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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
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Sadeghinia, Sara. "Défis de quelques pratiques artistiques contemporaines de la jeune scène iranienne." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30024.
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La culture en général et l’art, en particulier, occupent une position unique dans la structuration d’une société. En dépit des conflits, des convulsions politiques et idéologiques qu’a connu depuis un siècle, l’Iran d’aujourd’hui n’est plus un pays sous le joug politique d’une théocratie obscurantiste. Contrairement aux discours bruyants et actions hostiles de dirigeants islamiques qui provoquent si facilement l’attention du grand public en Occident, l’expression artistique iranienne reste très peu connue du public du monde entier. C’est à partir d’une réalisation plastique personnelle qu’ont été évalués que les véritables représentants et porte-parole d’une société iranienne progressiste ne sont plus ses politiques, mais bien ses artistes. Les artistes iraniens essaient de montrer la voix d’un autre Iran, celle d’un pays à l’histoire plurimillénaire, mais toujours aussi épris de culture et avide de liberté.Très attachées à leur histoire et leur culture, les oeuvres des artistes iraniens s’élaborent entre héritage et innovation. Lesquelles font état d’univers où un langage symbolique, ostensiblement hybride, se construit entre traditions ancestrales et modernité postrévolutionnaire. Par le biais de différents types médiums contemporains, comme la photographie, la performance, l’installation, la vidéo, ces oeuvres témoignent de la recherche d'un geste et d'un langage susceptibles de reconstruire la mosaïque du réel. Le regard des artistes, construit par leurs codes culturels, ne les empêche cependant pas de prendre en considération les actuels problèmes sociaux et politiques. Par contre, les artistes iraniens détournent intelligemment la réalité de façon métaphorique et symbolique pour transmettre le contenu de leur message au monde entier. De cette manière, l’art contemporain iranien, a pu s’épanouir sur la scène internationale et a pu attirer l’attention de quelques collectionneurs du marché de l’art et de commissaires d’exposition internationaux, durant ces dernières décenniesCulture in general and art in particular, occupy a unique position in the structure of society. Despite the conflicts, political and ideological convulsions has been known for a century, Iran today is no longer a country under the political yoke of theocracy obscurantist. Unlike the noisy speech and actions hostile Islamic leaders who so easily cause the attention of the general public in the West, Iranian artistic expression is very little known to the public worldwide. This is from a personal realization plastic what evaluated as true representatives and spokespersons of Iranian society progressive are no longer policies, but its artists. Iranian artists trying to show the voice of another Iran, a country with a history thousands of years, but still as loving culture and eager for freedom. Very attached to their history and culture, the works of Iranian artists to develop between heritage and innovation which indicate universe where a symbolic language, ostensibly hybrid builds between traditions and modernity post-revolutionary. Through different mediums contemporaries, such as photography, performance, installation, video, these works reflect the research gesture and language may reconstruct the mosaic of reality. The regard of artists, built by their cultural codes, however, does not prevent to consider the current social and political problems. By against, Iranian artists intelligently divert the reality of metaphorical and symbolic way to transmit the content of their message to the world. In this way, Iranian contemporary art, has been able to flourish on the international scene and has attracted the attention of some collector’s art market and international exhibition curators, in recent decades
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Shojai, Kaveh Darya <1995>. "Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.
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Contemporary Iranian Art has recently become a new entry in International art markets, a condition possibly derived from the current political situation. Both Christie's and Sotheby's, two of the most important auction houses in the world, have introduced specialist departments dedicated to Iranian Contemporary Art, as early as 2007, within their Modern & Contemporary Middle Eastern Art departments. Increasing interest in contemporary Iranian art can be traced by its exponential economic growth in such markets. The aim of this thesis is to investigate and observe the changes in the reception of contemporary Iranian art, how this effects the production and reception of the art and artists themselves, mainly through the effect of the entrance of Iranian contemporary art in international art markets, ownership and exhibitions, either through personal collections or galleries, focusing on Iranian contemporary art. Specifically because of the peculiar political situation of the country itself, the problems of censorship and anti-Western sentiments, Iranian art arises as an oddity in the Middle East, where artists and galleries are, as of recent times, trying to regain their own space and create art that can reflect a new national identity, signalling a reclaiming of Iran and negative aspects associated with the country.
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Yarmohammad, Touski Golnar. "Odes to Incongruity: Iranian Contemporary Art in Diaspora." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.
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Kadoi, Yuka. "Aspects of Iranian art under the Mongols : Chinoiserie reappraised." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24748.
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This thesis aims to shed new light on some aspects of Iranian art under the Mongols, reviewing problems of Chinese elements in Iranian art. In considering the stylistic and technical development of Iranian art, ‘the Chinese element’ is an inevitable issue. Any history of Iranian art under the aegis of the Mongols must include some accounts of the occurrence of these elements. Though Iran was affected by internal factors in earlier periods, it is indubitable that it experienced a shift in its aesthetic balance on a grand scale during the late thirteenth and early fourteenth centuries, as a result of the fruitful exchange of artistic ideas with China and, more broadly, East Asia. Despite a wide acknowledgment of the role of China in the evolution of Iranian art traditions in the late thirteenth to early fourteenth century, chinoiserie in Iranian art under the Mongols remains one of intangible matters in the study of the whole Iranian art; evidence for this unusual artistic phenomenon has thus hitherto not been treated at length in a single study. In order to provide a more fruitful approach to this subject, the discussion in this thesis spans almost all possible types of pictorial and decorative arts produced in Iran under the Mongols, ranging from often discussed paintings to hitherto unexamined decorative objects. Central to all subsequent discussion is the desire to synthesize old and new finds and to address in detail the hitherto ill-defined relationship between Iranian and Chinese art. Above all, the thesis aims to construct a proper art-historical framework for Sino-Iranian art studies in the Mongol period.
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Khazaie, Mohammad. "The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.
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JAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading." Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.
