IMES ALUMNI NEWSLETTER Issue 3, Summer 2014
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
Reading Carpet and Architectural Common Aspects
Reading Carpet and Architectural common aspects Arefeh Behzadi Rad1, Javad Divandari2* 1Master of Science (MSc), Department of Architecture, Islamic Azad University, Kashan, Iran. 2Assistant Professor, Department of Architecture, University of Kashan, Iran. Correspondence: Ziba Borzabadi Farahani, Assisstant Professor, Department of Medical Surgical Nursing, School of Nursing and Midwifery, Shahid Beheshti University of medical Sciences, Tehran, Iran. ABSTRACT The ancient Persian religion and customs that has been entered the people's life of this land is playing an undeniable role in the carpets design. What's more all about the connection between the carpet and the architecture is the mystical and Iranian twists from both original arts which is exacerbated and has certain originality. This article aims to identify architecture and carpet, their features and study the relationship between these two arts in the Islamic civilization of Iran with matching the symbols and signs used in it in order to achieve the meanings of the hidden unit in arts. It was written by relying on handed manuscripts resources and visiting carpet weaving workshops and architecture. This is a fundamental question how to make Link between both original and traditional art architecture and carpet. Comprehensive attention and review in overall design of the carpet presentation with its similarity to architecture, expresses the fundamentals of common principles. It provides a table on the plan formation of two original Iranian arts. This article seeks to identify common aspects between Iranian noble arts. Keywords: Common aspects, Carpet, Architecture, Communication of arts with each oder. Introduction civilization. They are familiar with the most natural human emotions and beliefs. -
Pessuto Kelen M.Pdf
ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES KELEN PESSUTO O ‘ESPELHO MÁGICO’ DO CINEMA IRANIANO: UMA ANÁLISE DAS PERFORMANCES DOS “NÃO” ATORES NOS FILMES DE ARTE Dissertação apresentada ao Instituto de Artes, da Universidade Estadual de Campinas, para obtenção do Título de Mestre em Artes. Área de concentração: Artes Cênicas. Orientadora: Profª. Drª. Francirosy Campos Barbosa Ferreira CAMPINAS 2011 iii . . . . . . .. iv v vi Dedico essa dissertação à memória dos meus pais, Agueda e José Pessuto, que são os espelhos da minha vida. À minha sobrinha Gabriela, por existir e fazer a minha vida mais feliz. À minha orientadora e amiga Francirosy C. B. Ferreira, por tanta afeição e apoio. vii viii AGRADECIMENTOS À Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), pelo financiamento desta pesquisa, que permitiu minha dedicação exclusiva e o acesso ao material. Agradeço também aos pareceristas, que acreditaram no projeto. À minha mãe Agueda Pessuto, que tanto incentivou minha carreira, que fez sacrifícios enormes para que eu me formasse, tanto no teatro, quanto na faculdade. Sempre expressou sua admiração e carinho. Muito amiga e companheira, que mesmo não estando presente entre nós, é o guia da minha vida. Espero ser um por cento do que ela foi. Nunca me esqueço que horas antes dela morrer, pediu para eu ler menos e dar mais atenção para ela, não cumpri o que pediu... No dia seguinte à sua morte ocorreu o exame para ingressar no mestrado. Passar foi uma questão de honra para mim. Eis que termino essa pesquisa e lhe agradeço, pois se não fosse esse exemplo de mulher batalhadora no qual me inspiro, não teria conseguido. -
Eulogy for Dr. Ehsan Yarshater•
