مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 Investigating the Impact of Furniture Form and Arrangement on the Sense of Privacy in Cafés (A Comparative Study of Dosouli and Black Square Cafés in Mashhad) واکاوی تأثیر شکل و چیدمان مبلمان در ارتقای حس خلوت در کافی‌شاپ مقایسۀ تطبیقی کافی‌شاپ دوسولی و مربع سیاه مشهد 725114 10.30508/fhja.2025.2062917.1212 FA سیده مریم مجتبوی استادیار گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران نگار رضائی حشمت‌آبادی دانشجوی کارشناسی ارشد معماری داخلی، مؤسسه آموزش عالی فردوس، مشهد، ایران، Journal Article 2024 09 02 Problem Statement Belonging to the third place and the formation of sociable spaces in contemporary collective environments is an appropriate response to the shrinking living space of today's people. These spaces play a crucial role in strengthening social interactions and enhancing urban vitality, and their design should be tailored to meet the communication needs of individuals in society (Asgari, 1402: 135). One of the most common examples of the third place in everyday life is coffee shops; spaces where people take refuge for rest, conversation, socialization, and spending free time (Rahmani and Rafipour, 1400: 141). In recent years, the acceptance of coffee shops has increased significantly, and, as a result, their number has also grown significantly (Mojtabawi and Nahdali, 1400: 83). Given their growing role, coffee shops must be designed to foster social interaction by prioritizing features like view, furniture, capacity, location, and cozy spaces. Many coffee shops, however, fall short in implementing these principles, limiting their ability to attract and retain users, and undermining their purpose as vital social spaces. Environmental factors in coffee shops are directly related to components such as concentration, comfort, interaction, and furniture arrangement. Achieving these characteristics requires attention to the "spectrum of solitude" because solitude is one of the key elements in designing effective spaces for the presence and productivity of users. Humans sometimes need to be in a group and sometimes need solitude; therefore, "solitude" is a dynamic and variable concept that includes "individual solitude" and "collective solitude" at both ends of its spectrum (Khameneh, 2017: 33). Elements such as color, vision, lighting, and furniture are effective in creating a sense of privacy in coffee shops. Among these, furniture plays a decisive role and can create individual or collective privacy. However, in many cases, the importance of furniture design in coffee shops is not given enough attention. This is despite the fact that furniture plays a fundamental role in defining the interior space and, more than any other element, helps to instill a sense of comfort and habitability in the space (Mousavi et al., 2010: 148). Objectives: • Analyzing the components of the privacy spectrum in the interior space of two-story and black square coffee shops in Mashhad. • Examining the characteristics of the shape and arrangement of furniture in each of the case studies. • Comparative comparison of the effect of the shape and arrangement of furniture on promoting a sense of privacy in two selected coffee shops. Questions: • How and in which part of the plan does the spectrum of solitude appear in the two-story and black square coffee shops? • What are the characteristics of the shape and arrangement of furniture in each of these two coffee shops? • What are the differences and similarities in the shape and arrangement of furniture in the two case studies in terms of their impact on the sense of solitude? Research Method: This research is qualitative and was conducted with a comparative case study approach. The data collection process was carried out in three main stages: Stage one – Documentary and library collection Stage two – Field collection Stage three – Data analysis Conclusion: The results of this study, based on field analysis, direct observations, data from interviews, and thematic analysis, show that the components of the privacy spectrum in the interior of coffee shops are significantly linked to the shape and arrangement of furniture and are spatially represented through them. Focusing on two case studies of “Bisoli” and “Black Square” in Mashhad, this study examined three levels of analysis, which are explained in response to three research objectives and questions, respectively: The analysis of the components of the privacy spectrum showed that privacy is not a one-dimensional concept and can be traced in space as a spectrum from individual privacy to collective privacy. In the “Dusoli” coffee shop, individual privacy is mainly expressed in closed spaces, especially corners and nooks equipped with single and double furniture and soft lighting. Appropriate spacing and visual boundaries have enhanced the feeling of stillness and concentration. In contrast, collective privacy in the open and semi-open space has enabled the formation of limited interactions in small groups through the arrangement of four-person and group tables. In the “Black Square” coffee shop, the spatial structure is designed based on high interactivity and fluidity in functional boundaries. In this space, collective privacy has a more prominent place, and a kind of collaborative privacy is defined through group furniture with curved and modular forms, combined with warm materials and natural light. Individual privacy is only discernible in some marginal points of the plan – such as the two-person tables by the window – and not as a dominant structure. A careful analysis of the shape and arrangement of the furniture in both examples (according to the analytical tables) showed that in “Dusoli”, conventional, more formal, and legible forms with a regular arrangement have been used to create independent and territory-oriented spaces. The backless forms, the knotted fabrics, and the geometric structure of the arrangement have provided a hierarchical and calm spatial structure. In contrast, in “Black Square”, the free and asymmetrical forms, semicircular tables, wooden materials, and warm textures with a fluid and sometimes nonlinear arrangement have caused users to feel liberated, free to choose the space, and closer psychologically. Although this arrangement challenges the classical order, it has also created a high capacity for social interactions and the experience of collective solitude. A comparison between the two examples showed that the shape and arrangement of furniture not only determine the functional boundaries of the space, but also play a fundamental role in the users' psychological perception of privacy. In "Dusoli", the form and arrangement helped to create distinct territories and individual privacy, while in "Black Square", the spatial structure is organized to enhance collective privacy and the experience of social intimacy. بیان مسئله: در جهان معاصر، فضاهای موسوم به مکان سوم نظیر کافی‌شاپ‌ها، نقش مهمی در تأمین نیازهای روانی و اجتماعی انسان ایفا می‌کنند. افراد برای دستیابی به خلوت ذهنی، تعامل جمعی یا سکونت کوتاه‌مدت، به این فضاها روی می‌آورند. در این میان، نحوه‌ی طراحی داخلی و به‌ویژه شکل و چیدمان مبلمان، بر ادراک کاربران از خلوت اثرگذار است. اهمیت و ضرورت: خلوت، نه‌فقط به‌عنوان مؤلفه‌ای فضایی، بلکه به‌مثابه کیفیتی ادراکی، در ارتقاء تجربه‌ی حضور در مکان اهمیت دارد. توجه معمارانه به طراحی مبلمان و آرایش آن می‌تواند به خلق فضاهایی با طیف‌های متنوعی از خلوت بینجامد که نیازهای مختلف کاربران را پاسخ گوید. اهداف و سؤالات: این پژوهش با هدف (1) تحلیل طیف خلوت در فضای داخلی کافی‌شاپ‌های دوسولی و مربع سیاه مشهد، (2) بررسی ویژگی‌های شکل و چیدمان مبلمان در هر نمونه، و (3) مقایسه تطبیقی تأثیر این عوامل بر ادراک خلوت کاربران انجام شده است. روش تحقیق: رویکرد پژوهش کیفی و مبتنی بر تحلیل تماتیک است. داده‌ها از طریق مطالعات اسنادی، مشاهده‌ی میدانی، برداشت فضایی و مصاحبۀ هدفمند در دو نمونه موردی (کافی‌شاپ‌های «دوسولی» و «مربع سیاه» مشهد) گردآوری و با نرم‌افزار MAXQDA تحلیل شده‌اند. یافته‌ها و نتیجه‌گیری: نتایج نشان داد که طیف خلوت در فضاهای داخلی مورد مطالعه، متأثر از شکل و چیدمان مبلمان، به‌صورت چندلایه‌ای از خلوت فردی تا خلوت جمعی نمود یافته است. در «دوسولی»، ترکیب مبلمان رسمی با چیدمان سلسله‌مراتبی، خلوت فردی را تقویت کرده، در حالی‌که در «مربع سیاه»، چیدمان سیال و مبلمان مدولار، به خلوت جمعی اولویت داده است. این تفاوت‌ها نشان می‌دهد که طراحی آگاهانه می‌تواند نه‌تنها مرزهای فیزیکی فضا، بلکه کیفیت روانی و اجتماعی تجربه‌ی حضور را نیز سامان دهد.