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L’influenza del neorealismo italiano sui film realizzati dopo la sua stagione e sui movimenti cinematografici sorti sia in Italia sia all’estero è stata oggetto di analisi per molti studiosi. Anche il cinema iraniano, in particolare l’opera di Abbas Kiarostami, è stata indagata alla luce dell’esperienza neorealista. Tuttavia, la quasi totalità di queste ricerche e di questi studi si è concentrata principalmente sul contenuto sociale e su alcune caratteristiche stilistiche ed estetiche proprie del neorealismo. Ci riferiamo a caratteristiche come “l’uso di ambienti reali, di attori non professionisti, di campi lunghi, di trame poco complesse… ” che sono state ripetutamente indicate da studiosi e storici del cinema come identificative del neorealismo. Ci sono, però, alcuni intellettuali che hanno cercato di andare oltre le definizioni convenzionali date a questo movimento e di prestare attenzione alle sue implicazioni filosofiche. In tal senso, Gilles Deleuze, che ha dedicato un intero capitolo del suo L’immagine-movimento. Cinema 1 (1984) al neorealismo e che ha citato, all’interno di entrambi i suoi due volumi di argomento cinematografico, molti film italiani per esemplificare le sue teorizzazioni, è uno dei filosofi più importanti. Secondo Deleuze il neorealismo italiano rappresenta un punto di svolta nella storia del cinema, un momento in cui viene alla luce un nuovo tipo d’immagine, un’immagine ottica che offre una diretta rappresentazione del tempo. In questa dissertazione abbiamo cercato di stabilire un confronto tra la new wave iraniana e il neorealismo sulla base dei concetti e delle definizioni che Gilles Deleuze attribuisce a quest’ultimo e abbiamo cercato di esplorare i diversi tipi di immagine-tempo e di immagine-pensiero in alcuni film italiani e iraniani.The influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
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Shobeirinejad, Seyed Abdolhadi. "Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/972/.
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This thesis considers the possible association of Deconstructive thinking with the pictorial practices of traditional Iranian painting. The author‘s intention has been to improve the understanding of the type of compositional device here termed 'broken space‘ for artists who are interested in the traditional Iranian concept of space, by using deconstruction philosophy and its application in architecture. This research compares and contrasts the ideas that inspired Iranian painters and deconstructionist architects in order to explore ways in which they can be integrated. The author realized that the Iranian-Sufi view of the 'world of the imagination‘ and the deconstructive architect‘s concept of 'chora‘ would be the key ideas for producing the 'broken spaces‘ that are so characteristic of both art forms. Interestingly, these two ideas have comparable features that seem to have generated spaces with similar attributes. Nevertheless, the two forms are derived from completely different ambitions: the Iranian concept is metaphysical and the deconstructive chora is post-metaphysical. The practical part of the research established methods for employing deconstructive thinking whilst advancing the Iranian tradition of representing space. The author‘s practices, which were embedded in the techniques of printmaking, reflected the theoretical and philosophical ambition of building links between medieval thinking and a contemporary movement which is still felt to be radically positioned. Finally the thesis compares the author‘s pictorial approach to 'broken forms‘ of architectural spaces developed in this research with those of other contemporary Iranian artists. The advantages of the deconstructive method are outlined and theoretical and practical similarities such as the desire to create dreamlike spaces are evaluated. All things considered, the two forms can be integrated with greater ease than the alternative interactions with Western ideas currently used by the contemporary artists included in this study. The thesis concludes with some suggestions for further research that could help realize this goal.
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Sadeghi, Asal. "De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.
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De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peintureMany traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting
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Sheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.
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In an analytical look into the history of the formation of Iranian New Wave cinema, this research explores the key elements that constitute integration between the women representation and the evolution of New Wave visual narrative. The paper will preliminarily examine the public’s response to the early representation of women in classic Iranian cinema and discusses the impact of the socio-political modifications, imposed by the process of modernisation, on the reception of the early representation by the Iranian public. The paper then discuss aspects of the philosophical framework in relation to the role of gender in the conception of artwork. The artistic growth of Forugh Farrokhzad, a prominent figure in modern Persian poetry and the New Wave Iranian cinema will be explored. Through the example of Farrokhzad, the intention is to identify the key elements regarding the influence of Persian poetry on the formation of New Wave visual narrative. This brings the paper to the third chapter where the implications of the Islamic revolutionary regime’s regulatory frameworks on the image of women in cinema will be discussed. Also the paper examines the role that the representation of women plays as an instrument of the Islamic republic to generate a process of reproduction of new national culture. In contrast, the alternative response of independent filmmakers to the mainstream representation of women will be explored by the means of re-examination of the structure of the film star system, the aesthetic of censorship and the act of viewing approach in relation to images of women. In the final chapter, the connection between my film practice and the characteristics of Iranian New Wave visual narrative is established through analysis of the key elements associated with the representation of gender in the works of New Wave filmmakers such as Forugh Farrokhzad, Rakhshan Bani-Etemad, Bahram Beyzai, and Abbas Kiarostami.
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Imber, Kirstie Frances. "Unveiling the voice : the politics and poetics of the voice in Iranian women's art." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/278/.
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This thesis explores the significance of the female voice and silence in four artworks by contemporary Iranian women artists working during and in the immediate aftermath of the Reform period (1997-2005): Mandana Moghaddam (b. 1962), Samira Eskandarfar (b.1980), Newsha Tavakolian (b. 1981) and Neda Razavipour (b. 1969). While the politics of the cultural, social and creative representation of women in Iran has attracted much scholarly attention, there has been a tendency to focus on a very limited set of issues, most notably the veil as both object and practice. This thesis seeks to shift the emphasis away from the politics of the veil within the context of art, by analysing the presence and absence of the voice in the realm of visual representation, specifically installation, video and photography. Aspects of the historical roots of the debate concerning the female voice in non-religious, cultural and public contexts, particularly since the Iranian Revolution in 1979 and the establishment of the Islamic Republic, provide the framework for exploring how contemporary women artists engage with the regulation and ‘veiling’ of the female voice in their creative practice. By drawing on a range of theoretical materials and sources, including those within art history, cultural studies, ethnomusicology, feminism, psychoanalysis and political science, this thesis argues for an expanded way of looking and listening to Iranian women’s art, and demonstrates how the spaces of art become crucial sites where socially prescribed modes of representing women are powerfully interrogated and contested. By addressing the expressive qualities of audio-visual media, and the relationships between the visual, audible and aural, the aim of this thesis is to offer a new means of exploring the relationship between contemporary art and cultural politics in Iran, and to bring to light neglected works of art by contemporary Iranian women artists.
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Keshavarzi, Solmaz [Verfasser], and Christoph [Akademischer Betreuer] Wagner. "Iranian Modern Art during the Pahlavy Dynasty (1925-1979) / Solmaz Keshavarzi ; Betreuer: Christoph Wagner." Regensburg : Universitätsbibliothek Regensburg, 2021. http://d-nb.info/1234713187/34.
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Zandian, Nastaran. "Bridging the worlds through art and culture, an Iranian cultural center in Washington D.C." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7839.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2007.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Rakhsha, Layli. "Diaspora and home: contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists." Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.
