Kanoon Rights Catalogue 2020
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An Analysis of the Circumstances and Factors That Have Influenced the Development of Animation Industry in Iran in the 1960-2002 Periods Naser Golmohammadi
Environment Conservation Journal 16 (SE ) 61-77, 2015 ISSN 0972-3099 (Print) 2278-5124 (Online) Abstracted and Indexed An analysis of the circumstances and factors that have influenced the development of Animation Industry in Iran in the 1960-2002 periods Naser Golmohammadi Received:25.05.2015 Revised:26.06.2015 Accepted:28.08.2015 Abstract In the early part of 20th century animation emerged as a revolutionary way of making art. It evolved into a powerful means of expression and creativity of artists who could merge all art genres into one art form. The subsequent developments of animation have opened its diverse uses in entertainment business, education and political propaganda. This article attempts to examine the factors that have influenced and shaped the development of animation industry in Iran. It takes a historical view and investigates the impacts of changing socio-economic and political forces that have determined the functions of animation in the Iranian society. The study traces the establishment of the industry to the government-run centres, describing the pioneering role of artists who gave rise to the ‘golden age’ of animation in the pre-revolutionary Iran. Especial attention is throughout paid to the long and rich cultural and artistic heritages, as the thematic basis for indigenously produced animated films in Iran. The growth of the industry is considered in conjuncture with the expansion of feature films cinema and expansion of television networks. The latter is particularly important for the fact that it provides a secured market for a sizeable audience of children and young people in Iran. -
We Need Further Surge in Production
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 12 Pages Price 40,000 Rials 1.00 EURO 4.00 AED 39th year No.13631 Saturday APRIL 4, 2020 Farvardin 16, 1398 Sha’aban 10, 1441 moves against Iran ‘even U.S. lost historic IOC president thanks “The Soldiers of exceed what would be opportunity to review Iran for support the Commander” permissible on battlefield’ 2 wrong Iran approach 2 to Olympics 11 published in Turkish 12 Annual non-oil trade at $85b TEHRAN — The value of Iran’s non-oil The official further pointed to the trade stood at $85 billion in the past Iranian measures taken by IRICA in the past We need further surge calendar year of 1398 (ended on March year including facilitation of trade and 19, 2020), the head of Islamic Republic removing customs barriers in line with of Iran Customs Administration (IRICA) supporting the government’s plans in announced. different sectors. Mehdi Mir-Ashrafi put the weight of As one of the major organizations help- the country’s annual non-oil trade at 170 ing economic growth, IRICA launched in production million tons and said this amount of trade smart customs project in the previous year was achieved despite the severe sanctions, as a move to meet today’s requirements See page 2 IRNA reported. in trade sector, Mir-Ashrafi underscored. Iran strongly warns U.S. about military threats TEHRAN — Iran’s chief diplomat and U.S. military base in Iraq after the Pentagon top military commander on Thursday assassinated Iran’s legendary anti-terrorism warned the United States against any commander Qassem Soleimani. -
Iranian Book Publishers and Associations, Literary Agencies In
Shahre Ghalam Books From Iran Rights Guide 2018-2019 Shahre Ghalam Page 1 of 46 Leo and Dotty Written by: Ali Asghar Seidabadi Illustrated by: Elahe Behin Publisher: Shahre Ghalam Category: Children / Young Adults Publish Date: 2018 10 Pages Dimension: 31x24 ISBN: 978-600-320-395-2 Book About: Getting familiar with nature changes and season differences are among children's basic education needs. In these books, children get to know different seasons and nature changes through simple stories with gorgeous illustrations. Young readers also become acquainted with Iran’s animals in danger of extinction, keeping their appearances in their minds. Author About: Ali Asghar Seidabadi, an Iranian writer, promoter and researcher on children and young adult’s literature, was born in 1971. Siedabadi was one of the founders of the Iranian Association of Writers for Children and Young Adults, and in 1999, was elected as one of the members for its board of directors in the first round of its elections along other well-known writers of the board. Seidabadi, who had an acdamaic background in journalism and was somehow cooperting with some newspapers. 2017 Nominated at the Chinese Little Hakka International Picture Book Competition – for Bijan and Manije 2013 Recorded in the International Calendar of Poetry in English and German 2010 Nominated among of the best fifteen children books by the German Klingspor-Museum in Offenbach – for the book Demons Are Afraid of Humans in the Daytime. 1999 Recorded in Munich’s International Youth Library catalogue of ‘The White Ravens’ – for The Sweet Rich Stories Publisher Name:Shahre Ghalam Address:No. -