https://www.fhja.ir/article_725114_7e6494905bcbb7d8a13ab72edd0a2f1f.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 Investigation of design and the role of color in vintage (kohne-nama) carpets and production of a carpet sample based on the research findings بررسی طرح و نقش رنگ در قالی کهنه نما (وینتیج) و تولید یک نمونه قالی بر اساس نتایج حاصل از پژوهش 728681 10.30508/fhja.2025.2060912.1209 FA حناسادات ساداتی کارشناس ارشد گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ، تهران، ایران بیژن اربابی استادیار گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران. Journal Article 2025 05 17 Problem statement: The Iranian handmade carpet has long been one of the most prominent cultural, artistic, and economic symbols of Iran and is recognized worldwide as a symbol of national identity. This exquisite art, with its variety of designs, meticulous weaving, and use of natural colors and intricate motifs, has a special place among the world's works of art. However, under the influence of social, economic, and cultural developments, this industry has undergone numerous changes. Antique carpets, which are designed with an aged appearance while maintaining traditional authenticity, are one type of Iranian carpet that has attracted a lot of attention in recent years. These carpets reflect the historical developments in Iranian carpet weaving and display a combination of tradition and modernity. Antique carpets are given an antique-like appearance by using techniques such as special washing or soft colors, which gives them a special charm. These features have made these carpets popular in domestic and international markets. However, the designs, motifs, and colors of these carpets have changed under the influence of various factors, including cultural changes and market needs. This research has examined these developments and their impact on shabby-style carpets and has ultimately designed and produced an innovative example of this type of carpet. Research Objective: The main objective of this research is to closely examine the designs, motifs, and colors of Iranian shabby-style carpets and analyze their evolution over time. This study seeks to identify the factors affecting these changes and their impact on the position of shabby-style carpets in domestic and international markets. In addition, another objective of this research is to design and produce a shabby-style carpet sample that, while preserving the traditional values of Iranian carpet weaving, offers innovations in design and color. This sample should meet the needs of the modern market and contemporary tastes, while being rooted in the rich traditions of Iranian carpet weaving. This research also seeks to answer the question of how to present creative designs that are appropriate to today's needs while preserving the authenticity of Iranian carpets. In this regard, an attempt has been made to combine traditional and modern elements to produce a carpet that will find a special place in global markets. Research question or hypothesis: The main question of this research is how the designs, motifs, and colors of old-fashioned carpets have changed over time, and what factors have played a role in shaping these changes. The hypothesis of this research is that old-fashioned carpets have undergone changes in design and color under the influence of cultural changes, economic developments, and changes in consumer tastes, but they have still maintained the identity and authenticity of Iranian carpets. Research Method : This research aims to investigate the historical developments of shabby carpets and produce an innovative sample, which is qualitative in nature and developmental in terms of purpose. The qualitative approach allows for a deep understanding of the cultural, artistic, and economic complexities affecting these developments, while the developmental nature of the research provides a forward-looking and practical approach by producing a practical sample of shabby carpets. This research uses a historical-analytical method that allows for the study of the evolution of shabby carpets over a specific period of time and the identification of factors affecting their transformations . The research was conducted in two main stages. The first stage included a comprehensive study of historical documents and sources surrounding shabby carpets, with the aim of understanding the course of changes and developments of these carpets in the three main areas of design, motif, and color over time. In addition to identifying evolutionary patterns, this stage also explored the why and how of the emergence of old-looking carpets. The second stage, relying on the findings from historical analyses and a complete understanding of the evolution of this type of carpet, within the framework of the research objectives, designed and produced a sample of an old-looking carpet that would meet contemporary needs while maintaining traditional authenticity . The statistical population of this study consists of old-looking Iranian carpets produced from the late Qajar period to the contemporary period, which are kept in specialized museums, reputable private collections, and archives of