دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 An Examination of the Impact of Plot on the Success of Mehrjui’s Adapted Screenplays (Case Studies: Leila and Maman’s Guest) بررسی تأثیر عنصر پِی‎رنگ در موفقیت فیلم‎نامه‎های اقتباسی سینمای مهرجویی (نمونۀ موردی «لیلا» و «مهمان مامان») 7 19 729384 10.22034/rpa.2025.2071382.1189 FA لیلی خوش گفتار دانشجوی دکتری تخصصی زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه آزاد اسلامی، واحد تهران شمال، تهران، ایران. بهرام پروین گنابادی استادیار گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه آزاد اسلامی، واحد تهران شمال، تهران، ایران . هرمز رحیمیان اکی استادیار گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه آزاد اسلامی، واحد تهران شمال، تهران، ایران. Journal Article 2025 09 11 The study of plot as a central narrative mechanism has long occupied a significant place in literary and cinematic theory. In the realm of cinematic adaptation—where verbal, psychological, and culturally embedded narratives are transposed into the sensorial and temporal language of film—the role of plot becomes even more decisive. Plot functions as the underlying structure through which events are selected, shaped, and arranged in a meaningful order; consequently, it serves as the principal framework that enables an adaptation not merely to transfer content but to reconstruct the meaning of the literary work within the grammar of cinema. The present research investigates this crucial narrative element by examining two well-known Iranian film adaptations by Dariush Mehrjui, Leila (1997) and Mum’s Guest (2004), both of which are rooted in contemporary Persian literature yet reimagined through a sophisticated cinematic lens. Drawing upon Ronald B. Tobias’s widely referenced taxonomy of twenty master plots, the study focuses specifically on the archetypes of “Sacrifice” and “Wretched Excess” as the analytical foundation for investigating narrative transformation in the selected films. In Leila, adapted from Mahnaz Ansarian’s novel, the plot of “Sacrifice” forms the emotional and structural backbone of the story. Leila’s gradual psychological dissolution in the face of infertility and social pressure exemplifies a culturally nuanced interpretation of sacrifice—one that is neither heroic nor ostentatious, but rooted in silence, emotional repression, and self-effacement. In Mum’s Guest, adapted from Houshang Moradi-Kermani’s novella, the plot of “Wretched Excess” structures the narrative around the intensification of socio-economic hardship, emotional strain, and the collapse of domestic order. A seemingly simple family visit evolves into a sequence of escalating crises that combine social critique with bitter humor. This research adopts a descriptive–analytical methodology with a comparative approach. Primary data were gathered through close readings of the original literary texts and systematic viewing and analysis of the corresponding films. Secondary data were collected through library research, focusing on adaptation theory, narrative theory, and critical sources related to the works of Mehrjui. The three-act structure—setup, confrontation, and resolution—was used as a structural lens to examine how Tobias’s archetypal patterns manifest across both literary and cinematic versions. By comparing key narrative moments in each film with their literary counterparts, the study aims to identify how plot functions as both a structural guide and a meaning-producing force in adaptation. The theoretical framework integrates classic narrative theory (informed by figures such as Vladimir Propp, Tzvetan Todorov, and Gérard Genette) with contemporary adaptation studies. Tobias’s archetypal approach is particularly relevant, as it offers a cross-cultural lens for understanding narrative patterns that persist across media. Additionally, insights from Linda Hutcheon’s theory of adaptation and Roland Barthes’s structural analysis provide further grounding, enabling a nuanced examination of how literary narrative functions undergo