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Showing 4 results for Meaning
Hassan Bolkhari Ghahi, Volume 1, Issue 2 (3-2020)
Abstract
Lev Nikolayevich Tolstoy (9 September 1828 – 20 November 1910), usually referred to in English as Leo Tolstoy, was a Russian writer who is regarded as one of the greatest authors of all time. Leo Tolstoy has been known as a novelist in the world with his very famous and important works such as war and peace and Anna Karenina, but he is a philosopher of Art too. He has broached a new theory in art in his book "What is Art?" which is called expression theory. He has been known as the first theoretician of This theory after the long-life theory in the history of art philosophy: "mimesis". He believes art is the manifestation of meaning in form, and artist presents deep and pure meaning of humanity in his works. On the other hand, Muslim Wisemans believe like Tolstoy. For example, Seyyed Haydar Amoli in Jāme al-asrār wa manba al-anwār ( the most famous of Amoli’s writings) has the same belief. This article has compares Tolstoy and Muslim Wisemans especially Seyyed Haydar Amoli in a comparative study and discussed the closer of these thoughts.
Fatemeh Delfani Baluch, Sepehr Seraji, Volume 2, Issue 2 (9-2020)
Abstract
Food is one of the elements we encounter throughout our daily lives. This important element has often been overlooked in the discussion of thinkers and philosophers due to its roots in instincts, material and physical needs. This article intends to show the semantic importance of food by examining food in painting. What is meant by the importance of food meaning in painting is whether these objects only play a role in filling the background of the image or not? are they pointless and meaningless? How can they be explored to make more sense? In this study, while paying attention to the semantic importance of food and feed in the works of painters and its relationship with the social class of the people in the picture, the paintings named the bean-eater by Annibale Carracci and tomato-eaters by Vincent van Gogh have been studied. These two works are similar in the elements of image, content or subject (eating), and the social class of the people in the painting (peasant or inferior class of society). The theoretical method of research is the method of archeology of Ervin Panofsky, that is, the description, interpretation and analysis the elements of works (here food).
Mr Behzad Asadi, Dr Mohammad Shokry, Dr Minoo Khany, Volume 5, Issue 8 (6-2025)
Abstract
This research examines the influence of Martin Heidegger’s philosophy, particularly the key concepts of “thrownness” and “being-in-the-world,” on the representation of human beings in contemporary cinema. The purpose of the study is to analyze how Alfonso Cuarón employs Heidegger’s existential theories in the film Gravity. The main research question is how this film, using advanced cinematic tools, can artistically and philosophically portray the crisis of meaning and nihilism that dominates the modern world. From a goal-oriented perspective, this study is fundamental, and in terms of methodology, it is descriptive-analytical. The required data were gathered through documentary research, and film content analysis was used as the primary research method. The results of the study indicate that Gravity not only presents an engaging narrative but implicitly illustrates Heidegger’s philosophy within the context of modern cinema. This work depicts the “thrownness” of humanity into a weightless, lifeless space, where the concept of instability and suspension in modern life becomes clearly evident. By combining advanced cinematic technologies and innovative structural techniques, Cuarón has successfully portrayed concepts such as the crisis of meaning, nihilism, and the decay of values in an artistic and philosophical manner. The analysis also shows that despite contemporary challenges, cinema can still serve as a platform for expressing profound philosophical concepts and stimulating reflections on the truth and meaning of existence. In this regard, Gravity is a work that, beyond the boundaries of entertainment, explores deep anthropological and ontological concepts, inviting the viewer on a philosophical and intellectual journey.
Yeganeh Amiri, Amir Dastmardi, Volume 5, Issue 8 (6-2025)
Abstract
This article adopts a semiotic approach to analyze one of Henri Cartier-Bresson's iconic photographs, focusing on the representation of a child within a documentary yet ideologically charged context. The theoretical framework of this study integrates Edmund Feldman’s four-step model (description, formal analysis, interpretation, and evaluation) alongside Roland Barthes’ semiotic theories—particularly the concepts of "ideological meaning" and "myth." In the first stage, the image is described based on visual elements such as composition, lighting, the positioning of the child, and the presence of posters in the background. This descriptive phase offers a neutral and technical account of the photograph's formal qualities. The second phase involves analyzing the structural relationships among these visual elements to reveal how they affect the viewer’s perception.The core of the article lies in its semiotic interpretation. Here, the child is examined not as a neutral subject, but as a cultural and social sign that conveys ideological meaning. The final phase evaluates the image based on its effectiveness in transmitting meaning and its broader socio-cultural impact. From Barthes' perspective, this photograph—despite its seemingly objective appearance—functions to reproduce and naturalize dominant ideological discourses. The child, as a visual signifier of innocence, vulnerability, or moral worthiness, is situated within a web of signs that subtly reinforce class-based, social, or cultural assumptions.
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