178 November - December 2018 Vol. XXVII No. 178 Remembering Professor Ehsan Yarshater • Iranian Novels in Translation • PAAIA National Survey 2018 • Second Annual Hafez Day 2018 • Mehregan Celebration • Nutrition During Pregnancy • Menstrual Cramps • Eulogy For Dr. Ehsan Yarshater • No. 178 November-December 2018 1 178 By: Shahri Estakhry Since 1991 Persian Cultural Center’s Remembering Professor Ehsan Yarshater (1920-2018) Bilingual Magazine Is a bi - monthly publication organized for th When we heard the news of the passing of Professor Ehsan Yarshater on September 20 , our last literary, cultural and information purposes issue of Peyk was at the print shop and we could not pay our deepest respect in his memory at Financial support is provided by the City of that time. Although, many tributes in Persian and English have been written in his memory, we San Diego Commission for Arts and Culture. too would like to remember him with great respect and great fondness. Persian Cultural Center I had the pleasure of meeting him and his wife, Latifeh, in 1996 when, at the invitation of the 6790 Top Gun St. #7, San Diego, CA 92121 Persian Cultural Center they came to San Diego and he gave a talk about the Persian civilization Tel (858) 552-9355 and the Encyclopedia Iranica. While listening to him, mesmerized by his presentation, there was Fax & Message: (619) 374-7335 Email: [email protected] no doubt for anyone that here was a man of true knowledge and great integrity. How privileged www.pccsd.org we were to be in the audience. He was an extraordinary man of accomplishments, easy to respect, easy to hold in your heart with adoration. -
Cinema of Immanence: Mystical Philosophy in Experimental Media
CINEMA OF IMMANENCE: MYSTICAL PHILOSOPHY IN EXPERIMENTAL MEDIA By Mansoor Behnam A thesis submitted to the Cultural Studies Program In conformity with the requirements for The degree of Doctor of Philosophy. Queen’s University Kingston, Ontario, Canada (May 2015) Copyright © Mansoor Behnam, 2015 Abstract This research-creation discovers the connection between what Gilles Deleuze and Felix Guattari termed as the Univocity of Being, and the Sufi and pantheistic concept of Unity of Being (wahdat al-wujud) founded by the Islamic philosopher/mystic Ibn al-‘Arabī(A.H. 560- 638/A.D. 1165-1240). I use the decolonizing historiography of the concept of univocity of being carried out by the scholar of Media Art, and Islamic Thoughts Laura U. Marks. According to Marks’ historiography, it was the Persian Muslim Polymath Abu ‘Ali al-Husayn ibn Sînâ (980-1037) who first initiated the concept of haecceity (thisness)--the basis of the univocity of being. The thesis examines transformative experimental cinema and video art from a mystical philosophical perspective (Sufism), and by defying binaries of East/West, it moves beyond naïve cosmopolitanism, to nuanced understanding of themes such as presence, proximity, self, transcendence, immanence, and becoming, in media arts. The thesis tackles the problem of Islamic aniconism, nonrepresentability, and inexpressibility of the ineffable; as it is reflected in the mystical/paradoxical concept of the mystical Third Script (or the Unreadable Script) suggested by Shams-i-Tabrīzī (1185- 1248), the spiritual master of Mawlana Jalal ad-Dīn Muhhammad Rūmī (1207-1273). I argue that the Third Script provides a platform for the investigation of the implications of the language, silence, unsayable, and non-representation. -
Spiritual Art: a Study of Illuminated Drawings
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 6, December 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ اﻟﺒﺤﻮث اﻟﺘﺎرﯾﺨﯿﺔ واﻟﺜﻘﺎﻓﯿﺔ واﻟﻔﻨﯿﺔ DOI: 10.7596/taksad.v6i6.1207 Citation: Kateb, F. (2017). Spiritual Art: A Study of Illuminated Drawings. Journal of History Culture and Art Research, 6(6), 221-232. doi:http://dx.doi.org/10.7596/taksad.v6i6.1207 Spiritual Art: A Study of Illuminated Drawings Fatemeh Kateb1 Abstract Illumination can be seen as a collection of exquisite and novel designs that painters and illumination- workers use to make religious, scientific, cultural, historical, and other collections of work beautiful. The professionals of illumination use these techniques in books to beautifully virtualize the golden pages of the eternal literature and the religious texts of their homeland. In this way, the sides and margins of the pages are decorated with designs of Islimi (arabesque) branches, stems, flowers, and Cathay (Khataei) leaves. Illuminations like paintings have various schools and periods, such as the Seljuk, Bukhara, Timurid, Safavid, Qajar schools, with further branches within each school. The illuminations of different periods represent the states and spirits of those eras. However, the illustrated paintings have been performed in the primary state in each school and era with some minor differences in colors and designs, and it can be said that the basis of the illustrated designs are three geometric shapes of the square, circle and triangle, and the combination of these three shapes. -