transformation when re-encoded into filmic form. The findings reveal that Leila exemplifies a structurally coherent and psychologically resonant interpretation of the “Sacrifice” archetype. Mehrjui maintains fidelity to the core emotional trajectory of the source text, yet he reconstructs this trajectory through visual minimalism, pregnant silences, and a subdued dramatic rhythm. The plot progresses not through action but through the incremental intensification of internal conflict. Leila’s infertility operates as both a narrative catalyst and a psychological rupture; the pressure imposed by her mother-in-law becomes a symbolic mechanism that exposes tensions between modern individualism and traditional expectations. By using close-up shots, muted color palettes, and temporally stretched scenes of contemplation, Mehrjui translates the interior monologue of the novel into a visual language that amplifies the emotional weight of sacrifice. The narrative arc culminates in Leila’s self-effacing withdrawal from her marital life—a resolution that preserves the tragic dignity of her choice while emphasizing the cultural structures that shape it. In contrast, Mum’s Guest shows how the “Wretched Excess” archetype can be used to create a humorous, chaotic, and poignant narrative. The plot progresses through the cumulative intensification of everyday hardships. The arrival of unexpected guests destabilizes the household’s fragile equilibrium and triggers a chain of escalating problems, including financial limitations, social anxieties, and domestic tensions. Through cramped interior spaces, overlapping dialogue, handheld camerawork, and the portrayal of a collective struggle in a lower-middle-class neighborhood, Mehrjui creates a cinematic world in which each event propels the characters toward emotional and situational excess. Nonetheless, the film retains the signature warmth of Moradi-Kermani’s writing: humor emerges organically from hardship, and dignity is preserved even amid chaos. The resolution, marked by the mother’s collapse and subsequent recovery, reflects a bittersweet acceptance rather than a triumphant restoration of order. The plot’s return to a fragile stability mirrors the cyclical nature of hardship in everyday life. Comparative analysis indicates that Mehrjui’s adaptations do not merely replicate literary narratives but actively reinterpret them through the affordances of cinema. In both films, plot functions not simply as a sequence of events but as a cultural and psychological matrix that shapes characters, governs emotional logic, and frames moral dilemmas. The plot archetype in each film serves as a structural spine and a thematic engine: sacrifice in Leila foregrounds issues of gender, agency, and traditional authority; excess in Mum’s Guest foregrounds poverty, social solidarity, and the tension between appearance and reality. Through these archetypes, Mehrjui engages with broader questions: How does an individual negotiate identity within restrictive cultural frameworks? How does a community preserve human dignity in the face of economic precarity? The research concludes that the success of Mehrjui’s adaptations lies in his ability to preserve the narrative integrity of the literary sources while reshaping their structures to suit cinematic expression. The archetypal approach not only enhances the coherence of the film narratives but also deepens their emotional resonance. The study demonstrates that Tobias’s master plots offer a powerful tool for understanding how narrative patterns traverse media and cultures. Crucially, the findings suggest that applying a plot-archetype lens can illuminate the mechanics of narrative adaptation in Iranian cinema more broadly. As such, this research provides a methodological model for future studies of adaptation, encouraging analyses that foreground structural and cultural dimensions of narrative alongside thematic and visual considerations. The implications of this study extend beyond the two films