Why the Fighting Cock? the Significance of the Imagery of the Khorus Jangi and Its Manifesto “The Slaughterer of the Nightingale”
Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto “The Slaughterer of the Nightingale” Aida Foroutan Postdoctoral Researcher, University of Manchester Abstract In this essay I seek to explore the icon of the Fighting Cock movement (Khorus Jangi) and of its Manifesto, “The Slaughterer of the Nightingale,” in order to con- sider its implications and imagistic allusions. In outlining the background of the Khorus Jangi and associated movements, I discuss the imagery of the khorus both in ancient Iran and globally, and in the context of the ideology of the Khorus Jangi. The Manifesto is discussed and analyzed and it is seen that the khorus prefigured the Manifesto, and heralded the appearance of a new movement in painting, as distinct from what had already happened in surrealist and modernist circles in writing. The manifestation of surrealist and modernist ideology in imagery seems to have been a response to this wake-up call of the Khorus Jangi. Aida Foroutan, “Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto ‘The Slaughterer of the Nightingale,’” Iran Namag, Volume 1, Number 1 (Spring 2016), XXVIII-XLIX. Aida Foroutan was trained as a painter and graduated from the Al-Zahra University of Tehran with a BSc in Industrial Design. She moved to the United Kingdom in 2007 to study for a Masters degree in Theatre Studies at the University of Manchester, after which she gained her PhD in Art History there. Her 2012 doctoral thesis was on the reception of Surrealism in Iranian art and literature. -
Bibi's Big Mistake: Fall of Fake Regime?
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 8 Pages Price 50,000 Rials 1.00 EURO 4.00 AED 43rd year No.13941 Wednesday MAY 12, 2021 Ordibehesht 22, 1400 Ramadan 29, 1442 Iran: Tehran-Riyadh Daei, Hejazi the best Blood donation dialogue conducted by Iranian players of up 27% during Felicitation special envoys Page 2 century: IFFHS Page 3 Qadr nights Page 7 on Eid-al Fitr Iran rejects Pentagon’s claim, denounces U.S. ‘unprofessional’ behavior in Hormuz Bibi’s big mistake: Fall TEHRAN - The Islamic Revolutionary committing “provocative, gratuitous and Guards Corps Navy has reacted to a claim unprofessional behaviors such as flying heli- by the Pentagon that the IRGC speed- copters, firing flares and aimless shooting.” boats unprofessionally came close to an The statement said the IRGC boats See page 3 American vessel. maintained a legal distance from the The IRGC Navy said in a statement on American vessels in accordance with of fake regime? Tuesday that IRGC boats did not act unpro- international maritime regulations and fessionally and while they were conducting warned them against “dangerous and a regular and conventional operation, they unprofessional behavior.” encountered seven American Navy vessels Continued on page 3 Iranian COVID-19 Electricity projects worth over $320m vaccine enters large- put into operation TEHRAN – Iranian Energy Minister projects, as well as installing new PV sys- Reza Ardakanian inaugurated major tems for nomadic households. scale production phase electricity projects worth 13.45 trillion The national electricity network’s rials (about $320.2 million) across the new dispatching center which has been country on Tuesday, in the sixth week of completed with 11.44 trillion rials (about the ministry’s A-B-Iran program in the $272.3 million) of investment is using current Iranian calendar year (started on world’s latest technologies in Energy March 21). -
Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting Mohammad Kazem Dekamvand University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 The search for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting Mohammad Kazem Dekamvand University of Wollongong Recommended Citation Dekamvand, Mohammad Kazem, The es arch for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 1995. http://ro.uow.edu.au/theses/938 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] 7*t the, 7ta#ne, of AUGA, the 3eai^iceatt tde TKe^ciftd THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. A written submission in partial fulfilment of the requirements for the award of the degree of DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by MOHAMMAD KAZEM HASSANVAND DEKAMVAND BFA, MCA FACULTY OF CREATIVE ARTS 1995 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Mohammad Kazem Hassanvand Dekamvand October 1995 THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. ABSTRACT This research centres on an artist's interpretation of the search for identity in the late twentieth century—particularly as expressed by the Post-Revolutionary Art of Iran. -
Untitled Work from the Lit Shadow Series, Mohammad-Hossein Emad (B