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This practice-led research project investigates the impact of displacement on the idea of home in the new place. By focusing on some Iranian migrants who practice art in Australia and analysing their selected works, this project aims to discuss how memories from the past and imaginations can influence on the idea of home in the new place, and how home can be visualised based on experiences of migration and displacement. Considering the emotional impact of displacement on the idea of home, and Iranian collaborators’ responses to the definitions of home and homeland, as well as producing artworks, this studio based research project explores home can be defined within personal experiences, social and cultural relationships and attachments to a particular place.
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Rashti, Sogol. "Persian in practice." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2003.
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Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth.
Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture.
Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces.
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Worth, Janet. "The distinctive fish motif on a 14th century Iranian bowl in the Art Gallery of South Australia's William Bowmore Collection of Islamic ceramics /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmw932.pdf.
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Takht, Keshian Fatemeh. "Reviving identity : an investigation of identity in Iranian artworks in the period 1958-1966 in relation to a contemporary fine art practice." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86312/.
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This practice-based research explores the notion of Iranian cultural identity as reflected in artworks exhibited in the Tehran Biennials (1958- 1966) and in a particular individual practice. This research uses the five Tehran Biennales and their national and international context as a tool to reveal the development of their influence on the construction of new images of Iranian identity. The research frames these national exhibitions within the influence of Western modernism and Western critique of orientalism. It frames its enquiry in historical and theoretical research and my studio practice as a contemporary Iranian artist. It constructs a methodology appropriate for visual analysis across the five events and for examination and comparison of individual artists and artworks. A core aim of the enquiry is gaining better understanding of the tensions between Iranian-Islamic and pre-Islamic traditions and of the changing national sentiment and the influence of Western modernism in the arts. My method includes ‘action research’ that juxtaposes the theoretic, historic, and artistic aspects based on a ‘self-observer’ and ‘observer of others’. By its cycling of studio production and reflection through critical and visual analysis, this method has enabled me to explore theoretical and historical contexts in my works. The research also examines the motivations and influence of Iranian state ideology on the formation and discontinuation of the biennales as instruments for cultural innovation and internationalisation. As all biennales by their nature seek to survey a field of activity, the research has remained sensitive to a wide range of artists engaged across a spectrum of practices between 1958 and 1966. For some, the period marked a return to their traditions and heritage to recognise and distinguish their national identity from Western art. For others, the new challenges enabled new representations relevant to Iran in the twentieth century. Between these poles, there were many types of ‘return’ and re-emergence, some to Iranian and Islamic heritage, others to an earlier hospitality for international influence. This ten-year period holds the key to my own understanding of my studio practice and the emergence of collage as a technique central to my work. Collage and mixing media have become powerfully associated with the challenges I face in negotiating between East and West, old and new values, and my changing perceptions of myself. The different layers in collage and its variety of media metaphorically suggest the concept of Iranian identity as a layered and collective identity. While my practice comprises autobiographical elements, it is nonetheless analytical in that it draws on the history of the Biennial period. The Tehran Biennials and their attempts to form a new Iranian art provide the background against which I project my conceptions of identity and memory. They are part of the legacy that enables me, a contemporary Iranian woman artist, to explore the various perspectives regarding Iranian identity and the means by which artists visualise it. Moreover, the practice-based method adapted in this research has enabled me to combine historical overview, visual analysis of modern art in Iran, and contemporary insights to offer new an understanding of how art reflects changing identities. This study defines identity, in a personal level, as a multi-layered identity, including fragmented and fragile layers that form within socio-cultural and individual values.
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Jafari, Sara. "L'évolution de l'art contemporain en Iran : l'art plastique : la peinture." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC003/document.
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Dans ce travail de thèse, j’ai dressé un tableau de la situation actuelle de la peinture contemporaine iranienne pour montrer dans quelles conditions celle-ci a évolué : tantôt elle a été opprimée et condamnée, tantôt elle s’est relevée et a continué sa progression vers l’avant. J’ai analysé la situation générale de la peinture contemporaine iranienne en tenant compte du contexte historique, politique, social et culturel de l’Iran. L’histoire et la culture ancienne de ce pays, et la vie quotidienne des iraniens sont soumises à un certain nombre d’événements qui pèsent sur la vie du peuple. Les invasions étrangères et l’arrivée des puissances qui gouvernaient le pays tout en convoitant ses ressources et ses richesses, ont fait que les Iraniens ne se soucient guère de l’avenir et qu’ils essaient plutôt de saisir le présent ! L’attachement profond des iraniens aux traditions, aux valeurs, aux relations humaines et surtout à l’image que les autres se font d’eux, les a souvent amenés à se donner qu’une place secondaire par rapport aux autres. Consciente de cet état d’esprit, la jeune génération d’artistes iranien est bien avisée, et sait parfaitement que pour rejoindre l’art mondial, elle doit se nourrir principalement de ses propres racinesIn this research project, I have analyzed the current contemporary Iranian painting and its evolution composed of periods of oppression in one hand and periods of progression on the other hand. This analyze is based on historical, political, social and cultural events in Iran. As long as one can remember, this country and its people has been invaded and exploited by foreign countries and even local governments which at all time, they have used resources and cultural treasure of Iran. For all these reasons, a national philosophy has taken place in the country, which pushes Iranian to think less about the future by trying to appreciate the present. The young generation of Iranian artist knows that it has to consider and to use its own roots and culture to get the opportunity to join the world-wide art
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Tavakoli, Omid. "A Burning Silence." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556307287955672.
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Khosravi, Mojgan. "Shirin Neshat: A Contemporary Orientalist." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/73.
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This thesis analyzes Shirin Neshat’s Women of Allah photographs by exploring key socio-political events that have shaped Iranian history since the reign of Cyrus the Great, ca. 600 B.C. Since Neshat’s photographs have been largely intended for a Western audience, it is important to explore the concept of colonialism that has created East/West polarities and so greatly influenced our modern era. This paper intends to demonstrate that Neshat’s images perpetuate Edward Said’s concept of Orientalism, which allocates the Oriental to an inferior position vis-à-vis his Occidental counterpart. For a Western audience, Neshat’s consistent use of the Muslim veil, illegible Persian calligraphy, and guns symbolizes Islam’s violence and degeneracy; additionally, these elements position the Muslim woman as a subaltern entity in an archaic society. As a result, the Iranian Muslim woman remains restricted by her social, cultural, and religious praxis, as well as by Neshat’s formal and contextual depiction of her.
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Barzegar, Karim Najafi. "Mughal-Iranian relations : during sixteenth century /." New Delhi : Indian Bibliographies Bureau, 2000. http://catalogue.bnf.fr/ark:/12148/cb38948708g.
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Rastegar-Pouyani, Nasrullah. "Systematics and biogeography of Iranian Plateau agamids (Reptilia: Agamidae) /." Göteborg : Göteborg University, Faculty of Natural Sciences, 1999. http://catalogue.bnf.fr/ark:/12148/cb377547323.