The Honorable Mentions
The Honorable mentions: 1. The report by Abbas Kiarostami (1977) 2. Bashu, the Little Stranger by Bahram Beizai (1989) 3. Mother by Ali Hatami (1991) 4. Travellers by Bahram Beyzai (1991) 5. Nargess by Rakhshan Bani-E'temad (1992) 6. Sara by Dariush Mehrjui (1992) 7. Through the Olive Trees by Abbas Kiarostami (1994) 8. Khaharan-e Gharib by Kiumars Pourahmad (1995) 9. The White Balloon by Jafar Panahi (1996) 10. Two Women by Tahmineh Milani (1999) 11. Hemlock by Behruz Afkhami (2000) 12. Protest by Masud Kimiai (2000) 13. The Hidden Half by Tahmineh Milani (2001) 14. Kaghaz-e bikhat by Naser Taghvai (2002) 15. A House Built on Water by Bahman Farmanara (2003) 16. I'm Taraneh, 15 by Rasul Sadr Ameli (2003) 17. The Command by Masoud Kimiai (2005) 18. So Close, So Far by Reza Mirkarimi (2005) 19. Yek boos-e koochooloo by Bahman Farmanara (2005) 20. Offside by Jafar Panahi (2006) 21. Mainline by Rakhshan Bani-E'temad, Mohsen Abdolvahab (2006) 22. The Fish Fall in Love by Ali Rafie (2006) 23. Zero Degree Turn by Hassan Fathi (2007) 24. The known Land, Bahman Farmanara (2007) 25. Shirin by Abbas Kiarostami (2008) 26. Canaan by Mani Haghighi (2008) 27. Vaghti hame khabim by Bahram Beyzai (2009) 28. There Are Things You Don't Know by F. Saheb Zamani (2009) 29. A Cube of Sugar by Reza Mirkarimi (2011) 30. Saadat Abad by Maziar Miri (2011) 31. The Last Step by Ali Mosaffa (2012) 32. The Private Life of Mr. & Mrs. M by Rouhollah Hejazi (2012) 33. -
Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution
International Journal of Criminology and Sociology, 2020, 9, 285-299 285 Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution Hoda Zabolinezhad1,* and Parisa Shad Qazvini2 1Phd in Visual Arts from University of Strasbourg, Post-Doc Researcher at Alzahra University of Tehran 2Assisstant Professor at Faculty of Arts, University of Alzahra of Tehran, Iran Abstract: There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention. Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the governors. Keywords: Iranian Visual Artists, Pahlavi, Political Freedom, Persian Protest Literature, the Shāh. INTRODUCTION Abrahamian 2018). The Iranian visual arts affected unconstructively by Pahlavi I (1926-1942) contradictory The authors decided to investigate the subject of approaches. By opening of Fine Arts School, which protest artworks because it is almost novel and has became after a while Fine Arts Faculty of the University addressed by the minority of other researchers so far. -
Iranian Traditional Hand-Woven Art As an Effective Factor in Transferring Native Culture (Case Study: Traditional Hosiery)
The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition IRANIAN TRADITIONAL HAND-WOVEN ART AS AN EFFECTIVE FACTOR IN TRANSFERRING NATIVE CULTURE (CASE STUDY: TRADITIONAL HOSIERY) Robabe Ghazali Faculty member, Department of Art, Alzahra University, Iran [email protected] ABSTRACT Different kinds of artifacts that are made by means of needle, crochet hook and similar tools or natural fiber are considered among woven products, for example gloves, socks, ascot , scarf and etc. Hosiery is one of the hand woven products of handicrafts which is found in Azerbayjan, Kurdistan, Khorasan, Gilan, Mazandaran and other area that enjoy a proper geographical distribution, in particular mountainous regions. Iranian hosiery’s visual diversity in terms of patterns, color, and motifs, and the extent of geographical location’s effect on traditional