Interdisciplinary
Mohamad Hasanpur
Abstract
The connection between photography and history as the most important invention of the nineteenth century has been direct but challenging. The characteristics of both disciplines are cross-sectional recording of time, emphasis on the objectivity of time (historical text, and photographic context), and ...
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The connection between photography and history as the most important invention of the nineteenth century has been direct but challenging. The characteristics of both disciplines are cross-sectional recording of time, emphasis on the objectivity of time (historical text, and photographic context), and quality of reference to the past. After the invention of photography, however, the practice of historical review and retrieval of memories became a commodity quality, and photographs revealed access to historical content as the touch of a seemingly simple everyday object. Therefore, in the present article, based on the method of historical analysis, we deal with the ideological link between photography and history based on the views of twentieth century philosophers and critics, and answer the question of which of the characteristics of photography in the "evolution" and "advancement" of science Is the date present? The importance of this research lies in the fact that photography, while deeply connected to history, is virtually ubiquitous and accessible to the public, and that disciplines such as New Social History or Oral History may not be spread without the advent of photography. The result is that the authenticity of historical data is linked to these photographic identities through the emergence of photography as evidence or as an example for objective comparison, and in practice today history is always imbued with essence as what happened in time and space. It is a photographic reference.
Interdisciplinary
Razieh Moussavi Khorshidi; Mohammad Hossein Sharifzadegan
Abstract
"Relational perspectives" have been proposed since the 1990s as an alternative approach to the philosophical foundations of social sciences, rejecting hierarchical or binary modes of thought of conventional traditions and avoiding deficiencies of midway theories. Through emphasizing "complexity", ...
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"Relational perspectives" have been proposed since the 1990s as an alternative approach to the philosophical foundations of social sciences, rejecting hierarchical or binary modes of thought of conventional traditions and avoiding deficiencies of midway theories. Through emphasizing "complexity", "interconnection/connectivity" and "uncertainty" of the world, these views provide accounts of human and social dynamics and processes of "becoming". The latest of these perspectives is "flat ontology" or "deep-relationalism". This article provides a comprehensive account of "flat ontology" through the method of Research Synthesis, and explores its contributions to the co-disciplinary, often suffering from eclectic gaps and the absence of a coherent methodological framework. "Flat ontology" implies "relationality," "multiplicity," "heterogeneity," "contingency," and "spatiotemporality" of reality; and regards entities in a deep-relational way, as dynamic intertwined associations and configurations. This perspective proposes a fluid interpretation of "power", whether among humans or between human and non-human entities, and response to critical concerns about the necessity of social and environmental inclusion/inclusiveness. Recent global crises such as the Coronavirus pandemic and climate change confirm the validity of this perspective. According to this view, knowledge fields are deeply interconnected, underscoring the necessity of the co-disciplinary, including interdisciplinary and cross-disciplinary. Furthermore, flat ontology redefines the philosophical foundations of the co-disciplinary, towards the transdisciplinary. Applying such a perspective is important and necessary both in social sciences, which deal with the description of social phenomena, and in public decision/policy-making which prescribes generally in a co-disciplinary way.
Art Studies
Mahboubeh Taheri; Effatolsadat Afzaltousi
Abstract
In achieving the title of frameless art within the scope of conceptual art, utilizing the technological revolution, and emphasizing interaction between audience and the work of art, the contemporary art seeks to stress environmental concepts. As one of the most recent types of contemporary environmental ...
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In achieving the title of frameless art within the scope of conceptual art, utilizing the technological revolution, and emphasizing interaction between audience and the work of art, the contemporary art seeks to stress environmental concepts. As one of the most recent types of contemporary environmental art, ecological art represents a new avant-garde style of representing art through its treatment of the environmental crisis. Environmental degradation has created a common space for representing the interaction among different discourses of science including the different dimensions of science in the agents’ understanding of this issue. This study seeks to investigate the representation of the interaction between contemporary art discourse and science within the critical approach to the environmental crisis in the framework of the concepts of discursive formation and episteme in Foucauldian archeology.
Therefore, we shall study the discursive formation of ecological art based on science with the assumption of the synergy of art/science as the discursive organization of contemporary art in representing the environmental crisis. Using a variety of experimental, interactive, and participatory techniques, the contemporary ecological art can regenerate the discursive space of the environmental crisis through interaction with scientific institutions based on scientific research. The art/science relationship can be considered as a schema of the epistemology of our time.
Interdisciplinary
Sakineh Hozhabr Lake; Khosro Jalili Kohne Shahri; ahmad Reza Nazari charvadeh
Abstract
Postmodern poetry can be considered a suitable reference for archetypal studies due to the characteristic of revealing and deconstructing verbal topics. Considering the frequency of words, combinations, and phrases related to anger, violence, and death in postmodern Persian poetry, the present research ...
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Postmodern poetry can be considered a suitable reference for archetypal studies due to the characteristic of revealing and deconstructing verbal topics. Considering the frequency of words, combinations, and phrases related to anger, violence, and death in postmodern Persian poetry, the present research has tried to ask the question of what is the reason for the exaggerated tendency of postmodern poets to express anger and violence in poetry; The images of "social anger and violence", "individual anger and violence" and "images related to death" in the works of a number of postmodern poets, using the descriptive-analytical method and considering the interdisciplinary approach, between literature and examine two areas of social criticism and psychological criticism. The result of this study showed the plurality of reflections of "violence towards women" and "moral corruption", "war" and anomalies such as "drug use" in the social violence section, and "suicide" and "masochism" in the violence section. Individuals are mostly born from the pervasive thought of "death thinking". "Thought of death", which is one of the signs of the dominance of the old shadow pattern in the human unconscious, has become a current thought in postmodern poetry and, as a result, one of the main features of this poetic flow. Postmodern poets have tried to show the darkness and inner anger hidden in the society, using the isolating and terrifying images that are related to "death" and move their poetic process towards darkness and terror. As far as it can be claimed, among the contemporary poets, those who were unconsciously defeated by the old pattern of shadow, have turned to postmodern poetry.
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