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Emami, Azita. ""We are deaf, though we hear; we are dumb, though we talk; we are blind, though we see" : understanding Iranian late-in-life immigrants' perceptions and experiences of health, illness and culturally appropriate care /." Stockholm, 2000. http://diss.kib.ki.se/2000/91-628-4361-3/.
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Kouloubandi, Abdollah. "Job Satisfaction Among Business Administration Faculty in Selected Iranian Universities." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332696/.
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This study investigated job satisfaction/ dissatisfaction among business administration faculty at selected public Iranian universities. It also examined the relationship between faculty job satisfaction/ dissatisfaction and selected demographic and professional activity variables. Finally, the extrinsic and intrinsic factors associated with faculty job satisfaction were analyzed. It was also concluded that, despite a positive correlation of the intrinsic and the extrinsic factors, Herzberg's two-factor theory is a useful model in a faculty job satisfaction research. Furthermore, Hill's FJS was found to be reliable and valid for use in faculty job satisfaction studies in the colleges and universities in Iran.
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Zabolinezhad, Hoda. "A la recherche de la figure de l'artiste contestataire contemporain, dans le cadre de la mondialisation : le cas particulier des artistes contestataires iraniens." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC005.
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« Les philosophes analytiques de l'art et les artistes conceptuels ont en commun de refuser la théorisation et la recherche du beau comme idée ou norme, pour poser à la place une définition de l'art comme fonction symbolique toujours à décrypter à partir d'elle-même et de son langage propre, sans lui appliquer une essence a priori » explique Dominique Chateau (esthéticien français, né en 1948). En d’autres termes, il s’agit de l'esthétique issue de l'empirisme logique et du pragmatisme. La référence à une partie de l'introduction du premier numéro de la Revue francophone d'esthétique, sous la direction de Frédéric Wecker, écrite par Jean-Pierre Cometti, Jacques Morizot, Roger Pouivet, permet de clarifier l'objectif de cette théorie esthétique ; « […] Les problèmes esthétiques se seraient-ils dissous dans la médiatisation généralisée ? Sont-ils condamnés à nourrir un essayisme brillant mais sans portée théorique ? Doit-on laisser la parole aux historiens, aux spécialistes des sciences humaines ou aux professionnels du monde de l'art ? Telle n'est pas notre conviction. Nous voulons faire le pari d'une approche esthétique ouverte sur toutes les manifestations de l'art et qui revendique un parti pris d'analyse conceptuelle et d'argumentation critique. Il ne suffit en effet ni d'en appeler à une dimension anthropologique fondamentale, ni de s'en tenir à la menue monnaie de l'actualité et des événements. Comme toute discipline de quelque ambition, l'esthétique doit être en mesure de construire ses propres objets et de réviser ses résultats et ses procédures : là est sa seule garantie d'échapper au délire d'interprétation » En ce qui concerne cette réflexion, l'esthétique analytique est un dialogue constant avec les œuvres d'art d'avant-garde de l'art moderne et contemporain, notamment celles de Duchamp et de Warhol, mettant l’accent sur un ensemble de théories esthétiques quelquefois hétérogènes ; loin des théories traditionnelles, toutes ces théories refusent le beau en tant que principe essentiel de ce qui est devenu connu de l'art, c'est-à-dire l'œuvre d'art. [...]"The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...]
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Karimi, Mohammad 1959. "Iranian Access Television of Dallas: Cultural Issues, Preservation, and Community Formation." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278997/.
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This study focused on the televisual and cultural practices of Iranians via public access television in Dallas, Texas. It includes analysis of format and content. It combines demographic, structural, and statistical information with a culturalist and interpretive viewpoint in examining the efforts of Iranians, via access television programs, in preserving their culture and the formation of a coherent and active community in the Dallas/Fort Worth Metroplex.
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McAuliffe, Cameron. "Multicultural futures : the negotiation of identity amongst second generation Iranians of Muslim and Baha'i background in Sydney, London and Vancouver /." Connect to full text, 2005. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20051007.093239.
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Sajad, Veismoradi. "How Different Parts of the Supply Chain Act in Fashion Industry in Iran." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20857.
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In the current global trade, the supply chain management is very important, because in fact thesupply chains are the new rivals which are competing to take over the market. The traditionalbusiness concept in Iranian clothing industry is the reason to why it didn’t find its proper positionin the domestic markets and the international clothing trade.Manufacturing and retailing in Iran are on different sides of the same coin and could make valuefor who knows to use it. It is the small firms that play the most crucial role in Iranian clothingmanufacturing segment. A big part of the manufacturing capacity is unfilled by orders because ofindiscriminate importing of the smuggled goods which are characterized by a low price and poorquality. In fact, Iranian clothing market suffers from “trust” to the products.Nowadays, traditional wholesalers, which are named “Bonakdar” inside of Iran, drive the Iranianclothing industry in the absence of a powerful retailing segment. They are responsible to buyproducts from different manufacturers usually without any order in advance, assort differentkinds of products and price goods to sell them to the independent shops in the retail segment.The apparel retail segment in Iran consists of many independent small shops besides a few retailbranch companies. Appropriate responding to consumer’s demand, which is considered as themain goal of the value chain, is absent in this segment. In fact, there is no research and designdepartment to investigate and respond the Iranian fashion trends.Both the international clothing retailers and Iranian clothing segment have a proper opportunityto gain advantages. The international firms have the ability to rearrange the shape of thedistribution centers by presenting high quality products in an affordable price. Collaborationbetween Iranian manufacturing and retailing segments in the global supply chains ofinternational firms could solve this problem in a sustainable way.Program: Master programme in Applied Textile Management
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Saffaran, Elyas. "Recherches sur l'Iran et la Grèce anciens : éléments artistiques et culturels iraniens (traditions et rapports réciproques avec la Grèce, conservation et restauration)." Limoges, 1996. http://www.theses.fr/1996LIMO2007.
