1 Honar-Ha-Ye-ziba: Honar-Ha-Ye-Namayeshi- va Moosighi With Specific Study of "Madar Sefr Darageh" TV Series based on Dr. Seyed Mohsen Habibi's Theory about Pahlavi I Dynasty Architecture Payam Foroutan Yekta1*, Yekta Barzi2 1. Assistant Professor, School of Performing Arts and Music, College of Fine Arts, University of Tehran, Tehran, Iran 2. B.A.in Performing Arts (Production Design), School of Performing Arts and Music, College of Fine Arts, University of Tehran, Tehran, Iran (Received 9 Sep. 2014, Accepted 27 Dec. 2014) ne of the most popular genres of TV series the first Pahlavi. Thus this quartet role model O in Iran is the historical genre. Especially, absolutely is able to be counted as a reliable popular is the contemporary era depicted in the framework in order to design locations of TV series in which their stories illustrate the historical opuses of first Pahlavi dynasty. It has ending of Qajar dynasty and the beginning of been attempted to present this role model by Pahlavi dynasty. Audiences’ acclamation in analyzing and evaluating production design of watching TV series such as, Hezar Dastan, Kife one of the most successful TV series of recent Englisi (English Bag), Shabe Dahom, (The Tenth years, Madar-e Sefr Darajeh (The Zone of Zero Night) and Madar-e Sefr Darajeh (The Zone of Degree), a TV serial by Hassan Fathi, in this Zero Degree) definitely prove this fact. A most attendant article. In order to overhaul the quartet certainly, one of the most important elements in role model of first Pahlavi dynasty accurately in such an acclamation and audiences’ Madar-e Sefr Darajeh TV series, the paper was consideration is production design element of this relied on available documentations and specific genre of TV series. These designs refer interviews. In this paper, after reviewing the audiences to Tehran’s previous decades and history of production design formation and the their themes. Yet, lack of exact frameworks, well- position of a production designer, some popular defined patterns and definite role models of architectural patterns of first Pahlavi dynasty and Tehran architecture of those days is the main their features are introduced. Then seven main problem of production designers of such interior locations of the TV series, their places in invaluable opuses. Production designers chiefly each architectural styles of that era and the accumulate their former knowledge of alternative patterns are discussed. Finally, after architecture and designs which are learnt by representing a table based on usage of the unfocused studying of the survived images of quartet role model of those days in chief those eras and by referring to old people’s locations, it is argued that this TV program may memories in producing design for required be one of the accurate historical programs in locations, but such an attitude in production which all four architectural patterns of first design contributes to scattering and chaos in Pahlavi dynasty was manipulated in an locations and eliminates opus’s coordination and intellectual, strong and consonant way. It is an harmony in miser en scene based on instance in which all four popular styles of first contemporary architecture. Utilizing exact Pahlavi dynasty were utilized and could be a role frameworks recommended by architects and model to work in TV productions. researchers of the first Pahlavi architecture and recognizing diverse styles of this era’s architecture would surely create a role model for Keywords designers in order to create locations and scenes European Classicism, Madare Sefr Darajeh, in a suitable way. Dr. Seyed Mohsen Habibi is an Pahlavi Architecture, Tehran Style, Television architect who has classified and distinguished Production Design. four main separated patterns of architecture of *Corresponding Author: Tel: (+98-912)1022204, Fax: (+98-21)66418111, E-mail: [email protected] 2 Vol. 21, No. 1, Spring & Summer 2016 The Xenophobia Phenomenon Reflected in Shakespeare’s “The Merchant of Venice”* Jalil Khalil Azar1**, Fatemeh Mohtadi 2, Rahmat Amini 3 1. PhD Student in Art Research, Art of Religions and Civilizations School, Art University of Isfahan, Isfahan, Iran 2. M.A. in Dramatic Literature, Faculty of Art and Architecture, Islamic Azad University Central Tehran Branch, Tehran, Iran 3. Assistant Professor, School of Performing Arts and Music, College of Fine arts, Tehran University, Tehran, Iran (Received 10 Feb. 2014, Accepted 27 Dec. 2014) he term xenophobia describes a social Shakespeare’s The Merchant of Venice? B) How T phenomenon rooted in fear and hatred of is the xenophobia in The Merchant of Venice foreigners from different ethnic groups. This different from that in other Shakespearean plays phenomenon is understandably