examined. They highlight the value of integrating narratological analysis with cultural contextualization in adaptation studies. Plot archetypes, though universal in structure, gain specificity through cultural embodiment. The way Leila mobilizes sacrifice reflects Iranian social norms surrounding marriage, fertility, and female agency. The way Mum’s Guest mobilizes wretched excess reflects communal values of hospitality, collective struggle, and the symbolic weight of social appearance. In both cases, Mehrjui’s cinema demonstrates how adaptation involves negotiation between universality and locality, between narrative form and cultural meaning. The study also underscores the importance of silence, gesture, and visual metaphor in cinematic transpositions of psychologically dense literary texts. While novels articulate interiority through verbal description, films must rely on stylistic strategies—composition, rhythm, and performance—to evoke inner worlds. In Leila, the predominance of close framing, repetitive domestic rituals, and wordless contemplation creates a cinematic equivalent of psychological monologue. In Mum’s Guest, the dynamic ensemble performance, rapid editing, and spatial clutter externalize emotional overwhelm. Thus, plot in cinematic adaptation is inseparable from film style; narrative archetype shapes not only the story but also its audiovisual expression. Overall, this extended abstract demonstrates that the study of plot archetypes provides a meaningful theoretical and analytical framework for understanding how adaptations negotiate fidelity, creativity, and cultural specificity. Mehrjui’s Leila and Mum’s Guest exemplify two distinct but equally rich modalities of adaptation: one inward, psychological, and tragically restrained; the other outward, communal, and dynamically chaotic. In both cases, the films reveal how Iranian filmmakers can use archetypal plot structures to reinterpret literary works in ways that speak to contemporary social realities. Future research may extend this approach to other adaptations in Iranian cinema, thereby contributing to a more comprehensive understanding of narrative transformation in the cultural and cinematic landscape of Iran. پژوهش حاضر به بررسی نقش پِی‎رنگ به عنوان سازوکار بنیادین روایت در فرایند اقتباس سینمایی می‎پردازد؛ سازوکاری که در انتقال معنا، انسجام‎بخشی و شکل‎دهی به ساختار روایت نقشی تعیین‎کننده دارد. اهمیت پِی‎رنگ در اقتباس دوچندان است، زیرا متن ادبی هنگام ورود به عرصۀ تصویر باید در چارچوبی تازه و مطابق با قواعد بیانی سینما بازآفرینی شود. در این مقاله، دو فیلم لیلا (1375) و مهمان مامان (1382) از داریوش مهرجویی به عنوان نمونه‎های شاخص اقتباس در سینمای ایران بررسی شده‎اند. این دو اثر از دل ادبیات معاصر فارسی برآمده‎اند اما مهرجویی از خلال کهن‎الگوهای پِی‎رنگ، روایت‎هایی نو و متناسب با بیان سینمایی خلق کرده است. چارچوب نظری پژوهش مبتنی بر الگوی بیست‎گانۀ پِی‎رنگ رونالد بی.‎توبیاس و روایت‎شناسی کلاسیک (پراپ، تودوروف و ژنت) است. از میان کهن‎الگوها، دو الگوی «فداکاری» و «افراط فلاکت‎بار» به عنوان ساختارهای اصلی روایت در دو فیلم انتخاب شده‎اند. روش پژوهش توصیفی ـ تحلیلی با رویکرد تطبیقی است و داده‎ها از طریق مطالعۀ کتابخانه‎ای، بررسی دقیق دو متن ادبی و تحلیل ساختاری سه‎پرده‎ای دو فیلم گردآوری شده‎اند. یافته‎ها نشان می‎دهد که در لیلا، مهرجویی کهن‎الگوی «فداکاری» را با تمرکز بر سکوت، فروخوردگیِ عاطفی و تضاد میان فردیت مدرن و فشار سنتی بازآفرینی می‎کند. ناباروریِ لیلا محرک اصلی روایت است اما از خلال تصویرپردازی مینیمالیستی، قاب‎بندی‎های نزدیک و سکوت‎های طولانی، به محور روان‎شناختی و فرهنگی داستان بدل می‎شود. تصمیم نهاییِ لیلا برای کناره‎گیری از زندگی مشترک، اوج پِی‎رنگ فداکاری و نقطۀ تلاقی کنش شخصی با ساختارهای اجتماعی است. در مهمان مامان، مهرجویی از الگوی «افراط فلاکت‎بار» برای بازنمایی زندگی طبقۀ فرودست، فشار اقتصادی و اضطرابِ حفظ آبرو بهره می‎برد. ورود ناگهانی مهمانان به خانه، نقطۀ آغاز سلسله‎ای از بحران‎های فزاینده است که طنز تلخ، آشفتگی خانوادگی و همبستگی جمعی را در کنار هم می‎نشاند. روایت، با ریتم تند، فضای فشرده و بازی گروهی، به‎تدریج به مرز گسست می‎رسد و سپس در پایان، با نوعی آشتی تلخ–شیرین با واقعیت جمع‎بندی می‎شود. نتایج نشان می‎دهد که مهرجویی در هر دو اثر، پِی‎رنگ را فراتر از نظم‎دهی رخدادها به کار می‎گیرد؛ پِی‎رنگ در این فیلم‎ها به عنصری فرهنگی ـ روان‎شناختی تبدیل می‎شود که معنای روایت را می‎سازد و مسیر تجربۀ مخاطب را هدایت می‎کند. پژوهش حاضر ثابت می‎کند که تحلیل اقتباس بر پایۀ کهن‎الگوهای پِی‎رنگ، رویکردی کارآمد برای فهم سازوکارهای معنابخشی در سینمای اقتباسی ایران است و می‎تواند برای تحلیل آثار دیگر فیلم‎سازان ایرانی نیز به کار گرفته شود.