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Bien que de nos jours ces deux pays, la grece et l'iran, semblent fort eloignes l'un de l'autre, dans l'antiquite, ils ont ete tres proches l'un de l'autre. . . Malgre cette situation, sur ces grandes civilisations, on a jusqu'a maintenant beaucoup ecrit dans le monde entier, en occident comme en orient ; tous les aspects ont ete abordes. . . Parce que les historiens anciens ont ete conduits a donner de l'une et de l'autre des deux civilisations des images qui ne correspondent pas toujours a la realite strictement objective parce qu'elles sont deformees par la pensee et la propagande politiques. Donc, une etude comparative portant sur les elements artistiques et culturels de ces pays de grande tradition, aujourd'hui bien differents l'un de l'autre, permettra de mieux comprendre ce qui, depuis la plus haute antiquite, les a unis et separes. Ces elements sont la cle de la connaissance approfondie des secrets de ces deux pays de l'antiquite. Donc, on a constate que l'iran et la grece ont, dans leur aire geographique, connu un developpement culturel et artistique tout particulier, qui leur confere une place de premier rang dans le monde ancien et dans l'histoire de l'humanite. La these propose une etude approfondie de l'image structuree des deux civilisations. S'il n'y a pas de vieillesse pour les oeuvres et les elements artistiques et culturels de ces deux civilisations, avec les methodes necessaires (techniques et juridiques), grace aux sciences modernes, aux lois et au droit international, on peut conserver et restaurer les elements culturels et artistiques de ces deux civilisations pour les generations futuresAlthough nowadays these two countries, greece and iran, seem very distant from one another, in antiquity, they were very close. . . In spite of this situation, until now, it has been written a lot about these two civilizations, all over the world, in the west, like in the east. All aspects have been discussed. . . Because the ancient historians have been driven to give pictures of one or the other of these two civilizations, which do not always correspond to the strictly objective reality because they are transformed by the political thinking and the political propaganda. Therefore a comparative study about the artistic and cultural elements of these countries of tradition, which are very different from one another today, will unable us to understand better what, since the remote antiquity, has linked and separated them. These elements are the key to the careful understanding of the secrets of these two countries of the antiquity. It has been then noticed that iran and greece have, in their geographical area, known an artistic and cultural development very peculiar, which gives them a first rank place in the ancient world and in the history of humanity. This thesis deals with a thorough study of the definit image of these two civilizations. Furthermore, if artistic and cultural works and elements of these two civilizations do not grow old, with the methods available (technical and legal), and thanks to modern sciences, laws and international rights, one can keep and restore the cultural and artistic elements of these two civilizations for the next generations
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Kazemi, Zadeh Gol Narges. "A Contrastive Study of the Speech Act of Refusal; Iranian ESL Learners and Native English Speaking Americans." University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1370217643.
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Salami, Shahnaz. "Enjeux et perspectives de la politique du droit d'auteur en Iran à l'heure de la globalisation et à la lumière du droit français et international : exemple du cinéma." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2112.
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La reconnaissance du droit d’auteur en Iran rencontre d’importantes difficultés à l’heure de la globalisation où la standardisation du droit d’auteur au niveau international se heurte aux problématiques nationales : telle est l’idée principale de la première partie de cette thèse. Dans un premier temps, une étude du droit d’auteur en République Islamique d’Iran montre que la politique culturelle iranienne en matière de propriété littéraire et artistique s’inspire de l’approche française du droit d’auteur. Dans un deuxième temps, une analyse du droit positif international permet de constater les enjeux socioculturels, politiques et économiques qui expliquent la tendance du législateur iranien à instaurer un équilibre entre le particularisme iranien et le droit positif international par le biais d’une série de réformes. Cette partie illustre enfin les difficultés auxquelles le législateur iranien doit faire face afin de trouver une harmonisation entre les conventions internationales d’une part, et le niveau de développement du pays d’autre part. La deuxième partie de cette thèse analyse le développement du piratage cinématographique, l’essor du marché noir du film et l’évolution des réseaux de l’économie informelle de la communication qui constituent autant d’obstacles à la volonté de conformer le droit d’auteur iranien au droit d’auteur international. Le piratage des films mérite d’être vu comme étroitement imbriqué dans l’environnement social, politique, culturel et économique de l’Iran d’aujourd’hui. Telle est l’idée sur laquelle est fondée cette deuxième partie. Traversant l’histoire technologique, économique, sociale et politique du cinéma iranien, cette étude tente de découvrir les raisons du développement de l’activité pirate en Iran, ses conséquences sur l’industrie du cinéma iranien et sur la société iranienne. À travers cette analyse sur le piratage, cette thèse présente enfin ce phénomène comme une voie souterraine et méconnue par laquelle opère dans l’ombre la mondialisation culturelle en Iran. Cette analyse montre en filigrane comment les réseaux du marché pirate de films donnent corps à une « économie souterraine » organisant une mondialisation culturelle "underground" en IranThe recognition of copyright in Iran encounters significant difficulties in globalization times when international standardization of copyright clashes with national issues : such is the assumption that we will endeavor to check in the first part of our thesis. First, a study of copyright in Iran will show that the Iranian cultural policy concerning literary and artistic property is inspired by the French approach to copyright. Secondly, an analysis of international positive law will see cultural, political and economic issues that explain why the Iranian legislator tends to strike a balance between the Iranian distinctiveness and international positive law through a series of reforms. Finally, this study will illustrate the difficulties the Iranian legislator has to face in order to find a harmonization between international conventions on the one hand, and level of development of the country on the other. The second part of this thesis analyzes the development of film piracy and counterfeiting, the rise of black market and network evolution in the informal economy of communication, that all impede the efforts to comply the Iranian copyright with international copyright. Film piracy deserves to be seen as closely interwoven into the social, political, cultural and economic environment of today's Iran. This is the idea on which this part of our thesis is based. Through the technological, economic, social and political history of Iran's cinema, this study aims at discovering the reasons for the development of pirate activity in Iran, its consequences for the Iranian film industry and Iranian society. Through this analysis on piracy, this thesis finally presents it as an underground and misunderstood way of developing cultural globalization in Iran in the shadows. In filigree, this analysis shows how business network which pirate market films embody an « underground economy » organizing an underground cultural globalization in Iran
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Gohari, Nahid. "De la littérature au cinéma, transformation d'une écriture : le nouveau roman français et iranien et le cas de Bahman Farmânâra." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0225/document.
