Relevant bibliographies by topics / Iranian Contemporary Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Iranian Contemporary Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Iranian Contemporary Art"

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Imber, Kirstie. "Contemporary Iranian Art: New Perspectives." Iranian Studies 49, no. 1 (December 15, 2015): 176–80. http://dx.doi.org/10.1080/00210862.2016.1118953.

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Mottahedeh, Negar, and Sara Saljoughi. "Rethinking Gender in Contemporary Iranian Art and Cinema." Iranian Studies 45, no. 4 (July 2012): 499–502. http://dx.doi.org/10.1080/00210862.2012.673828.

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Keshmirshekan, Hamid. "Contemporary Iranian Art: The Emergence of New Artistic Discourses1." Iranian Studies 40, no. 3 (June 2007): 335–66. http://dx.doi.org/10.1080/00210860701390448.

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Nakjavani, Erik. "Amidst Shadow and Light: Contemporary Iranian Art and Artists." Iranian Studies 45, no. 6 (November 2012): 831–37. http://dx.doi.org/10.1080/00210862.2012.726878.

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Rafiei, Maryam, and Jamshid Arasteh. "An Approach to the Effects of Modern Art on the Evolution of Iranian Contemporary Typography." Religación. Revista de Ciencias Sociales y Humanidades 5, no. 23 (March 31, 2020): 189–96. http://dx.doi.org/10.46652/rgn.v5i23.617.

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Today, letter design is no longer just a way to convey information, its visual and structural features is not limited to a particular aspect of visual language, in addition, the design of letters is a method that is always influenced by the content and thought, it is placed in different cultural and social conditions and reflected in unlimited aesthetic forms. Situation that occurs with Iranian literature that owes its value to the writings and the words. On the other hand, in the field of art, especially the art of letter design, it is this writing that plays the central role. Almost more than a century ago, new and modern phenomena slowly came to Iran, and Iranian artists began to use modern art. What is gleaned from the research is the introduction of typography as a powerful and usable tool not only in the international community but also as an art of communication on the Iranian border and examining its most important function; visual communication and the transfer of information and content. It is also discovered how the forms of typography evolve and its impact on contemporary Iranian art. The descriptive research work was carried out through the process of reviewing and collecting information from the library documents.
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Skurvida, Sandra. "Iranian or Not: DisLocations of Contemporary Art and Its Histories." Art Journal 74, no. 3 (July 3, 2015): 73–77. http://dx.doi.org/10.1080/00043249.2015.1125241.

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Abazine, Lina. "Glocalization: An Analytical Path Towards More Inclusive Contemporary Art?" Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 5–12. http://dx.doi.org/10.5617/jea.4888.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay deals critically with the notion of the 'global art world', showing that there may instead be numerous self-centred and ethnocentric art worlds, while also critically engaging with inequalities that persist within and across these art worlds and markets. In this respect it also deals with the work of the Iranian artist Aria Vooria, based in Vienna, and his struggle to escape streotypizations across different art worlds.
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Forshaw, Siobhan. "Tallinn Grigor. Contemporary Iranian Art: From the Street to the Studio." Asian Affairs 46, no. 3 (September 2, 2015): 512–14. http://dx.doi.org/10.1080/03068374.2015.1082306.

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Saadi-Nejad, Manya. "Mythological Themes in Iranian Culture and Art: Traditional and Contemporary Perspectives." Iranian Studies 42, no. 2 (April 2009): 231–46. http://dx.doi.org/10.1080/00210860902764946.

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Keshmirshekan, Hamid. "The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art." Iranian Studies 43, no. 4 (September 2010): 489–512. http://dx.doi.org/10.1080/00210862.2010.495566.

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Dissertations / Theses on the topic "Iranian Contemporary Art"

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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 décennies
Culture 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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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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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 peinture
Many 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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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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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 racines
In 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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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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Books on the topic "Iranian Contemporary Art"

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Amazingly original: Contemporary Iranian art at crossroads. Costa Mesa, California: Mazda Publishers, Inc., 2014.