https://rpa.soore.ac.ir/article_729384_3c5f6f8c1a9914cb3e58ba980597ae43.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 Applying Improvisation in the Performance of Azerbaijani Ashiqs Based on Richard Schechner’s Performance Theory کاربست سنت بداهه‎سازی در اجراگری عاشیق‎های آذربایجان (مبتنی بر نظریۀ هنر اجرا از ریچارد شکنر) 21 34 729897 10.22034/rpa.2025.2069391.1182 FA هادی ولی پور قره قیه دانشجوی دکتری تخصصی رشتۀ پژوهش هنر، گروه پژوهش هنر، واحد بین المللی کیش، دانشگاه آزاد اسلامی، کیش، ایران. 0000-0001-9500-4466 محمد عارف دانشیار، انسان‎شناسی هنر، دانشکدۀ هنر، دانشگاه آزاد اسلامی، واحد تهران مرکز، تهران، ایران . 0000-0002-6804-7716 ابوالفضل داوودی رکن آبادی استاد تمام، رشتۀ طراحی پارچه، دانشکدۀ هنر و معماری، دانشگاه آزاد اسلامی، واحد یزد، یزد، ایران. 0000-0001-8279-2803 Journal Article 2025 08 19 Improvisation, as one of the most vital epistemological indicators within the realm of the arts, represents not merely a performative practice but a profound manifestation of human cognition and creativity. Beyond the realm of objective entities, improvisation is inherently tied to the subjective consciousness of the creator. It symbolizes the transformation of perception into artistic expression—a reflection of the artist’s inner process rather than an external replication of the world. Historically, improvisation has occupied a central role in numerous artistic traditions, serving as a bridge between learned structures and spontaneous creation. Within the Azerbaijani Ashiq art, this tradition emerges as both a performative methodology and a cognitive act that embodies generations of cultural wisdom, oral heritage, and performative adaptability. The tradition of Ashiq art in Azerbaijan—a synthesis of music, poetry, and performance—has long been recognized as an organic art form deeply intertwined with folkloric narrative, communal expression, and spiritual creativity. Within this tradition, improvisation acts as the axis around which the performer’s identity, emotional intelligence, and communicative competence revolve. It is both a method of creation and a philosophy of performance, reflecting the artist’s capacity to respond to the dynamics of the audience, the fluidity of emotion, and the ever-changing context of the performance event. The Ashiq does not merely reproduce learned forms; rather, he reinterprets them in real time, merging memory, intuition, and technical mastery. The present research centers on examining the phenomenon of improvisation as an ancient performative tradition specifically within Azerbaijani Ashiq practices, employing Richard Schechner’s theory of performance art as the theoretical lens. Schechner’s model identifies six learnable and trainable performer skills: restoration of behavior, transportation and transformation, training of concentration, management of physical energy, relationship to the audience, and interplay between ritual and play. This model provides a robust framework for viewing improvisation as a structured cognitive and embodied process, rather than a random or accidental act, cultivated through practice and education. The research question, therefore, seeks to explore how does the tradition of improvisation, when examined through Schechner’s performance theory, become crystallized within Ashiq art as practiced in Azerbaijani folklore. This study employs a qualitative methodology with an applied purpose, adopting a descriptive-analytical approach while drawing upon extensive library resources, including scholarly articles, ethnographic