hand woven production is an effective factor in development and export of this traditional hand woven, due to its usability as effective field of cultural, social, and economical activities. The originality of Iranian hosiery has been approved since September 2011 and it has been enlisted in the handicrafts works of Cultural Heritage Organization. The way of weaving and applying pattern and color in designing traditional hand woven hosiery, as an effective and impressible branches of handicrafts on transferring native culture and art from past to present. The research was conducted by using a descriptive analytical method and gathering library field information and interviews. Keywords: Traditional hand woven, hosiery, ethnic beliefs, development of Iranian handicrafts INTRODUCTION Traditional arts are the collection of each country’s original and native art which is deeply and strongly rooted in its beliefs, habitudes, customs, and traditions and includes spiritual culture of society. -
Margaret Cool Root
Curriculum Vitae MARGARET COOL ROOT EducationU 1969 Bryn Mawr College B.A. Classical and Near Eastern Archaeology (Magna cum Laude & Department Honors 1971 Bryn Mawr College M.A. Etruscan Archaeology 1976 Bryn Mawr College Ph.D. Near Eastern and Classical Archaeology and Etruscan Archaeology Specialization: Art & Archaeology of the Achaemenid Persian Empire ProfessionalU Employment l977-78 Visiting Assistant Professor: Department of Art and Department of Classical Languages and Literatures, University of Chicago Research Associate: Oriental Institute, University of Chicago l978-92 Assistant-Associate Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Assistant-Associate Curator of Collections: Kelsey Museum of Archaeology 1992-present Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Curator of Collections: Kelsey Museum of Archaeology, University of Michigan 1992-93 Acting Director, Kelsey Museum of Archaeology, University of Michigan 1994-99 Chair, Department of the History of Art, University of Michigan 2004-05 Acting Director, Kelsey Museum of Archaeology, University of Michigan RelevantU Work-Related Experience l969 Trench Supervisor: Bryn Mawr College Excavations at Poggio Civitate (Murlo), Tuscany l97l-72 Museum/Site Study: Europe and North Africa l973-74 Dissertation Research: Turkey, Iran, London, -
CENTER for IRANIAN STUDIES NEWSLETTER Vol
CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 16, No. 1 SIPA-Columbia University-New York Spring 2004 ENCYCLOPÆDIA IRANICA SHIRIN EBADI Fascicles 3 and 4 of Volume XII Published; Fascicle 5 in Press AT COLUMBIA UNIVERSITY The third and fourth fascicles plies to studies of significant his- of Volume XII of the Encyclopædia torians or their writings, i.e., the Iranica were published in the Fall identification and interpretation of of 2003 and Spring of 2004, respec- major historical texts, especially tively. They feature 83 entries on vari- with an eye to the cultural forces and ous aspects of Iranian culture and his- other factors which shape the assump- tory, including five series of articles on tions and methods of such works and specific subjects: fourteen major entries their authors. Beyond that, it encom- on Persian historiography, ten entries passes analysis of the nature and pur- under the rubric of The Histories of pose of historical literature and its lit- Herodotus’ account of ancient Persia, erary techniques. At another level, it re- Columbia University’s Center for five entries on Ernst Herzfeld, a great fers to the so-called “philosophy of his- Iranian Studies and The Institute of Hu- archeologist and historian of the ancient tory,” i.e., theoretical and epistemologi- man Rights at the Law School are plan- Iranian past, two entries on Persian col- cal discussions of historical writing as ning a reception in honor of Ms. Shirin lections at Hermitage Museum of St. an intellectual activity as well as grand Ebadi, the recipient of the 2004 Nobel Petersburg, and three entries on homo- schemes of the meaning of history as a Peace Prize.