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Dès son apparition, l’écriture romanesque a subi de nombreux changements aussi bien au niveau de la forme que du fond, mais l’écriture romanesque s’est trouvée face à une nouvelle dimension au vingtième siècle du fait du progrès des sciences et des technologies qui ont apporté notamment le cinéma. L’influence des techniques cinématographiques sur l’écriture et la collaboration des Nouveaux Romanciers – nous pensons notamment à Alain Robbe-Grillet et Marguerite Duras, Houshang Golshiri ou encore à des cinéastes français et iraniens comme Alain Resnais et Bahman Farmânâra – ont mené à la naissance d’une écriture transmodale et à celle de textes hybrides qui représentent des caractéristiques des récits à la fois littéraires et cinématographiques. Ainsi, nous pourrions confirmer la théorie avançant que le cinéma est l’écriture de demain, adaptée aux besoins de l’homme moderne entré dans l’Ère de soupçon. Ainsi, cette écriture partant du point de vue du personnage et rendant de ce fait toute structure spatio-temporelle brouillée – en particulier dans l’œuvre de Farmânâra – permet un rapprochement structural entre les scénarios et le Nouveau Roman, permettant alors de peindre une nouvelle image de l’homme égaré dans une société problématique, celle de notre époqueSince its birth, novel writing has gone through many changes, not only in its shape but also in its content. In the twentieth century, novel writing and especially cinema evolved impressively due to the technological and scientific progress. The influence of cinematographic techniques on the writing and the collaboration with the New Novelists - such as Alain Robbe-Grillet and Marguerite Duras, Houshang Golshiri, and French and Iranian filmmakers such as Alain Resnais and Bahman Farmânâra - led to the creation of a trans modal writing and to the appearance of hybrid texts that both include characteristics of literary and cinematographic narratives. We must accept the theory that cinema is the writing of tomorrow and that the modern man is facing the Era of suspicion. Nevertheless, this kind of writing illustrates a structural similarity particularly between the work of Farmânâra and the New Roman scenarios, especially from the point of view of the character. As a result, we have a scrambled structure in the space and in the time dimension. This context allows us to create a new image of a man who is lost in the modern problematic society
رمان از آغاز پیدایش همواره شاهد تغییراتی در فرم و محتوا بوده است .با این حال به کمک گسترش علوم متفاوت و تکنیک های سینمایی، این این تغییرات در قرن بیستم ابعاد تازه ای به خود گرفته است تاثیر تکنیک ھای سینمایی بر روی نوشتارو مشارکت رمان نو نویسندگانی چون آلن رب گریه و مارگاریت دوراس در فرانسه و ھوشنگ گلشیری در ایران با سینماگرانی چون آلن رنه فرانسوی و بھمن فرمان آرای ایرانی، منجربه تولد نوعی نوشتار چند وجھی و متون مختلط گردید که معرف خصوصیات ھردو ژانرسینمایی و ادبی می باشد. . بدین ترتیب این تئوری که سینما نوشتار فرداست مطرح میگردد. نوشتاری که خود را با نیازھای انسان مدرن که در عصر شک وارد شده است، تطبیق داده است. بررسی این نوشتار از نقطه نظر پرسوناژ، ساختار زمان و مکان و ... د ر آثار بهمن فرمان آرا و مقایسه ی آن با برترین رمان های نو، رب گریه ، بوتور، دوراس و ھمچنین برخی از کتاب ھای گلشیری که بعضا توسط شخص فرمان آرا اقتباس گردیده اند، علاوه بر نشان دادن نزدیکی سناریوھای وی با رمان نو ، مبین تصویر دیگری است ازاین انسان سرگشته درجامعه پر از دشواری عصر حاضر
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Vassaf, Hamid-Reza. "Les sources préislamiques dans l’iconographie des amulettes et talismans iraniens chiites." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20104.
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En considérant le rôle important de la magie dans l’islam ainsi que dans les pays musulmans et en considérant éventuellement son rôle important dans la formation de l'univers symbolique de l'art islamique, l’étude des objets magiques peut être une nouvelle voie pour les historiens de l’art islamiques. Les travaux et les réflexions développés dans le cadre de cette thèse avaient un double objectif : d’une part, découvrir les sources thématiques et visuelles de l’univers symbolique des amulettes et talismans iraniens chiites. Ou en d’autres termes, trouver une réponse précise et claire à cette question à savoir si les éléments constituant l’iconographie des amulettes et talismans iraniens chiites sont proprement fondés sur les sources islamiques et les traditions des arabo-musulmans primitifs ? Sinon, pouvons-nous considérer d’autres sources pour ces éléments comme les mythes et les traditions artistiques plus anciennes de la Mésopotamie-Perse ? Et d’autre part, d’attirer l’attention des historiens de l’art islamique sur les thèmes des symboles – et leurs passés régionaux – figurant sur les objets magiques iraniens chiites spécifiquement et plus généralement sur l’art islamique.Ce travail, basé sur une étude stylistique et artistique ainsi qu’une étude thématique et comparative entre les éléments textuels et visuels figurant sur les 166 amulettes et talismans iraniens chiites – collectés de trois collections : des cachets, bulles et talismans islamiques du département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris, de la collection des objets du Musée du Quai Branly à Paris et de la collection des objets talismaniques iraniens (ou des objets magiques iraniens) du Musée civilisations Europe Méditerranée de Marseille (noté MuCEM) – à ceux dans l’art préislamique de la Mésopotamie-Perse. Ce travaille montre que les deux éléments textuels et picturaux sur ces objets possèdent une relation thématique fondée sur un point de vue cosmique et mythique préislamique. De plus, notre analyse démontre que la naissance de l’écriture décorative et figurative pouvait être le résultat d’un conflit idéologique-culturel entre les Arabo-musulmans conquérants et les intellectuels des pays vaincus. Notre étude démontre également que l’univers symbolique des amulettes et talismans iraniens chiites s’est formé sous l’influence des nombreux désaccords entre l’islam primitif importé par les Arabo-musulmans et les nouveaux musulmans des pays vaincus.Notre analyse s’est uniquement basée sur les trois collections de musées français et il serait indispensable de l’enrichir à partir d’autres pièces provenant d’autres musées de par le mondeIf we consider the important role of magic in Islam as well as in Muslim countries and possibly considering its important role in the making of the symbolic universe of Islamic art, the artistic study of magical items can be a new way for historians of Islamic art.The studies and comments developed in the framework of this thesis are two-fold: first, to discover the thematic and visual sources of the symbolic universe of Iranian Shiite amulets and talismans. Or in other words, to find a clear and precise answer to the question whether the composing elements of the iconography of Iranian Shiite amulets and talismans are strictly based on Islamic sources and primitive traditions of Arabic Muslim. Otherwise, can we consider other sources for these elements like the myths and the artistic traditions of oldest Mesopotamia and Persia?On the second hand, our goal is to attract the attention of historians of Islamic art on the themes of symbols - and their regional past - shown on Iranian Shiite magic items specifically and more generally on Islamic art.This work is based on a stylistic and artistic study as well as a thematic and comparative study between the textual and visual elements on the 166 Iranian Shiites amulets and talismans - collected from three collections: « Les cachets, bulles et talismans islamiques » from « Département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris », from « Collection des objets » from « Musée du Quai Branly » in Paris et from « Collection des objets talismaniques iraniens (ou des objets magiques iraniens) » from « Musée civilisations Europe Méditerranée de Marseille (MuCEM) » – with those in the pre-Islamic art of Mesopotamia and Persia.This work shows that both textual and pictorial components of these objects have a thematic relationship based on a cosmic and mythical pre-Islamic perspective. In addition, our analysis shows that the birth of the decorative and figurative writing could be the result of an ideological and cultural conflict between the Arabic Muslim conquerors and the intellectuals of conquered countries. Our study also shows that the symbolic universe of Iranian Shiites amulets and talismans was formed under the influence of many disagreements between primitive Islam imported by Arabic Muslims and new Muslims of conquered countries. Our analysis is only based on the three collections of French museums and it is essential to enrich it with other items from other museums around the world
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Alikhani, Mohammad Mohsen. "Les restrictions et les créativités artistiques dans le cinéma iranien." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H300.