records, and academic theses. The analysis proceeds in two stages: first, it identifies the ways in which improvisation manifests and operates in Ashiq performance; second, it interprets these occurrences in light of Schechner’s theoretical framework. Through this dual approach, the research elucidates both the structural and the phenomenological dimensions of improvisation, presenting it as a performative model that integrates technical skill, spiritual awareness, and social interaction. Findings reveal that the practice of improvisation among Azerbaijani Ashiqs cannot be confined to a single artistic dimension. It rather represents a multifaceted synthesis of music, performance, dance, and literature, functioning as an adaptive mechanism that allows the artist to navigate between fixed forms and spontaneous innovation. Ashiqs begin their performances with learned repertoires derived from the Dastan (epic poetry) tradition, yet within the moment of enactment they continuously adjust the tone, rhythm, and verbal content of their performance according to the audience’s emotional response, the spatial atmosphere of the gathering, and the interpersonal energies that unfold during the event. This dynamic responsiveness constitutes the essence of improvisation—an embodiment of creativity that is both learned and lived. From Schechner’s perspective, the Ashiq’s improvisation reveals the interplay between training and transformation. The performer’s training provides a foundational grammar of behavior—mastery over narrative structures, musical modes (makams), prosody, and gestural expression. However, in real-time performance, this grounded knowledge transforms into a living and adaptive behavior, modulated by intuition and emotional resonance. The Ashiq thus becomes both a transmitter and a transformer of cultural memory, performing what Schechner terms the ‘restored behavior,’ where learned patterns are revived, reinterpreted, and reactivated in the immediate present. The research also elucidates the educational and cognitive layers underlying improvisation. Ashiqs undergo a long-term apprenticeship that involves not only musical skill but also moral, emotional, and intellectual formation. This holistic process cultivates key performative dispositions such as trust in one’s inner impulses, release from overcontrol, acceptance of uncertainty, attunement to audience feedback, and the courage to explore creative deviations. These dimensions, which correspond to psychological preparedness as much as technical readiness, align strongly with Schechner’s six performative skills—particularly those concerning spontaneity, concentration, and nonverbal communication. Improvisation here becomes a reflection of what Schechner calls a ‘double consciousness’—the ability of the performer to remain simultaneously within the flow of the act and aware of its formal control. Further findings demonstrate that improvisation in Ashiq performance operates within a context of communicative reciprocity. The Ashiq gauges the emotional temperature of the assembly (majlis), interpreting subtle nonverbal signals from listeners while adapting tone and tempo to maintain engagement. This constant feedback loop between performer and audience transforms each performance into a co-creative process. Moreover, improvisation acts as a narrative mechanism where story, melody, and gesture merge into a unified expressive act, allowing folkloric narratives to remain alive, fluid, and responsive to contemporary social experiences. The study highlights several key components that characterize Ashiqs’ improvisational technique: 1. Trust and Release: The performer cultivates a state of psychological openness, trusting instinct and allowing spontaneous expression to emerge. 2. Acceptance and Adaptation: Improvisation thrives on the ability to embrace unplanned circumstances, including audience reactions or instrumental variations. 