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(Project), Imago Mundi, ed. Iran: Iranomutomorphosis.net : contemporary artists from Iran. [Villorba, Italy]: Fabrica, 2014.

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Different sam[upsidedown and backwards letter e]s: New perspectives in contemporary Iranian art. London: TransGlobe Pub., 2009.

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Entfernte Nähe: Neue Positionen iranischer Künstler = Far near distance : contemporary positions of Iranian artists. Berlin: Haus der Kulturen der Welt, 2004.

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Iranian Contemporary Art. Booth-Clibborn, 2001.

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Zahrā, Rahnavard, and Dānishgāh-i. al-Zahrā, eds. Contemporary Iraninan [i.e. Iranian] art & the Islamic world. [Tehran, Iran]: Al-Zahra University, 2002.

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Contemporary Iraninan [i.e. Iranian] art & the Islamic world. [Tehran, Iran]: Al-Zahra University, 2002.

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Contemporary Iranian Art: New Perspectives. Saqi Books, 2014.

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Rebel, Jester, Mystic, Poet: Contemporary Persians. Black Dog Publishing Limited, 2017.

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Contemporary Iranian art: From the street to the studio. London: Reaktion Books, 2014.

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Book chapters on the topic "Iranian Contemporary Art"

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Kirchner, Magdalena, and Şafak Baş. "Chaldiran 2.0: Conceptualizing Iranian- Turkish Relations after the Arab Spring." In Contemporary Turkey at a Glance II, 163–76. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-16021-0_11.

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Severi, Hamid. "Mapping Iranian Contemporary Art Publications and Knowledge-Production." In Contemporary Art from the Middle East. I.B.Tauris, 2015. http://dx.doi.org/10.5040/9780755604432.ch-004.

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ISSA, ROSE. "Figures of Protest in Contemporary Arab and Iranian Art." In The Image Debate, 213–27. The Gingko Library, 2020. http://dx.doi.org/10.2307/j.ctv1wmz3m6.15.

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Imber, Kirstie. "The Politics of Music and Image in Contemporary Iranian Art." In Music, Art and Performance from Liszt to Riot Grrrl. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501330162.ch-010.

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Keshmirshekan, Hamid. "‘Neo-Calligraphism’ and Its Different Varieties In Modern and Contemporary Iranian Art." In Metalwork and Material Culture In the Islamic World. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755694099.ch-027.

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"(Neo)Orientalism: Alive and Well in American Academia: A Case Study of Contemporary Iranian Art." In Middle East Studies after September 11, 194–213. BRILL, 2018. http://dx.doi.org/10.1163/9789004359901_010.

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Ulfsdotter, Boel, and Mats Björkin. "The Gothenburg International Exile Film Festival in Context." In Nordic Film Cultures and Cinemas of Elsewhere, 94–102. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0008.

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This chapter explores how in 1993 two Iranian immigrants to Sweden, Hossein Mahini and Hassan Mahini, launched a film festival in Sweden’s second largest city Gothenburg for films related to exile and refugee experiences, the Exile Film Festival. The programming of the festival represents the large range of exilic, diasporic, ethnic, immigrant, and refugee communities that are part of the contemporary public sphere. The festival also constitutes an overlooked elsewhere of cinematic programming outside of the main commercial, art house, or mainstream film festivals. It is also part of local, national, and international “ecology” of exhibition of non-Western films in general, and exile or diaspora film festivals in particular, including through the festival’s intervention into Gothenburg suburbs that rarely otherwise see this kind of cinematic programming. The chapter also discusses exilic cinephilia cultures in Sweden and the kinds of films that are screened at the festival. By so doing, it introduces a range of cinematic elsewhere.
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Doostdar, Alireza. "Popular Nonsense." In The Iranian Metaphysicals. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691163772.003.0003.

