسی بداههپردازی درموسیقی ایرانی براساس پدیدهشناسی استعلایی67746900710.22059/jfadram.2018.69007FAمهدیمختاریفارغ التحصیل/ دانشگاه گیلاننرگسذاکر جعفریعضو هیأت علمی/ دانشگاه گیلان0000-0002-5692-3221Journal Article20170110Improvisation is a performance in the “moment” and without previous prediction which at least in the last century was the dominant form of Iranian classical music. However, existence of multiple versions and definitions of improvisation rob the opportunity of conceptualizing the scientific method. Thus, this study aims to reach a uniform definition of the concept. This study is based on the theories of the Austrian philosopher Edmund Husserl's transcendental phenomenology. This notion, as a research methodology, provides the steps in improvisation from start to finish leading to the creation of a musical work in details. In this study, the role of improvisation as a creator has the utmost importance, actually, the understanding of improvisation becomes possible on the basis of “Understanding of the Improviser’s Life and World ". The findings of this study renders the "Radif" as the model of Iran's traditional classical music so as to improvisation is taken into consideration on the Radif. The aforementioned issues can be summarized in “what is improvisation?”, or in other words, how can a comprehensive definition of improvisation be reached based on a methodology? For this purpose, the traditionalism’s belief (meticulous performing of Radif) as an approach referred to as natural approach in phenomenology is taken into consideration. Then, with the help of a suspension of this approach, it paved the way for the implementation of other phases of phenomenology with improvisation. Reaching to the essence of the given phenomenon (Radif) in the process of Eidetic reduction, summons our attention to the elements such as constituent’s intervals, melodic and rhythmic patterns in circulation of "Radif" that through them the essence or nature of a Goosheh is revealed. Then, the improviser was subjected to the phenomenological reduction and all meaning and validity of previously learned subject were taken away from him. This process provided a situation that improviser encounters the essence of the Radif in a pure sense, without any presupposition. The phenomenon appears to subject in two ways: a) something that is outside of our consciousness and is objective and b) something that shapes in our mind and consciousness. Thus, "eidetic reduction" phenomenon is rendered outside of the mind which leads us to its essence of nature. The consciousness of the subject is exposed to "phenomenological reduction", and is cleared of the assumptions and judgments. The final phase, in which subject and object are linked together, is an encounter between an effortless mastery of improvisation, free from any supposition, with a phenomenon known as Radif. It is in this encounter that horizons, due to the expansion and development process, is revealed to the improviser and each horizon is followed by a new horizon. In fact, the expansion and development is a platform for demonstrating creativity which increases the possibilities of the improviser and assist him in exploring new possibilities as well. As a result, the implementation of improvisation with concepts like: epoche, reduction, intentionality and other such elements provide a basis to explore the improvisation methodologically. This study is a qualitative method and has been conducted on library resources.
بداههپردازی، اجرایی در «لحظه» است که حداقل در قرن اخیر شیوهی آفرینش غالب در اجراهای موسیقی ایرانی بوده است. تعاریف متعدد از بداههپردازی مجالی برای مفهومپردازی آن به روش علمی میسر نساخته است. هدف از این پژوهش رسیدن به تعریفی یکدست از فرایند بداههپردازی با تکیه بر روش پدیدهشناسی است. پدیدهشناسی استعلایی، در مقام روششناسی پژوهش، توصیف دقیقی از مراحلی که بداههپرداز از ابتدا تا انتها طی میکند تا به خلق یک اثر موسیقایی ختم شود، مهیا میسازد. در این پژوهش «ردیف» بهعنوان الگوی مرسوم در موسیقی کلاسیک ایرانی مورد توجه است. ابتدا باور طیف سنتگرا بهمثابهی رویکردی که در پدیدهشناسی از آن با عنوان رویکرد طبیعی یاد میشود، در نظر گرفته شد. سپس با به تعلیق درآوردن این رویکرد، راه را برای تطبیق سایر مراحل پدیدهشناسی با بداههپردازی هموار ساختیم. در نتیجهی این تطبیق بستری فراهم شد تا بداههپردازی بهصورتی روشمند، مورد تحلیل قرار گیرد. از یافتههای این تحقیق میتوان گفت رسیدن به ذات ردیف ـ که فواصل مُدها، روند ملودی و ریتم را شامل میشود ـ نفش تخیّل را در آگاهی بداههپرداز برجسته کرده و به تبع آن اجرایی آزادانه با تکیه بر خلاقیت هرچه بیشتر او رقم میخورد. این پژوهش به شیوهی کیفی و با تکیه بر منابع کتابخانهای تدوین گردیده است.https://jfadram.ut.ac.ir/article_69007_1aef64289030f6044bbc0c8bac2ef173.pdfدانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای نمایشی و موسیقی2228-601223420181222A Comparative Study of Edward Bond’s Lear and William Shakespeare’s King Lear in Regards to the Role of Violence in Edward Bond's Characters from a Psychoanalytical Perspectiveبررسی تطبیقی نمایشنامه شاه لیر ویلیام شکسپیر و شاه لیرادوارد باند با تکیه بر نقش خشونت در شخصیت های ادوارد باند از دیدگاه روانکاوانه75816900810.22059/jfadram.2018.215082.614989FAنیلوفرزارعدانشجوی ارشد / دانشگاه تهرانفرشادفرشته حکمتاستاد/ دانشگاه تهران0009-0005-5178-0742Journal Article20161215This article is a comparative study of William Shakespeare’s King Lear and Edward Bond’s King Lear with an emphasis on the role of violence in the formation of Bond’s works. From the age of drama, society and theatre have experienced different forms and concepts of violence, a human phenomenon that has always found its way into all art forms. This article aims to find out the reasons for the use of violence in contemporary dramatic works. According to behaviorists, everyone’s character is the result of accumulating actions and reactions between, nature and nurture, in other words, a person’s genetic make-up and his/her environmental upbringing. Violence and ethical misconduct take their roots in childhood and reveal themselves during adolescence. Therefore the probable answers to the aforementioned question are examined in this comparative study of King Lear by Shakespeare and King Lear by Edward Bond and bring forth the ideas of psychologists and rhetoricians about violence and art. This article aims to represent the formation of characters on the parts of the second playwright. What draws the attention of the audience in Bond’s works, is his approach to the human being in the 21<sup>st</sup> century, who is supposed to cope with several responsibilities of the present day capitalist society, along with keeping his true human characteristics, and secure his soul from several cases of violence around him. In his King Lear, Bond has done a psychological reading of this classic text in order to explore the existing gap of this play for the modern world. A gap which is felt according to the needs of the modern man. In characterizing his protagonists and antagonists in King Lear, Bond has recognized the notion of violence in Shakespeare’s King Lear, but does not realize the reasons behind it. He therefore creates an atmosphere in which several flashbacks have been used to explore the reasons of such violent behaviors in his characters. Therefore, the main objective of this article is finding and classifying the types of violence in modern human societies, and a study of Bond’s characters in his King Lear. Since this work is an adaptation, we should also check Bond’s initiatives in doing so. We know many adaptations in the domain of drama, but adapting a dramatic work from another classical dramatic texts, especially with the fame that Shakespeare’s work entails, definitely requires a critical reason. We believe that there should be a definite strong need on the part of the modern human beings such that another Kind Lear should appear to fulfil their aesthetic and psychological needs. Therefore, this issue has also been addressed in this article along with the main research question of this work. Another important issue is Bond’s approach to this text. We should keep in mind that Bond has approached King Lear’s characters psychologically, since the behavior of Lear’s surrounding people, especially his daughters, do not have any clear psychological reasons. We have shown that Bond has recreated these characters in order to come up with a more transparent people in terms of their inner feelings.در این مقاله به مقایسه ی تطبیقی نمایشنامه شاه لیر شکسپیر و شاه لیر ادوارد باند با تکیه بر خشونت به عنوان عامل شکل گیری نمایشنامه های باند، پرداخته می شود. از نگاه رفتار گرایان، شخصیت فرد محصول کنش و واکنش متقابل میان دو دسته عوامل ارثی و محیطی است؛ خشونت و اخلاق نادرست و ریشه آن در کودکی و نمود آن در اخلاق کودک به بلوغ رسیده، مسئله مهمی است که با پرسش های زیادی روبه روست. هدف از این مقاله، شناخت و واکاوی خشونت وانواع آن در جوامع انسانی و بررسی نقش خشونت در آفرینش شخصیت های باند در نمایشنامه شاه لیر با دیدگاهی روانکاوانه است و با توجه به این که باز آفرینی و اقتباس حوزه ای است که در عصر حاضر بسیار مورد توجه قرار می گیرد، به انگیزه ی باند برای باز آفرینی شاه لیری دیگر می پردازیم .رویکرد روانکاوانه ی باند در خلق شخصیت های نمایشنامه شاه لیر است که مقایسه ی آن را با شاه لیر شکسپیر مهم می کند؛ از این جهت که خشونت موجود در شخصیت های شاه لیر شکسپیر به خصوص دختران شاه لیر، دارای دلیل و منشا روانی مشخص شده ای در نمایشنامه نیست، باند با دریافت این خلا، دست به پرورش و باز آفرینی شخصیت ها می زند.https://jfadram.ut.ac.ir/article_69008_0cd07aaae459c62baf70a4b781fc7027.pdf