carpet weaving research centers. From this population, 28 carpet samples from the four main regions of Sarogh, Saraband, Varamin, and Kerman were selected using a purposive sampling method. Selection criteria included historical age (at least 50 years or with artificially aged features), diversity in motifs and dyeing techniques, quality of preservation and ability to be analyzed accurately, and accessibility for study and documentation . Conclusion This study showed that Iranian antique carpets have undergone fundamental changes over time under the influence of a complex interaction of cultural, economic, and technical factors. From a cultural perspective, the tendency of modern societies towards simplicity and the acceptance of the concept of "beauty in imperfection" has caused consumers to change their taste from traditional intricate patterns to softer, antique-like designs. At the same time, economic factors such as increasing demand in international markets, shortage of sources of truly antique carpets, and growth in exports have driven Iranian manufacturers towards the production of antique carpets. At the same time, technological and industrial advances have enabled the development of chemical and physical techniques to create an aged appearance and have made it possible to combine traditional methods with modern technologies. The initial hypothesis of the research, that the identity and authenticity of the Iranian carpet will be preserved despite these developments, was confirmed by the continued use of traditional motifs such as bateh-jaqeh and Islamic flowers and the preservation of hand-woven techniques. The carpet sample designed and produced in this study is evidence of the successful combination of tradition and innovation and shows that it is possible to produce a product that meets the needs of contemporary decoration and is competitive in global markets by preserving traditional visual elements. In addition to its cultural and economic dimensions, this approach is also significant from the perspective of environmental sustainability, because the production of antique-looking carpets with a recycling approach is a positive step towards reducing waste and preserving the environment. Ultimately, this research proved that the ancient art of Iranian carpet weaving, with its adaptability, can still play a role in the global arena and provide a way for the continuation of Iran's rich cultural heritage in the modern world. It is suggested that future research focus on the comparative study of these products with similar examples from other countries and the impact of digital technologies on their design and production. بیان مسئله: قالی دستباف ایرانی از دیرباز یکی از برجسته‌ترین نمادهای فرهنگی، هنری و اقتصادی ایران بوده و در سطح جهانی به‌عنوان نمادی از هویت ملی شناخته‌شده است. قالی‌های کهنه‌نما، که با ظاهری کهنه‌شده و درعین‌حال حفظ اصالت سنتی طراحی می‌شوند، یکی از انواع قالی‌های ایرانی هستند که در سال‌های اخیر توجه زیادی را به خود جلب کرده‌اند و ترکیبی از سنت و نوگرایی را به نمایش می‌گذارند. این پژوهش به بررسی این تحولات و تأثیر آن‌ها بر قالی‌های کهنه‌نما پرداخته و درنهایت به طراحی و تولید نمونه‌ای نوآورانه از این نوع قالی اقدام کرده است. هدف پژوهش: هدف اصلی این تحقیق، بررسی دقیق طرح‌ها، نقش‌مایه‌ها و رنگ‌های قالی‌های کهنه‌نمای ایرانی و تحلیل سیر تحولات آن‌ها درگذر زمان است. این مطالعه به دنبال شناسایی عوامل مؤثر بر این تغییرات و تأثیر آن‌ها بر جایگاه قالی کهنه‌نما در بازارهای داخلی و بین‌المللی است. علاوه بر این، هدف دیگر این پژوهش، طراحی و تولید یک نمونه قالی کهنه‌نما است که ضمن حفظ ارزش‌های سنتی قالی‌بافی ایرانی، نوآوری‌هایی در طرح و رنگ ارائه دهد. این نمونه باید پاسخگوی نیازهای بازار مدرن و سلیقه‌های معاصر باشد، درحالی‌که ریشه در سنت‌های غنی قالی‌بافی ایرانی داشته باشد. سؤال تحقیق: سؤال اصلی این پژوهش این است که چگونه طرح‌ها، نقش‌مایه‌ها و رنگ‌های قالی‌های کهنه‌نما درگذر زمان تغییریافته‌اند و چه عواملی در شکل‌گیری این تحولات نقش داشته‌اند. روش تحقیق: روش تحقیق این پژوهش کیفی و از نوع تاریخی است. داده‌ها از طریق مطالعات کتابخانه‌ای و اسنادی گردآوری‌ شده‌اند. منابع تاریخی مرتبط با قالی‌بافی ایرانی، به‌ویژه قالی‌های کهنه‌نما، بررسی‌شده‌اند تا سیر تحولات در طرح، نقش‌مایه و رنگ استخراج شود. این منابع شامل کتاب‌ها، مقالات علمی و اسناد تاریخی است. همچنین، مصاحبه‌هایی با بافندگان و کارشناسان قالی‌بافی انجام شده تا دیدگاه‌های تخصصی در این حوزه تکمیل شود. در مرحله اول، داده‌های جمع‌آوری‌شده تحلیل‌شده و الگوهای تغییر در قالی‌های کهنه‌نما شناسایی ‌شده‌اند. سپس، با استفاده از یافته‌های این تحلیل، یک نمونه قالی کهنه‌نما طراحی و تولید شده است. این نمونه با هدف تلفیق عناصر سنتی و نوآورانه طراحی شده تا ضمن حفظ اصالت، پاسخگوی نیازهای بازار مدرن باشد. نتیجه‌گیری: نتایج این پژوهش نشان می‌دهد که قالی‌های کهنه‌نما توانسته‌اند با حفظ اصالت قالی ایرانی، خود را با نیازهای بازار مدرن هماهنگ کنند. این قالی‌ها با تلفیق سنت و نوآوری، جایگاه خود را در بازارهای داخلی و بین‌المللی حفظ کرده‌اند. نمونه قالی تولیدشده در این پژوهش، گامی در جهت ایجاد سبکی جدید و هماهنگ با روندهای جهانی است. این نمونه نشان‌دهنده آن است که قالی ایرانی، باوجود گرایش به ساده گرایی، همچنان جایگاه ویژه‌ای در هنر جهانی دارد. برای ارتقای جایگاه قالی‌های کهنه‌نما، تحقیقات بیشتر درزمینهٔ تلفیق تکنیک‌های سنتی و مدرن و حمایت از بافندگان و طراحان پیشنهاد می‌شود.