F T O E C H U R S A N I Iranian contemporary art has been The modern movements of Iranian art began considered the powerhouse of Middle during the 1940s; at the time of increased N Eastern art, and one of the most unique relations and contact with the West and right forces within the global art scene. In after the death of Iran’s master painter Kamal- T making modern Iran, art has played a ol-Molk (1852 – 1940) that symbolically ended R fundamental role to break the rules of the rigid adherence to academic painting. For conventions, to crack open cemented the first time Iranian artists and intellectuals O opinions and has challenged and looked began to openly question authority and push D at the world and its own society with a boundaries, and this resulted in the creation critical eye. Iran’s modern history is of a group of artists dedicated to creating a U full of segmented episodes of artistic uniquely Iranian and modern idiom. As artistic C inquisitions for creating a native, yet a expectations gradually evolved, teaching modern artistic language. establishments began to also transform; T shifting their teaching methodologies from I what were long traditionally practiced and began to encourage innovation instead of O copying. N The three decades before the 1979 revolution saw the opening of Iran’s first galleries and Iranian artists becoming active in the international art scene by participating in solo and group exhibitions and art fairs around the world. Iran also gradually became the cultural hub of the region, regularly holding events and festivals and attracting the most well-known and most influential artists, collectors and art patrons of the world. -
GHAREHGOZLOU, BAHAREH, Ph.D., August 2018 TRANSLATION STUDIES
GHAREHGOZLOU, BAHAREH, Ph.D., August 2018 TRANSLATION STUDIES A STUDY OF PERSIAN-ENGLISH LITERARY TRANSLATION FLOWS: TEXTS AND PARATEXTS IN THREE HISTORICAL CONTEXTS (261 PP.) Dissertation Advisor: Françoise Massardier-Kenney This dissertation addresses the need to expand translation scholarship through the inclusion of research into different translation traditions and histories (D’hulst 2001: 5; Bandia 2006; Tymoczko 2006: 15; Baker 2009: 1); the importance of compiling bibliographies of translations in a variety of translation traditions (Pym 1998: 42; D’hulst 2010: 400); and the need for empirical studies on the functional aspects of (translation) paratexts (Genette 1997: 12–15). It provides a digital bibliography that documents what works of Persian literature were translated into English, by whom, where, and when, and explores how these translations were presented to Anglophone readers across three historical periods—1925–1941, 1942–1979, and 1980–2015— marked by important socio-political events in the contemporary history of Iran and the country’s shifting relations with the Anglophone West. Through a methodical search in the library of congress catalogued in OCLC WorldCat, a bibliographical database including 863 editions of Persian-English literary translations along with their relevant metadata—titles in Persian, authors, translators, publishers, and dates and places of publication—was compiled and, through a quantitative analysis of this bibliographical data over time, patterns of translation publication across the given periods -
2017 ASIFA-IAD Report
ASIFA International Animation Day Report 2017 1 ASIFA International Animation Day Report 2017 2 ASIFA INTERNATIONAL ANIMATION DAY 2017 Photos: ASIFA Poland, ASIFA China, and ASIFA Croatia ASIFA created the International Animation Day (IAD) in 2002 to honor the birth of animation. October 28th was chosen in recognition of the first public performance of projected moving images: Emile Reynaud’s Theatre Optique in Paris, in 1892. ASIFA coordinates and helps promote IAD celebrations all over the world, putting the art of animation in the limelight in a global worldwide celebration of animation. IAD offers us the opportunity to connect with animators and share animation across borders, across cultures, across languages - to celebrate our humanity through the art of animation. ASIFA International Animation Day Report 2017 3 INTRODUCTION: Interim Coordinator R. Brad Yarhouse I am honored and excited that I have been asked by the Deanna Morse and the board to act as interim International Animation Day coordinator for the international ASIFA organization. I want to give my thanks to Vanessa Ventura of ASIFA Portugal for many years of service as the previous coordinator of IAD. I would also like to thank Noureddin Zarrinkelk and Negar Zarrinkelk for their wonderful poster for 2017. I have been coordinating IAD for the Central USA chapter since 2012 and was recently made President of ASIFA Central. My goal as coordinator for the central chapter has always been two fold, first to provide an opportunity for members of ASIFA Central to participate in celebrating the animation artform by showing their current animation. A ‘snapshot’ of the artists, vision, and the talent that makes up our region of the world. -
Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli
Hessam KHALATBARI & Yassi METGHALCHI ont le plaisir de vous convier au vernissage de l’exposition JEUDI 30 JUIN 2016 À PARTIR DE 18H00 Aydin Aghdashloo I Mehrak Davoudi I Reza Derakhshani I Kambiz Derambakhsh I Mohsen Fouladpour I Sahand Hesamiyan I Ramin Jamshidi Leyly Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli 216 rue Saint Martin 75003 Paris, France T. +33 1 42 71 87 83 - [email protected] www.galerienicolasflamel.com 2 INTRODUCTION PREFACE A JOURNEY THROUGH TIME I grew up in an Iranian household surrounded by art and literature. Our wooden library was home to a spiraling tower of hundreds of carefully- Galerie Nicolas Flamel is pleased to present TIME MACHINE, an exhibition stacked books, and our dining room walls were peppered with the works of featuring the works of fifteen Iranian artists that illuminates modern and contemporary artists Aghdashloo, Katouzian and Bijani among them. contemporary creativity. Much to my mother’s despair, and despite weekly painting and calligraphy A very symbolic theme inspired by Albert Einstein’s famous theory of relativity lessons, I was a failed artist. As Salvador Dali once said, when it comes to who predicted that “time is relative to the observer”. drawing, “there is no possibility of cheating. It is either good or bad”. And mine He showed that time travel will be possible as well as «premonition» and «deja were bad. I couldn’t draw a straight line, much less put my thoughts on paper. vu» during which an observer experiences the future before it becomes the Nevertheless, art maintained a strong presence in my life. -
Fire Without Smoke", a Work of Nader Ebrahimi
UCT JOURNAL OF SOCIAL SCIENCE AND HUMANITIES RESEARCH 2017(02) Available online at http://journals.researchub.org Study of Aydin's inferiority complex in the novel "fire without smoke", a work of Nader Ebrahimi Saeid Bozorgbigdeli, Hamid Salehi* Associate professor of Department of Persian Language and literature of Tarbiat Modares University A R T I C L E I N F O A B S T R A C T Article history: Objective: It is impossible to study Ebrahimi's works without considering to his political and social Received 28 Mar 2017 thoughts. Though, some works and story characters of the writer show the reality that some other methods Received in revised form 01 May 2017 may be used in addition to the mentioned thoughts for study of his works. Methodology: One of these Accepted 17 May 2017 methods is psychological criticism. The long story "fire without smoke" is one of his stories which may be studied and criticized psychologically. This research is going to study first three volumes of this story Keywords: consisting life period of "Aydin" character and the events which is caused by him. Aydin suffers from a Nader Ebrahimi, kind of inferiority complex because of brusque and contemptuous behavior of Galanoja, mythical hero of Psychological criticism, Turkmans. Results: Psychologists believe that children who suffer from a physical sickness and their Humiliation, parents compare them with their successful same age children; they will suffer from inferiority complex Inferiority complex. directly. In view of psychologists, the person with inferiority complex may confront with his/her competitor by the ways other than direct encounter, such as refuge to religion, art and respectable affairs of people. -
Art Dubai 2018 Press Release
! ! Mossavar-Nameh A Dastan Project Art Dubai 2018 Booth C2 Curatorial Team: Hormoz Hematian, Aria Kasaei, Ashkan Zahraei Concept: Hormoz Hematian Booth Design: StudioKargah — Aria Kasaei Structure Design and Production: Mohammad Hossein Gholamzadeh Executive Consultant: Marco Djermaghian Associate Curator and Coordinator: Roxana Afkhami More Information: https://dastan.gallery/exhibitions/121/ High-Resolution Images: https://www.dropbox.com/sh/1srlorm97mydats/AADYDYRZAtS4DPpfcFxDLQQRa?dl=0 Vector Files of Dastan Logos: https://www.dropbox.com/sh/2mk4xh067laiiup/AABya00gWK-qG2UoiwssNwCDa?dl=0 At Art Dubai 2018, Dastan presents its most recent incarnation of Mossavar-Nameh (lit. ‘Book of Illustration’) at Booth C2. Works by twentieth- and twenty-first-century Iranian masters Ardeshir Mohassess, Fereydoun Ave, Ali Akbar Sadeghi, Farshid Maleki, Farah Ossouli, and Nicky Nodjoumi are presented along with pieces by more contemporary Iranian artists, including Pouya Afshar, Shahriar Ahmadi, Mohsen Ahmadvand, Mohammad Hossein Gholamzadeh, Mélodie Hojabr, Amin Montazeri, Peybak, Kour Pour, and Iman Raad, and complemented by a number of paintings from nineteenth-century Iran. The current presentation of Mossavar-Nameh, which literally translates to ‘Book of Images’, has been inspired by the idea of binding the project into a book, and has been long in the making. This iteration of Mossavar-Nameh has been curated by Hormoz Hematian, Aria Kasaei, and Ashkan Zahraei. The concept was introduced by Hormoz Hematian, the structure designed and produced