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L'art du cinéma, depuis son arrivée en Iran et dans l'enceinte de la cour royale en 1900, a été d'emblée l'objet de contrôles émanant du pouvoir e place, pétri de croyances religieuses traditionnelles. Son étendue à la société iranienne, quatre ans plus tard, résulte des efforts des intellectuels du pays Mais, dès sa mise en présence avec le public, l'art cinématographique a dû faire face à deux antagonismes très forts dans la société: la religion et la morale; car ce média -élément patent de la modernité- était considéré par l'une et l'autre comme une source de corruption. Le cinéma, pour sa part, n'a jamais abandonné la partie. Dès les premières productions nationales et graduellement, on constate l'émergence d'œuvres qui prennent en compte l'impératif de la censure pour mieux le contourner, afin d'exprimer, de façon déguisée, au moyen de métaphores essentiellement, leurs préoccupations. Ce qui particularise le cinéma iranien comme à part dans le monde de la création cinématographique, c'est la tendance à développer un langage métaphorique provenant de son passé historique. Le cinéma iranien, en effet, a puisé son inspiration et ses fondements dans la poésie persane. Au fil de l'histoire, ses poètes -les premiers- ont appris à utiliser le biais de la métaphore pour exprimer leurs idées malgré les restrictions. Ce regard et ce caractère se sont ensuite intensifiés et ont imprégné petit à petit la société iranienne en général et les artistes en particulier. Cette façon de réagir est devenue ensuite tellement habituelle que Je peuple iranien, aussi, a commencé à l'utiliser à son tour, souvent pour exprimer ses pensées de façon indirecte et emblématique. Il sait décoder instantanément ce langage et en découvrir le message ou les messages. C'est dans ce contexte que les cinéastes iraniens sont parvenus à construire une méthode adéquate pour passer les bornes de la censure, critiquer la société iranienne à la faveur de cette transposition poétique et créer une interaction vive avec le public. Ce cheminement, qui a commencé dès la production nationale au début des années trente, s'est fortifié vers la fin des années cinquante pour se cristalliser à la fin de la décennie suivanteThe art of cinema since its emergence in Iran and on the grounds of the Royal Court in 1900 was immediately subject to censorship from the administration in power, attached to traditional religious beliefs. Its extension to Iranian society, four years later, was the result of the country intellectuals' efforts. But as soon as it was presented to the public, film art has had to face two very strong antagonisms in the society: religion and morality; because this media -major element of modernity -was considered by both as a source of corruption. The cinema, for its part, never gave up. From the first national productions, and gradually. we see the emergence of works that take into account the constraint of censorship in trying to bypass it, by expressing their concerns in disguised form essentially through metaphors. What distinguish Iranian cinema as apart from the world of filmmaking, is the tendency to develop a metaphorical language that emanate from its historical past. Iranian cinema, indeed, drew its inspiration and foundations in Persian poetry. Throughout history, poets -the first- have learned to usi metaphor to express their ideas despite the prohibition. This look and dimension are then intensified and gradually impregnated the Iranian society in general and artists in particular. This way of reacting became later so usual that the Iranian people, too, began to use it in tum often to express his thoughts through an indirect and symbolic way. He knows instantly how to decode the language and to receive the message or messages. It is in this context that Iranian filmmakers have managed to build an adequate method to pass the bounds of censorship. criticize Iranian society through this poetic transposition and create a lively interaction with the audience. This evolution. which began with the national production in the early thirties, was reinforced in the late fifties to crystallize at the end of the next decade
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Alirezai, Hossein. "Le Théâtre iranien ou tazié comparé au mystère médiéval." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375954022.
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Bonakdarian, Mansour. "Britain and the Iranian constitutional revolution of 1906-1911 : foreign policy, imperalism, and dissent /." Syracuse : Syracuse university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb401423014.
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Karimi, Leila. "A test of a model of work-family interface : a study of Iranian employees /." Full text available, 2006. http://adt.curtin.edu.au/theses/available/adt-WCU20061129.141130.
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Salimi, Gita. "Intergenerational differences in the experiences of middle-class Iranian migrant women post-revolution (1979) who are living in the UK." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/27623/.
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The focus of this research is on well educated, middle-class Iranian migrant women who left their homeland at least ten years ago and are now living in the UK. The purpose of this research is to consider the first generation (who individually decided to migrate to the UK) and the second generation (the daughters of the first generation who had no other choice but to live in the country that their parents had selected) of Iranian migrant women according to intergenerational differences in their experiences of the migratory process. This study explores how Iranian women migrants (first and second generation) understand their gender roles in their homeland (Iran) and in their host country (Britain), therefore mapping the impacts of migration onto their gendered subjectivities. Based on in-depth interviews, this research focuses on the reasons why the first generation Iranian women migrated to the UK, their views on their gender roles within the family and host society, and their attachment to cultural values. Iranian migrant women left their homeland and had to rebuild their lives in a new country. I examine whether their perceptions of gender roles have changed as a result of migrating to a new country. The study attempts to show the extent to which the Iranian women migrating to the UK were affected by the issues surrounding women's status in response to political developments in their homeland during the 1979 Revolution in Iran. I also seek to uncover if these Iranian women import the traditional roles into their new society, in particular how their views about women's status differ from those they held in Iran. By exploring the migration process among two generations of Iranian women in the same family, the thesis seeks to reveal the gap between the family cultures with regards to protecting the Iranian values, and the effect of the host country's culture on the actual practices of migrant women which lead to shaping their identity. It also examines the extent to which these migrant women have kept their cultural values and transferred them to their daughters.
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Alavi-Mybodi, Seyed-Mohamad. "Les Causes et les effets du divorce en droit iranien." Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105213g.
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Etemadi, Sedigheh. "L'irruption du jeu dans l'art visuel contemporain (iranien en particulier)." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC008.