https://www.fhja.ir/article_728681_c4b2637674a23d1f17756b242c3ade58.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 The effectiveness of teaching the seventh grade culture and art lesson using the content of the seventh grade Persian textbook اثربخشی روش تدریس درس فرهنگ و هنر پایه هفتم با بهره گیری از محتوای کتاب فارسی پایه هفتم 728682 10.30508/fhja.2025.2061669.1210 FA جواد نکونام استادیار دانشگاه فرهنگیان خراسان رضوی سارا گلی اترآباد دبیر آموزش و پرورش 0009-0002-1813-8756 Journal Article 2025 05 28 Problem statement Education experts highlight that learning happens efficiently when paired with hands-on experience. Given that art education is fundamentally rooted in practice, engaging in tasks offers the prime chance for more profound understanding (Mandika, 2006). In educational approaches, one highly effective technique to stimulate learners' engagement is turning concepts into hands-on activities and employing practical teaching. However, art education, in schools and learning institutions nowadays, is often undervalued, and within curriculum design, art lacks the recognition and importance it merits. In reality, art education is frequently viewed as a part of the curriculum—often leading school leaders to divert its scarce teaching time to address students’ deficiencies in "core" subjects, like mathematics, science, or literature. Hence, discovering methods to teach art and highlight its significance is crucial. A suitable instructional approach serves as a foundation for improving the quality of education. Numerous psychologists and educational experts argue that learning settings must be structured to allow each learner to participate based on their capacities. Although the educational material is accessible to everyone equally, it is the approach to teaching that truly matters. The success of a teacher is largely influenced by the choice of teaching strategies—strategies that engage the learner’s intellect, create conducive learning environments, and enhance reasoning abilities and cognitive skills (Rahimimand & Abbaspour, 2016). Considering that the importance and essential role of art education surpass the syllabus and embody a fundamental educational principle, throughout the whole education system, tackling this matter necessitates utilizing the strengths of all academic fields—especially the humanities, social sciences, and Persian language and literature. Thus, this research is both relevant and crucial at this time. A practical method involves combining disciplines, like Persian Literature and Art, so that besides strengthening the significance of art education, learners also gain insight into the uses of the ideas they study. This unified approach inherently generates challenges, encourages creativity, nurtures artistic sensitivity, and ultimately improves students’ educational success. Culture and Art constitutes a subject in the initial phase of secondary education, and exploring its thematic links with the Persian Literature textbook can enhance the educational experience while also uncovering points of convergence and beneficial interplay, between the two texts. Research Objective: This research aims to employ the conceptual elements found in the 7th-grade Persian Literature textbook to enhance the teaching of content in the 7th-grade Culture and Art textbook. Research Question: This research explores the impact of utilizing material from the Persian Literature textbook on improving the design and teaching of the 7th-grade Culture and Art class. Research Method The approach used in this research is descriptive, analytical, and comparative. Data collection was conducted via library investigation, documentary materials, and field studies. The data underwent analysis. For the study, one edition of the 7th-grade Culture and Art textbook and one edition of the 7th-grade Persian Literature textbook, both issued in 2024 by the Ministry of Education, were chosen. Initially, the tables of contents of both textbooks were reviewed. Then, similar subjects appropriate for merging were pinpointed. These subjects were evaluated, comparing their illustrative material. Drawing from the results and the studys narrow focus, a single sample micro-lesson plan on Culture and Art was created utilizing content from the Persian Literature textbook. During the phase—the field study segment—students’ utilization of acquired artistic techniques (art practice) was evaluated through the "Open Lesson" part of the Persian Literature textbook. To achieve this, 18 female 7th-grade pupils from Hazrat-e Masoumeh School (Quchan) were chosen. They were instructed, during the Culture and Art class period, to produce an illustration on the page of the "Open Lesson” in the literature textbook. Several of these creations were selected and examined. The number of participants (18 students) and the qualitative examination of their artworks were determined by the concept of saturation. Once theoretical saturation is achieved, further data—be it images, interviews, or fresh observations—produce recurring concepts and fail to add insights. Hence, the investigators restricted the sample size to this figure, which seems to ensure validity. Conclusion: For a time, psychologists and education specialists have aimed to comprehend the process of learning and ways to hasten and enhance it. With numerous investigations, the range of influencing elements has led to differing conclusions about the success of various teaching approaches. Consequently, teachers typically do not concur on a teaching technique as being the best across all contexts. This study utilized a method for textbook utilization to improve the efficiency of art education. Drawing on the material from the two textbooks, a single sample micro-lesson plan was created for one teaching session. The grade Culture and Art and Persian Literature textbooks were found to possess significant potential for conceptual and visual integration. The research examined this combined approach from two angles. Initially, the theoretical material of the literature textbook served as a foundation for creating a plan. The results reveal that this approach works better for teaching material than for crafting student tasks. Subsequently, the visual aspects of the literature textbook were utilized to develop hands-on and creative activities in the Culture and Art course throughout the chapters. In the end, a micro-lesson plan was formulated consistent with the study’s conclusions and framework. Findings indicate that using these two textbooks together does not—as might be expected—confine teaching innovation or constrain assignment structuring. Instead, the difficulties arising from their combination foster overlap and offer a rich environment for nurturing students' creativity and artistic skills. For the hands-on segment, eighteen 7th-grade students from Hazrat-e Masoumeh School in Quchan engaged their literary knowledge by executing a creative task during the "Open Lesson" of the Persian Literature textbook. The results proved to be remarkably beneficial. Overall, the findings demonstrate that this teaching approach not only ensures effective progression through instructional stages but also positively contributes to students’ self-confidence and awareness of their artistic capabilities. چکیده بیان مسئله: تاکنون پژوهش‌های زیادی در راستای آموزش دروس مختلف دوره ابتدایی و متوسطه با بهره‌گیری از مفاهیم و رسانه‌های هنری تحت عنوان "کاربرد هنر در آموزش" صورت گرفته است، اما عکس این تحقیقات کمتر موردتوجه بوده است. جستار حاضر با فرض کاربرد مؤثر سایر دروس در آموزش هنر شکل گرفته است. هدف: پژوهش حاضر به دنبال آن است از محتوای تصویری و مفهومی کتاب فارسی پایه هفتم، جهت ارائه مطالب کتاب فرهنگ و هنر ‌در همین پایه استفاده کند. سوال پژوهش: جستار حاضر پاسخ می‌دهد که بهره‌مندی از محتوای کتاب فارسی، جهت طراحی آموزشی و تدریس درس فرهنگ و هنر پایه هفتم، چه میزان اثربخش است؟ روش تحقیق: پژوهش به روش توصیفی تحلیلی و تطبیقی انجام شده است. جهت گردآوری اطلاعات از منابع کتابخانه‌ای و میدانی استفاده‌شده است. داده‌ها به روش کیفی تجزیه‌وتحلیل‌شده‌اند. ابتدا محتوای فصول کتاب درسی فرهنگ و هنر و کتاب فارسی پایه هفتم باهم تطبیق داده‌شده و بر اساس داده‌های حاصل‌شده و دامنه محدود پژوهش، یک نمونه طراحی آموزشی خرد ارائه می‌شود. در بخش میدانی با بهره‌گیری از درس آزاد کتاب فارسی، به کار بستن مهارت‌های آموخته‌شده هنری دانش‌آموزان مورد آزمون عملی قرار می‌گیرد؛ به همین منظور تعداد هجده نفر از دانش‌آموزان دختر پایه هفتم مدرسه حضرت معصومه (س) قوچان انتخاب و از آنان خواسته شد در ساعت فرهنگ و هنر، به‌عنوان تمرین کاربردی هنر، به خوشنویسی و طراحی در صفحه درس آزاد کتاب فارسی بپردازند. نتایج تحقیق: یافته‌های پژوهش نشان می‌دهد که تلفیق محتوای دو کتاب فارسی و هنر برخلاف باور ابتدایی نه‌تنها موجب محدودیت در فرآیند تدریس نیست بلکه با چالشی که می‌آفریند باعث نوآوری و تنوع در طراحی آموزشی و تسهیل فرآیند یاددهی-یادگیری می‌شود.