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This chapter examines a range of competing discourses and sensibilities that circulate around the figure of the rammal. As a social type, the rammal is elusive and contradictory. Most people condemn the rammal as a peddler of superstition and charlatanry, often taken in contemporary discourses of rationality as their quintessential enemy. The rammal's elusiveness may be attributed in large part to the fact that the term is used in contemporary Iran to refer to a wide array of occult specialists. The chapter considers the ways in which the rammals are disparaged as charlatans and rammali as hocus-pocus, with emphasis on the processes of rationalization initiated by intellectuals, religious leaders, and state officials for policing the “line” crossed by Nafiseh. In particular, it discusses the denigration of superstition and nonsense, along with efforts by modernist critics such as Ayatollah Ruhollah Khomeini to eliminate superstition, which they believed afflicted women.
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9

Doostdar, Alireza. "Metaphysical Pleasures." In The Iranian Metaphysicals. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691163772.003.0009.

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This chapter examines occult practices in terms of the metaphysical pleasures they provide by focusing on the domain of leisure and play. It first considers metaphysical pleasure arising from wonder and astonishment, with particular emphasis on how these emotions, typically known through the concepts of ʻajab and taʻajjub, have been understood in the premodern Islamic tradition. It then discusses the pleasures of contemporary aesthetic and literary consumption and how these pleasures are enabled by a trend toward subordinating the metaphysical to a set of secular sensibilities governing the appreciation of cinema, graphic arts, literature, and fashion. It shows that that each of these metaphysical pleasures provides rationalized pathways for approaching the metaphysical that do not require one to answer questions of truth or falsity.
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10

Doostdar, Alireza. "Do Jinn Exist?" In The Iranian Metaphysicals. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691163772.003.0005.

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This chapter examines the question of whether jinn and sorcery exist. A number of invisible entities and realms beyond the sensible material world are featured in Islamic cosmology, as rooted in the Qur'an and hadith. These include not only God but also angels, jinn, heaven and hell, and news of the unseen in the form of prophecy and inspiration. Muslims have a relationship, a position, toward these entities. The jinn are primarily thought to be invisible beings, and sorcery depends on invisible forces. Many contemporary Iranians look dismissively upon reports of jinn sighting, possession, and exorcism, and yet claim that they believe in jinn because they are mentioned in the Qur'an. The chapter discusses several skeptical approaches to jinn and sorcery in Iran and shows that most Muslim theologians accept the existence of both, even if their purported everyday manifestations are viewed with doubt or denial.
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Conference papers on the topic "Iranian Contemporary Art"

1

"Saqqa-Khaneh School as Iranian Contemporary Art Movement: Post Colonialism or Orientalism?" In April 18-19, 2017 Kyoto (Japan). DiRPUB, 2017. http://dx.doi.org/10.15242/dirpub.dirh0417049.

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Pakseresht, Sahar, and Manel Guardia Bassols. "From the so-called Islamic City to the Contemporary Urban Morphology: the Historic Core of Kermanshah City in Iran as a Case Study." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5210.

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Sahar Pakseresht¹, Manel Guàrdia Bassols¹ ¹ Department of Theory and History of Architecture. Polytechnic University of Catalonia (UPC). Av. Diagonal, 64908028 Barcelona, Tel:93-4017874 E-mail: sahar.pakseresht@estudiant.upc.edu, manel.guardia@upc.edu Keywords: Iranian city, Kermanshah, urban morphology, Islamic city, urban transformation, Modernisation Conference topics and scale: City transformations, urban form and social use of space Pre-1920 cities in Iran are characterized by a number of features considered to be typical of the so-called “Islamic city”. A set of features are shared by traditional cities where dominated by Islam religion. The notion of “Islamic city”, often criticised for its Eurocentric nature, has guided most studies of these traditional cities. The modernisation process in so-called Islamic cities is crucial due to its serious impacts on the traditional morphology and transformation of their urban structure. We, thus, need more holistic and integrated understanding about changes of these cities derives from the modernisation process. In order to explore the broad and wide-spread changes due to modernisation process in the traditional cities in Muslim world, it is more enlightening if we study second order cities, rather than studying the transformations of major capitals such as Cairo, Istanbul or Teheran, where interventions are goal to approach a more exceptional and rhetorical characters. Therefore, the aim of this paper is to study the historic core of Kermanshah city, to understand the link between urban transformations and social due to modernisation process by tracing it historically. We will focus, particularly, on studying the stages of urban transformation and changes of urban morphology as well as conflict and differences between traditional urban features with the modern ones. For example, we are interested in understanding how traditional morphology and structure of residential and commercial zone are affected by the opening of new and wide boulevards in course of modernisation process, and how these changes influence everyday people life. References Kheirabadi, M. (2000). Iranian cities: formation and development. Syracuse University Press. Clarke, J. I., & Clark, B. D. (1969). Kermanshah: an Iranian provincial city (No. 10). University of Durham, Department of Geography. Bonine, M. E. (1979). THE MORPHOGENESIS OF IRANIAN CITIES∗. Annals of the Association of American Geographers, 69(2), 208-224. Stefano Bianca. (2000). Urban form in the Arab world: Past and present (Vol. 46). vdf Hochschulverlag AG. Habibi, M. (1996). Az shar ta Shahr (de la Cite a la Ville). Analytical review of the city concept and its physical image in the course of time), Tehran: University of Tehran. (In Persian)
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3