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J’avais dix ans. C’était après la guerre et l’Iran était sous embargo. A l’école je n’avais que deux crayons pour écrire mes devoirs, un noir et un rouge. Les deux étaient ornés du symbole d’une marque, un crocodile noir. Cela était aussi un gage de qualité. Mes crayons crocodiles écrivaient bien. J’étais habituée à les voir, mes crocodiles. Puis je passais beaucoup de temps avec ma tante. Elle faisait de la couture. Je jouais avec les restes des tissus. J’étais fascinée par les couleurs et par des formes que je créais avec ces bouts de tissu. J’ai sans doute commencé mes premiers collages à ce moment-là. Plus tard quand je suis devenue peintre, les animaux et les couleurs étaient la base de mes peintures. Parmi ces animaux le crocodile surgissait sans que je sois consciente de la raison de cette apparition. Un jour en réfléchissant je me suis souvenue de mes crayons d’enfance ! Quand j’ai commencé à peindre, les limites et les contraintes en Iran ne me permettaient pas de m’exprimer librement. Alors le jeu d’enfance que j’avais repris dans le style de ma peinture, me rendait celle-ci agréable et ludique. J’avais mes couleurs et le jeu, et j’exprimais ce que je voulais ; j’avais réussi à trouver un langage d’expression ludique et fort et j’en étais ravie. Je n’étais pas la seule à prendre le jeu comme moyen de contourner les limites et la censure. Déjouer les limites par le jeu était le centre de notre travail. La réflexion sur l’irruption du jeu dans l’art visuel contemporain et en particulier en Iran est devenu le sujet central de ma réflexion et de mon interrogation sur les raisons qui nous ont conduit à nous exprimer ainsi. Je l’ai donc choisie comme le sujet de ma thèse. [...]I was ten years old. It was after the war and Iran was embargoed. At school I only had two pencils to write my homework, one black and one red. Both were decorated with the symbol of a brand, a black crocodile. It was also a guarantee of quality. My crocodile pencils wrote well. I was used to seeing them, my crocodiles. Then I spent a lot of time with my aunt. She was sewing. I played with the remains of the fabrics. I was fascinated by the colors and shapes that I created with these pieces of fabric. I probably started my first collages at that time. Later when I became a painter, animals and colors were the basis of my paintings. Among these animals the crocodile arose without my being aware of the reason for this apparition. One day while thinking I remembered my childhood pencils! When I started painting, the limits and constraints in Iran did not allow me to express myself freely. Then the childhood game that I had taken in the style of my painter, made me this one pleasant and playful. I had my colors and the game, and I expressed what I wanted; I had managed to find a language of playful and strong expression and I was delighted. I was not the only one to take the game as a way to get around the limits and the censure. Breaking the boundaries through play was the center of our work. The reflection on the irruption of the game in the contemporary visual art and in particular in Iran became the central subject of my reflection and my interrogation on the reasons which led us to express ourselves thus. I chose it as the subject of my thesis. [...]
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Pessuto, Kelen. "O 'espelho mágico ' do cinema iraniano = uma análise das performances dos "não" atores nos filmes de arte." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284435.
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Orientador: Francirosy Campos Barbosa FerreiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T05:09:01Z (GMT). No. of bitstreams: 1 Pessuto_Kelen_M.pdf: 3175741 bytes, checksum: 12122eeb3b192b833dfc0faebb26d576 (MD5) Previous issue date: 2011
Resumo: Esta dissertação analisa as performances dos "não" atores no cinema de arte iraniano, a partir das obras Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salve o cinema (Salam cinema, 1995, Mohsen Makhmalbaf), Tartarugas podem voar (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) e O espelho (Ayneh, 1997, Jafar Panahi). Com base na antropologia da performance, busca-se responder às seguintes perguntas: Quem são os "não" atores? Por que são usados esse tipo de ator em vez de atores profissionais? Quais os métodos empregados em sua direção? Qual a relação que se estabelece entre o ator e o personagem? Para tanto, utiliza-se além da bibliografia pertinente a essa disciplina, ao teatro e ao cinema, o método comparativo, com filmes do mesmo diretor, assim como de outras cinematografias. Conclui-se que não há necessidade do ator ter uma técnica préestabelecida, sendo que a direção proposta por esses cineastas requer o mínimo de atuação. O ator-performer vivencia as situações que lhes são impostas e, a partir disso, cria personagens, algumas vezes baseados em sua própria experiência de vida, como em uma grande brincadeira de faz de conta
Abstract: This thesis analyzes the performance of the "non" actors in the Iranian art cinema, in movies Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salam cinema (1995, Mohsen Makhmalbaf), Turtles can fly (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) and The Mirror (Ayneh, 1997, Jafar Panahi). Based on the anthropology of performance, we seek to answer the following questions: Who are these "non" actors? Why they used that kind of actor instead of professional actors? What are the methods employed in its direction? and What is the relationship established between the actor and character? For this, we use the comparative method, with films from these directors, as well movies by other cinematographies. The conclusion reached is that there is no need for the actor to have a pre-established technique, because the direction proposed by these filmmakers requires minimal action. The actor-performer experience situations that are imposed for them and they create characters, sometimes based on their own experience of life, as in a grand game of make-believe
Mestrado
Artes Cenicas
Mestre em Artes
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Arefi, Marzieh. "The relationship between first and second language writing skills for Iranian students in Sydney : an application of the interdependence hypothesis /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030617.095305/index.html.
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Divsalar, Mohamed Reza. "Industries d'amont et développement de l'agriculture dans le Tiers Monde le cas iranien." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37597204p.
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Eftekhar-Jahromi, Goudarz. "La Garantie des vices en matière de vente étude de droit iranien et comparé." Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb361054162.
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Rafifar, Jalal. "L'Industrie lithique néolithique du Zagros et du plateau iranien, 10000-6000 avant J.-C." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376177962.
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Braud, Jean. "La Suture du Zagros au niveau de Kermanshah (Kurdistan iranien) évolution géodynamique, magmatique et structurale /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37603422h.
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Assef, Zahin Ibrahimzada Mohammad. "La Formation de l'union conjugale et la situation juridique de la femme en droit iranien comparé." Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105226t.
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Gippert, Jost. "Iranica Armeno-Iberica : Studien zu den iranischen Lehnwörtern im Armenischen und Georgischen /." Wien : Verl. der Österreichischen Akademie der Wissenschaften, 1993. http://catalogue.bnf.fr/ark:/12148/cb35710601g.
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Sedigh, Zadeh Mehdi. "Att studera i ett främmande land : en studie av motiv och studiesituation bland utländska studerande vid svenska högskolor /." Uppsala : Stockholm : Uppsala univ. ; Almqvist & Wiksell [distributör], 1994. http://catalogue.bnf.fr/ark:/12148/cb369571807.
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