https://www.fhja.ir/article_728682_12924f987b0774f16edc6c5021293673.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 An analysis of the elements of decoupage, camera, space, and scene in Terrence Malick's late cinema from the perspective of stream of consciousness. واکاوی عناصر دکوپاژ،دوربین،فضا و صحنه سینمای متاخر ترنس مالیک از منظر جریان سیال ذهن 729800 10.30508/fhja.2025.2057191.1207 FA علیرضا صبوری هنرهای نمایشی،موسسه اموزشی کمال الملک،نوشهر.ایران پیام زین العابدینی استادیار دانشگاه تهران،دپارتمان هنرهای نمایشی و موسیقی،پردیس هنرهای زیبا،دانشگاه تهران،تهران،(نویسنده مسئول) 0000-0002-1701-3225 Journal Article 2025 04 06 Problem statement Terrence Malick is recognised as a filmmaker who draws both fans and strong detractors. His films frequently receive polarised reactions from critics as well as audiences. Malick’s creations are unique and unparalleled in areas such as narrative, character growth and artistic features, including camera movement, framing, sound and music. The cosmos shown in his films is mutable and dreamlike—a fantasy, to a dreamlike wakefulness placed within a real setting where the boundaries of time and space grow vague or ambiguous (Taheri & Karimi 2022: 7–8). From the moment he introduced his film *Badlands* (1973) in the 1970s Malick has refrained from granting interviews and steered clear of marketing his films. He bans any photographs taken of him on set or elsewhere. Provides no explanations—neither in writing nor verbally—regarding his works. Except for a conversation at the Rome Film Festival in 2007, he has stayed completely silent about his movies and the film industry, in general. "The Tree of Life" (2011) is frequently seen as his masterpiece—a film examining attempts to cherish life while facing the inevitable realities of illness and death. This movie has received honours, such as the Palme d’Or. His sixth film, "To the Wonder" (2013) provoked reactions; many critics and writers mocked it. Malick’s next pair of films each released in 2016 included "Knight of Cups" which was shot in Los Angeles and "Song, to Song" filmed in Texas (Khosravi Dehkordi, 2017: 7–10). Many reviewers regard Malick’s directing as poetic, transcendent, centred on nature and profoundly philosophical. It strives to uncover meaning by emphasising the journeys of characters and their relationships, to themselves, society and the natural world, aiming to depict the bewilderment of modern individuals. In creating a film with a stylistic method, certain structural and stylistic frameworks are commonly employed. Scholars and critics identify these elements to infer the concepts behind a film’s world—whether classical modern, postmodern or genre-oriented. However, what challenges emerge if we try to make a film employing a stream-of-consciousness narrative technique or adapt works that use this approach? How can we merge the characteristics of this mode with cinema's possibilities to create a cohesive work? Furthermore, how can we modify elements as needed to achieve this goal? To respond to these questions, this research examines Malick’s films. Identifies the solutions he provides. It is crucial to note that the features of this approach have been gradually refined by scholars and investigators, and this article relies on the combined findings of those studies. The research also explores the question: Which cinematic structural elements are closely linked to the stream of consciousness? Research Objective This study intends to examine the elements of découpage, camera, space and mise-en-scène in Terrence Malick’s movies using the perspective of the stream-of-consciousness approach. Research Questions What official film techniques might be applied to create a feature movie using the stream-of-consciousness approach? Which découpage approach is most suitable for depicting the flow of consciousness? What techniques does Malick employ? Which elements—like editing, cinematography and production design—does Terrence Malick utilise in the making of his movies? Research Method: This study is applied with purpose, qualitative by design and conducted as a case study employing methods. Data was collected from library sources such as books, theses, journals and audiovisual records. The case study includes three films directed by Terrence Malick: "The Tree of Life" "To the Wonder" and "Knight of Cups". Conclusion: To summarise, the research questions of the study are addressed by the points: 1. Each official cinematic element can be modified to suit the stream-of-consciousness style. 2. A segmentation founded on discontinuity characterised by fragmentation—a commonality of contemporary cinema and stream-of-consciousness techniques—is advisable. This entails avoiding the use of establishing shots. 3. Key traits of editing are utilised: – Avoidance of cutting despite camera movement – Increased cutting speed – Introduction of unfamiliar or disorienting shots – Use of intellectual/associative montage 4. Avoid employing shots, simple viewpoints and direct camera positioning. Malick frequently uses Steadicam to start camera movement "before" the character enters the frame. 5. Cinematic elements initially serve to create meaning and develop ideas, and later transform into representations of characters. Based on the examination of Malick’s movies, it becomes clear that each element of cinema can be employed to craft a continuous space as formal cinematic components are inherently flexible and not fixed or limited, but rather malleable and able to transform. For example, narration—, as a method of storytelling—may be delivered through monologue or implemented with other techniques. However, camera movement must be modified to depict the flow of consciousness in a way that allows for the rebuilding and depiction of this phenomenon. Regarding production design aspects, they become important in the story when they evoke memories or represent a character from the perspective of the characters. For instance in "The Tree of Life" the mother is associated with the tree symbol through her son Jack’s remembrance. Therefore, all elements can be employed when creating a stream-of-consciousness film, provided they are modified to reflect the core of the technique. This method naturally aligns with features of art—particularly fragmentation. Malick illustrates these characteristics through linear editing, which is closely connected to essential principles of modern découpage such as rejecting continuity, in actor movements, shot arrangement, framing and unconventional camera movements. Finally, based on the study’s results concerning the capacities of Jungian psychology—particularly the collective unconscious—and its relevance to characterisation in stream-of-consciousness cinema, further research is recommended on the concept of the “inner hero” and its relation to character construction in such narratives. Domestic scholarly sources on this topic are limited and primarily address thematic analyses of Malick’s works. چکیده بیان مسئله: زمانی که سبک جریان سیال ذهن از روانشناسی وارد ادبیات ‌شد و اصولی برای آن شکل‌‌ ‌‌‌‌‌‌گرفت تا پدیدار‌ شدن آن در آثار سینمایی مدت زمان زیادی طول نکشید؛ اما مسئله مهم این هست که این اصول چگونه با عناصر سینمایی ترکیب‌ می‌شوند و به‌طور خاص در این پژوهش، ترنس مالیک چگونه از آن‌ها استفاده ‌می‌کند؟ هدف: هدف از پژوهش حاضر واکاوی عناصر دکوپاژ، دوربین، فضا و صحنه سینمای متأخر ترنس مالیک از منظر جریان سیال ذهن می‌باشد. سوال: برای ساخت یک فیلم سینمایی با استفاده از تکنیک جریان سیال ذهن از چه عناصر فرمالی می‌توان بهره برد؟ کدام شیوه دکوپاژی برای به تصویر درآوردن جریان سیال ذهن مناسب‌تر است و مالیک چه راهکارهای جدیدی ارائه می‌کند؟ ترنس مالیک از کدام عناصر فرمال ازجمله تکنیک‌های تدوین، فیلم‌برداری و طراحی صحنه برای ساخت اثر خود استفاده می‌کند؟ روش تحقیق: نوع تحقیق ازنظر هدف، کاربردی و ازنظر روش کیفی و توصیفی است. این پژوهش بر اساس گرد‌اوری اطلاعات از اسناد کتابخانه‌ای و آرشیوهای صوتی تصویری انجام شده است. موردهای مطالعاتی این پژوهش سه فیلم از سینمای از آثار ترنس مالیک با عنوان‌های «درخت زندگی»، « به‌سوی شگفتی» و «شوالیه جام‌ها» است. نتیجه‌گیری: نتیجه حاصله نشان از آن دارد از تمامی عناصر سینمایی می‌توان برای ساخت یک فضای سیال بهره جست و عناصر فرمال سینما نه‌تنها محدود نیستند بلکه قابل‌گسترش و توسعه به شکل‌های گوناگوناند. تکنیک‌های خاصی برای هر مورد وجود دارد که مالیک به شیوخ خود از آن‌ها بهره برده است.

https://www.fhja.ir/article_729800_6f7ff17e687494bcb1729ea4b96628fc.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 Iconographic Analysis of the Miniature Painting in the Manuscript Samak-e Ayyar تحلیل آیکونو گرافیک نگارگری کتاب سمک عیار 729801 10.30508/fhja.2025.2069080.1216 FA حنا کاظمیان کارشناس ارشد پژوهش هنر از دانشگاه ازاد اسلامی 0009-0005-8321-3662 Journal Article 2025 08 31 Problem Statement The term iconography has a Greek root, eikonographia, which is formed from the combination of two words: eikon, from the Greek root meaning “image,” and graphy, from the root graphein, meaning “to carve, to draw, or to depict.” In Persian, this word has been translated as shamayel-negari (iconography). (Farhangpour, 2019, p. 76) Iconography is considered a part of art history studies, and its domain includes the study, identification of content, and description of the signs present in works of art. This art-critical approach, which has historical roots, became highly significant among art researchers in the twentieth century, and scholarly investigations concerning it began. Iconography and iconology are among the approaches in image studies whose origins go back to the Renaissance; however, as a systematic methodological approach in the field of imagery, they developed from the early twentieth century and were ultimately completed by Erwin Panofsky. Panofsky considers iconography a branch of art history that examines the theme and meaning of the artwork as opposed to its form (Panofsky, 2009). According to his approach, every artwork is studied and critiqued with respect to the historical and cultural values of the period in which it was created. The study of the history of visual perception and culture falls under the domain of iconographic methodology. In this method, after description and analysis, the interpretation of the work is conducted. Just as understanding motivations and the accurate analysis of images, stories, and allegories is essential, the necessary condition for recognizing iconographic systems involves three components: form, idea, and content (Holly, 1981, p. 205). This approach identifies and distinguishes three semantic levels—“primary,” “secondary,” and “intrinsic”—with the aim of discovering the hidden messages behind the tangible elements of the artwork and analyzing and revealing unknown aspects of beliefs, ideologies, and worldviews embedded in visual components (Abdi, 2012, p. 16). After the defeat of the Ghaznavid Empire in Dandankan, the Seljuk Turkmens entered the western regions of its territory, advanced as far as Baghdad, and, under the patronage of the caliph, rose to power. This period marks the flourishing of Iranian Islamic culture and the expansion of Persian literature and sciences. Samak-e Ayyar is one of the earliest illustrated examples of Persian storytelling which, beyond its literary importance, holds a distinguished place in Iranian miniature painting. The main story narrates the adventures of a chivalrous prince named Khorshid Shah, who becomes enamored with Mah-Pari, the daughter of the king of China, and a series of fascinating and instructive events unfolds thereafter. The illustrated version of this work was produced during the Seljuk period and is now preserved at the Bodleian Library of the University of Oxford. The subject of the present research is the miniature entitled “Samak Capturing the Daughter of Tighu and Kajān Learning the Magic from Her”, which visually represents a part of the story; in this scene, Kajān pressures Tighu’s daughter to teach him the secret of breaking a spell and dispelling enchantment. The aim of this study is the semantic analysis and symbolic interpretation of this miniature based on Erwin Panofsky’s three-stage method. In this research, using Panofsky’s iconographic approach, the selected miniature from Samak-e Ayyar is examined in three stages: 1. Pre-iconographic description, 2. Iconographic analysis, and 3. Iconographic or iconological interpretation. The first stage, pre-iconographic description, lies within the realm of the world of motifs. At this level, objects, events, and visual elements—such as lines, colors, and volumes—are visually observed and identified. This recognition is primarily based on practical experience and direct familiarity, though its accuracy is not necessarily guaranteed (Panofsky, 2018, p. 9). The goal of this stage is to determine the primary subject and describe the visual structure or pattern of the work. In the second stage, iconographic analysis, the subject of the work, the narratives, and the characters presented in it are identified and introduced. This level of analysis represents an interpretive understanding obtained through literary, religious, or oral sources, enabling the viewer to grasp the concepts and themes conveyed by the artwork (Panofsky, 2018; Panofsky, 2017 [Persian trans.]). The third stage, iconological interpretation, is devoted to uncovering the values, semantic layers, and symbolic meanings