Abedzadeh, Ali, Abdolhadi Daneshpour, and Maryam Ostadi. "Explaining the Relationship between Changes in Iranian Lifestyle and Metamorphosis of Urban Form of Residential Environment in Contemporary Iran Case Study: Mashhad, Iran." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5705.

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Humanity settlement are formed as a result of decisions and actions of different people and become as a form of an identity of integrity. So urban form is influenced by desires, values, beliefs, and human activities, so the study of urban form is the study of its constituent human values and expression of physical aspects of their lifestyles. Before contemporary periods, urban form in Iran, continuity based on former patterns of changes, which was gradual, but after the beginning of the influence of west, one of the most important challenges of urban form in Iran is in the form of short-term changes. Changes occur in a cycle of destruction and construction. This paper use the way of content analysis investigate to texts, document to study form and typo-morphology of residential environment in the city of Mashhad. In the periods of one hundred years shows there is a direct and significant relationship between changes of Iranian lifestyle and metamorphosis of urban form, so that by sequential developments of Iranian lifestyle in a short time, the urban form is responded and metamorphosed and again is created in a new form.
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4

Plekhanova, Liudmila. "SOILS OF SMALL ARCHAEOLOGICAL SETTLEMENTS IN THE STEPPE ZONE AS A RESULT OF BRONZE AGE ANTHROPOGENIC IMPACT." In GEOLINKS Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/geolinks2021/b1/v3/43.

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"The contemporary direction of natural pedogenesis/soil science is ancient anthropogenic impact and climate fluctuations changes. A large number of settlements in the river valleys are unique objects with a long history of development and modern soil cover formation. We studied the soil between the dwellings for a small settlement Zarya of the Bronze Age. The settlement was part of the economic zone of cattle breeding (horses and cows and sheep) of the large early Bronze Age fortified city Sarym-Sakla, one of the country's Proto-Iranian Cities of the Trans-Ural Plateau. The activity of ancient societies changed the terrestrial ecosystem functioning at macro and microscales. Increased heterogeneity of microrelief forms led to the diversity of soil cover. We found the unusual soil types on microelevations and microdepressions. The enrichment of the cultural layer with phosphorus compounds was revealed, and the hypothesis of the formation of a ""reverse"" ratio of chernozems-solonetzes of the soil cover of the low above-floodplain terrace as a consequence of several stages of ancient anthropogenic pressure and climatic aridization was confirmed in this area. We focused on the determination of organic carbon content, magnetic susceptibility, salt composition, cation exchange capacity, and the distribution of mobile phosphates along the soil profile as possible indicators of ancient anthropogenic influence. The degree of soil properties changes during the anthropogenic impact is commensurate with their transformation in the natural evolution of centuries and even several millennia. Past anthropogenic changes leave a mark in the history of the development of the soil cover predetermining the modern danger of the degradation phenomena. Moreover, we draw parallels in the history of ecosystems formation and outlined tasks for further research."
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