reflected in five (Othello, the Tempest, Anthony and Cleopatra, Shakespearean plays: The Merchant of Venice, and Titus Andronicus)? While addressing the Othello, The Tempest, Titus Andronicus, and theoretical framework this article uses historical Anthony and Cleopatra; among which, The and analytic-comparative methods and relies on Merchant of Venice has more importance in library sources and pictures, to present the subject addressing foreign characters and groups (i.e. under two headings: A) Shakespeare and the Shylock the Jew, Jessica and etc.). In studies xenophobia phenomenon; In this section, the conducted on this subjected and printed in books, roots leading to the formation of xenophobia in thesis, and articles in Iran and abroad, no direct Shakespeare’s era, and the reflection of reference has been made to the reflection of xenophobia in his plays, are identified and xenophobia in Shakespearean plays. The explained by using a sociological approach. B) subjects most often dealt with in sources focused The Merchant of Venice and xenophobia; under on prejudice, colonialism, racial discrimination, this heading, the play is reviewed first, and then histories of immigration, and political-economic the relationships of the characters, especially of relations between different ethnic groups and race Shylock with xenophobia are explained. Finally, in Shakespeare’s era. Shakespeare in India and the play is merged with the Integrated Threat South Africa: Colonialist versus Colonized (Rafiei, Theory. Analysis of the dialogues and events of 2001) and The Mutual Effect of Drama and the play revealed the fact that economy and History during the Elizabethan Period with Judaism were the most pronounced elements of Emphasis on the Historical Shakespearean Plays group conflict and created xenophobia among the (Bonyadi, 2003) are two of these sources. So are characters in the play. Moreover, the research Shakespeare and Politics (Moradi, 2007), and findings indicate that, compared to the other four Islam and Politics in Dramatic Literature during plays, the characters in The Merchant of Venice Elizabethan Period (Asadi Amjad et al., 2001). can be easily classified using the definitions of In This article intends to analyze the events that take Groups and Out Groups and The Integrated place in The Merchant of Venice, and to merge Threat Theory. In reflecting the xenophobia them with the Integrated Threat Theory (ITT), In phenomenon, Shakespeare intended to criticize Groups and Out Groups in order to analyze the racist and prejudicial behaviors. In fact, he reflection of xenophobia in Shakespeare’s advocates equality and justice in the Elizabethan dramatic literature. The main purpose of the society. research was to identify and explain the concept of xenophobia in The Merchant of Venice and to clarify its social roots by use of sociological Keywords theories. The following questions were raised as In Groups, the Integrated Threat Theory, the the research questions in order to achieve the Merchant of Venice, Out Groups, Shakespeare, mentioned goal: A) What is the xenophobia Shylock, Xenophobia Phenomenon. phenomenon and how is it reflected in *This article is an excerpt of the M.A. thesis in Dramatic Literature written by the second writer of the article. The title of the thesis was “Xenophobia in Dramatic Literature: A Study of the Shakespearean Plays Othello, Tempest, and The Merchant of Venice” it was written under the guidance of the first and third writers of this article, and was defended in the Faculty of Art and Architecture, Islamic Azad University Central Tehran Branch in January 2013. **Corresponding Author: Tel: (+98-912) 7043072, Fax: (+98-21) 66870780, E-mail: [email protected] 3 Honar-Ha-Ye-ziba: Honar-Ha-Ye-Namayeshi- va Moosighi Historiographical Meta Fiction in Bahram Beizaie “Trilateral Reading of Azhdehak” Ali Rajabzadeh Tahmasebi1*, Asadollah Gholamali2, Asghar Fahimifar3 1. Assistant Professor, IRIB University, Tehran, Iran 2. Ph.D. Student in Art Research, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran 3. Associate Professor, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran (Received 21 Jun. 2014, Accepted 27 Dec. 2014) uring the 20th century, literature and criticism unfinished and endless flow. postmodernism D enhanced and developed as well as avoid taking any definition or pattern, which scientific innovations. The upsurge of current results in no distinct framework. On the other literary theories has become significant hand, drama is a universal phenomenon and a phenomenon in contemporary literature, great medium that has been changed during emerging as formidable force in interdisciplinary times. Some critics state that postmodern art is a subjects. Literary