embedded in the work. At this level, beyond the surface and the narrative, the worldview, beliefs, and cultural and historical concepts underlying the visual elements are examined in order to derive a deeper meaning from the artwork. Research Objective: The objective of this study is to identify and analyze the visual patterns and symbolic meanings of the aforementioned painting using Erwin Panofsky’s three-stage methodological approach. Research Questions: · What visual patterns can be identified in the painting “Capturing Samak by Tighu’s Daughter and Kajan Receiving Magic from Her”? Research Method This study aims to examine and understand miniature painting of the Seljuk era through the visual analysis of a miniature from the manuscript of Samak-e Ayyar preserved in the Bodleian Library at Oxford University. The research is qualitative in nature and fundamental in aim. Data have been collected through the observation of artworks and images, the study of books, articles, theses, written documents, and online archival and library sources. Access to the images of the illustrated manuscript was obtained through the Bodleian Library’s digital archive. The research method is descriptive–analytical, and the analyses are carried out based on Panofsky’s iconographic approach to identify the intrinsic content and semantic layers of the miniature. Finally, the characteristics of the miniature are discussed and clarified as components of Seljuk-era miniature painting in the conclusion section. Conclusion The iconographic analysis of the miniature “Samak Capturing the Daughter of Tighu and Kajān Learning Magic from Her” demonstrates that this work, beyond representing a narrative episode, reflects a symbolic and multilayered structure of Iranian beliefs, myths, and worldview during the Seljuk period. The visual elements of this miniature—such as the king and crown, the farr-e kayani (divine royal glory), the fairy, arabesque motifs, symbolic colors, the flowering plant, and the sword—gain meaning through an organic connection with religious and mythical traditions, elevating the image from mere narration to a symbolic and ideological level. The present examination also shows that the illustration not only serves the literary narrative but also possesses epistemological and ideological functions; therefore, it may be considered a visual document that reconstructs the intellectual, religious, and social layers of sixth-century Hijri Iran. This highlights the significance of illustrated literary manuscripts alongside more well-known artifacts such as ceramics and royal miniatures. A strength of this research is its focus on a lesser-known visual text, demonstrating that iconographic analysis can be just as effective for popular or vernacular works as it is for formal, courtly ones. Thus, Samak-e Ayyar, as an example of Iran’s literary–visual tradition, opens a new perspective in interdisciplinary studies of art, mythology, and literature. The results of this study offer a model that can be applied to future research on other illustrated literary manuscripts and can contribute to completing the social and visual history of medieval Iran. بیان مسأله: نگارگری در دوره سلجوقی، علاوه بر جنبه‌های هنری، حامل مفاهیم فرهنگی و معنوی مهمی است. با این حال، نگاره «گرفتن سمک دختر تیغو و جادوی رسیدن کاجان از وی» در نسخه خطی سمک عیار، باوجود اهمیت تاریخی و هنری، از منظر آیکونوگرافیک کمتر مورد مطالعه قرار گرفته است. بررسی این نگاره می‌تواند علاوه بر درک زیبایی‌شناسی، نشان‌دهنده باورها، ارزش‌ها و جهان‌بینی ایرانیان دوره سلجوقی باشد. هدف پژوهش: هدف این پژوهش شناسایی و تحلیل الگوهای بصری و مفاهیم نمادین نگاره مذکور با استفاده از روش سه مرحله‌ای اروین پانوفسکی است. سؤالات پژوهش: الگوهای بصری موجود در نگاره «گرفتن سمک دختر تیغو و جادوی رسیدن کاجان از وی» چیست؟ روش پژوهش: داده‌ها بر اساس رویکرد کیفی و روش توصیفی–تحلیلی و با استفاده از منابع اسنادی و کتابخانه‌ای گردآوری شده‌اند. تحلیل نگاره با بهره‌گیری از روش سه مرحله‌ای اروین پانوفسکی انجام گرفته است. نتایج: یافته‌ها نشان می‌دهد که این نگاره، علاوه بر روایت داستانی، مفاهیمی چون فرّه شاهی، حمایت نیروهای ماورایی، تقابل خیر و شر و نقش جادو در جهان‌بینی ایرانیان دوره سلجوقی را بازتاب می‌دهد. بدین ترتیب، نگاره نه‌تنها از ارزش هنری و زیبایی‌شناختی برخوردار است، بلکه به‌عنوان سندی بصری برای درک لایه‌های فکری و فرهنگی سده ششم هجری ایران اهمیت ویژه‌ای دارد.

https://www.fhja.ir/article_729801_47aa011ca08458f168e93860a4d20ec3.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 21 2025 08 23 The Application of Technical–Operational Elements in the Production of Postmodern Theatre Content in Robert Wilson’s Works(A Case Study of Einstein on the Beach and Death, Destruction, and Detroit) کاربرد عوامل فنی_اجرایی در تولید محتوای تئاتر پست‌مدرن رابرت ویلسون (موردپژوهی: اجراهای «انیشتین در ساحل» و «مرگ، نابودی و دیترویت») 732112 10.30508/fhja.2025.2071209.1219 FA شاهرخ امیریان دوست پژوهشگر مطالعات هنر، دکترای پژوهش هنر، دانشگاه تهران، ایران. 0009-0008-8309-7800 مصطفی انور دانشجوی کارشناسی ارشد کارگردانی نمایش، دانشگاه هنر و معماری کمال‌الملک نوشهر، ایران. Journal Article 2025 09 08 Problem statement Robert Wilson, a prominent American director and designer, is considered one of the most influential figures in this movement. Since the 1970s, he has created works that fundamentally transformed conventional narrative structures through his unique combination of visual elements, music, lighting, and scenography. Unlike many of his contemporary directors, Wilson relies less on spoken language or complex dialogues and emphasizes visual expression, the rhythm of movements, light, and music. For this reason, many critics consider his works to be a kind of “visual theater” or “visual opera.” A distinctive feature of Wilson’s works is their extensive reliance on technical-performance elements. By employing advanced lighting techniques, creative use of color, minimalist but meaningful set design, and the integration of music and electronic sounds, he has been able to create a different experience for the audience. In fact, by transferring the semantic load from the dramatic text to the technical and visual elements, Wilson has blurred the boundary between traditional theater and multimedia experience. Such an approach allows his performances to be evaluated not only as dramatic narratives, but also as “living paintings” or “moving paintings.” Among Wilson’s works, two performances are of particular importance: the play “Einstein on the Beach” (1976) and the play “Death, Destruction and Detroit” (1987). Einstein on the Beach, the result of Wilson’s collaboration with contemporary composer Philip Glass, is considered one of the turning points of postmodern theater. By breaking with the classical structures of opera, replacing linear narrative with visual and musical structure, and utilizing rhythmic repetition of scenes, this work creates a completely new experience for the audience. In this play, Einstein is presented not as a historical figure with a specific biographical narrative, but as a symbol of science, time, and multilayered realities. Sharp white lights, symbolic images, and minimalist music all serve to create a dreamlike world and interpretive imagery. On the other hand, “Death, Destruction, and Detroit” takes a different approach, but one that is in line with the postmodern worldview. In this work, Wilson recreates a political space, but without presenting an explicit political message. Using everyday signs, symbolic scenes, and visual space-making, he somehow reflects politics on the level of signs. This play is more about politics in the conventional sense than it is an attempt to show how politics permeates the everyday lives of contemporary people. Thus, Wilson offers a new understanding of the relationship between art and politics not only through the language of the text, but also by using the language of the image and technical techniques. The necessity of studying Wilson's works and his way of using technical-performance factors lies in the fact that postmodern theater would be incomplete without understanding such experiences. If modern theater, emphasizing text and narrative, represented the world in the form of stories, postmodern theater seeks to represent the world through signs, images, and multisensory experiences. Wilson's works show a prominent example of this transition. With visual expression, he allows the audience to be not only a listener of the narrative but also a spectator, participant, and even interpreter of meaning. Research Objective This research aims to study the use of technical and performance factors, including light, color, music, and staging, in Robert Wilson's works. The main focus is on two plays, "Einstein on the Beach" and "Death, Destruction, and Detroit." Research Question The main question is how Robert Wilson used technical and performance factors to produce postmodern theater content and, through them, transformed the traditional structures of narrative and drama. Research method . This research is an applied research based on its purpose and a descriptive-analytical research based on its nature and method. The present study is an applied research of the type of case study that was conducted by analyzing the application of the semiotic technique. In this respect, this research attempts to explain the effect of visual elements on the audience through a case study of Einstein on the Shore and Death, Destruction, and Detroit by Robert Wilson. In this study, library research of relevant scientific sources and case studies of two of Wilson's executive works were used . The analysis method of the present study is qualitative-reference with a descriptive-analytical approach, and the sampling method is selective (because the type of sample size requires that the sampling be selective so that we can examine it accurately). The variable in this type of research is not defined. Conclusion Robert Wilson’s works use elements of dance, music, visual arts, and traditional theater. This alternative method of theater production changes the dynamics of the viewing experience and the way the audience perceives the world. In Wilson’s theater, the spoken word exists to work with visual aesthetics, not to dominate them. Wilson experiments with the aesthetics of the stage and the role of the written text. In postdramatic, which forces a thought process, there is a theatrical experience that reveals the issue raised by the production and the results of the connection of each element and person. The play is based on a famous beach photograph of Einstein, and in this world of images, Einstein’s life and theories are also revealed. Thanks to this, the fact that the light that would have been simply wasted reveals many truths on stage. The author suggests going to see a postdramatic work to avoid the impact of these interruptions on the audience. In this way, you will see how every known element remains unknown and how, in this unknown, it is forced into a thought process and is constantly released on stage. Finally, from the present study, we conclude that light, movement, and energy are the benefits of space that bring Wilson's theory of relativity to fruition. On the other hand, Einstein's dreamlike vision can be reflected in the images created on stage and in the light and music. Also, in the play Death, Destruction and Detroit, a political space is shown without specifying the political message, through everyday signs that show the links between the essentially unseen war in Germany and the cover of American culture. Wilson interprets politics as the postmodernists do, not as the political deeds of great men, but as part of the everyday life chain of political experience seen in the streets. چکیده بیان مسئله: تئاتر پست‌مدرن با کنار گذاشتن ساختارهای سنتی روایت و درام، بر تجربه‌های بصری، شنیداری و فضاسازی‌های نمادین تأکید دارد. در این میان، رابرت ویلسون یکی از برجسته‌ترین کارگردانان این سبک محسوب می‌شود که با بهره‌گیری از عناصر فنی و اجرایی، دگرگونی‌هایی بنیادین در فرایند تولید محتوای تئاتری ایجاد کرده است. بررسی چگونگی استفاده‌ی او از این عناصر، می‌تواند ابعاد نوینی از شیوه‌های تولید در تئاتر پست‌مدرن را آشکار سازد. هدف پژوهش: این پژوهش با هدف مطالعه‌ی کاربرد عوامل فنی و اجرایی شامل نور، رنگ، موسیقی و صحنه‌پردازی در آثار رابرت ویلسون انجام شده است. تمرکز اصلی بر دو نمایش «انیشتین در ساحل» و «مرگ، نابودی و دیترویت» قرار دارد. سؤال پژوهش: پرسش اصلی این است که رابرت ویلسون چگونه از عوامل فنی و اجرایی برای تولید محتوای تئاتر پست‌مدرن بهره گرفته و به‌واسطه‌ی آن‌ها ساختارهای سنتی روایت و درام را دگرگون ساخته است؟ روش تحقیق: روش تحقیق کیفی و با رویکرد توصیفی–تحلیلی است. داده‌ها از طریق مطالعات کتابخانه‌ای و بررسی متون تخصصی مرتبط گردآوری و تحلیل شده‌اند. نتیجه‌گیری: نتایج نشان می‌دهد ویلسون با نگاهی بصری و فراتر از بیان کلامی، مفاهیم و ایده‌های خود را از طریق نورپردازی، موسیقی، رنگ و صحنه‌پردازی بازآفرینی می‌کند. در نمایش «انیشتین در ساحل»، با شکستن ساختار دراماتیک و بازنمایی جهان تصویری، زندگی و نظریه‌های انیشتین به‌گونه‌ای نمادین روی صحنه آشکار می‌شود. در نمایش «مرگ، نابودی و دیترویت» نیز فضای سیاسی بدون پیام مستقیم و آشکار، از طریق نشانه‌های روزمره بازتاب یافته است. یافته‌ها نشان می‌دهد که ویلسون با بهره‌گیری از ابزارهای فنی، سیاست و فلسفه را در بستری دیداری و چندلایه به تصویر می‌کشد؛ امری که بیانگر جوهره‌ی پست‌مدرنیسم در آثار اوست.

https://www.fhja.ir/article_732112_cfbafef0c03b152fe881755e2058576b.pdf