3. Active Listening and Attention: The Ashiq listens not only to the audience but also to his own rhythmic and emotional flow, practicing deep auditory awareness. 4. Narrative Fluency: Storytelling becomes an elastic form where lyrical and musical invention interact dynamically. 5. Nonverbal Communication: Gestural nuances, body movement, and eye contact play a crucial role in synchronizing the poetic and emotional layers of performance. By aligning these components with Schechner’s theoretical skills, the study concludes that improvisation in Ashiq art should be understood as a disciplined spontaneity—not a break from structure but a sophisticated engagement with it. Improvisation functions as a meta-skill that synthesizes learned technique and creative intuition, mediating between the personal agency of the performer and the collective memory embedded in the art form. The implications of this research extend beyond the specific domain of Azerbaijani folklore. Given its composite nature, improvisation as practiced by Ashiqs can serve as a pedagogical model for performance education, encouraging adaptability, emotional intelligence, and embodied awareness in various artistic disciplines. Its potential applications encompass performance training, artistic production, and comparative cultural studies, especially in contexts where oral traditions intersect with contemporary performative practices. The study thereby contributes to understanding improvisation not as mere ornamentation or contingency but as a fundamental epistemology of art-making—one that merges intellect, emotion, and body into a unified creative experience. In conclusion, the tradition of improvisation in Azerbaijani Ashiq art, when analyzed through Schechner’s performance theory, embodies the living continuity of art as a process rather than a product. It exemplifies how performative knowledge is transmitted through experiential learning and situational responsiveness. The Ashiq becomes a living archive of social and aesthetic consciousness, transforming inherited structures into immediate acts of creation. Therefore, improvisation—blending trust, release, acceptance, attentiveness, storytelling, and nonverbal dialogue—can be conceptualized as both a model and a methodology for the education, production, and performance of the arts in broader cultural contexts. بداهه‎سازی یکی از مهم‎ترین شاخص‎های معرفت‎شناسی در هنرها، بیش از عینیات، اشاره به ذهنیات آفریننده دارد. این سنت که به جنبه‎های مختلفی اعم از توانایی و تسلط هنرمند در گرایش هنری می‎پردازد، به عنوان یکی از سنت‎های هنر عاشیقی آذربایجان محسوب می‎شود. بداهه‎سازی در اجراگری عاشیق‎های آذربایجان ترکیبی چندوجهی از هنرهای نمایش، موسیقی، رقص و ادبیات است. چگونگی به‎کارگیری بداهت در هنر عاشیقی و توسعۀ آن در دیگر هنرها مسئلۀ اصلی پژوهش حاضر است. اهمیت این موضوع ازاین‎روست که بداهت روشی در کسوت‎پوشی هنرمندان است و هرکسی بدان جایگاه نمی‎رسد. هدف این مقاله تحلیل بداهه‎سازی به عنوان سنتی قدیمی در اجراگری عاشیق‎های آذربایجان مبتنی بر نظریۀ هنر اجرا از ریچارد شکنر است. این نظریه مبتنی بر شش مهارت اکتسابی است. ازاین‎روی پرسش اصلی مقاله این است که سنت بداهه‎سازی مبتنی بر نظریۀ پرفورمنس‎آرت چگونه در هنر عاشیقی آذربایجان متبلور می‎شود؟ این پژوهش کیفی با هدف کاربردی به روش توصیفی ـ تحلیلی با بهره‎گیری از منابع کتابخانه‎ای ابتدا نحوۀ به‎کارگیری بداهه‎سازی در هنر عاشیقی را تحلیل و سپس ضمن تطبیق با مهارت‎های هنر اجرا آن را تفسیر می‎کند. یافته‎ها نشان می‎دهد عاشیق‎ها نسبت به فضای مجلس، نیاز و کشش مخاطب و الگوهای آموزش‎دیده، در قالب سوبژکتیویتۀ آنی به بداهه‎سازی می‎پردازند. نتایج بیان می‎کند که بداهه‎سازی عاشیق‎ها به جهت وجود شرایط آموزشی چندوجهی در آن با اعتماد کردن، رهایی، پذیرفتن پیشنهاد، گوش سپردن و دقت‎نظر، داستان‎گویی و برقراری ارتباط غیرکلامی آمیخته است و ازاین‎روی می‎تواند به عنوان الگویی در آموزش، تولید و اجراگری هنرها مورد استفاده قرار گیرد. بداهه‎پردازی به عنوان یکی از اساسی‎ترین شاخصه‎های معرفت‎شناختی در هنرها، بازتابی از ذهنیت خلاق و ادراک سوژۀ آفریننده است، نه صرفاً عینیت محصول نهایی. این سنت هنری که تسلط و توانایی‎های اجرایی هنرمند را در گرایش تخصصی وی آشکار می‎سازد، در بستر فرهنگ عاشیقی آذربایجان جایگاهی محوری دارد. بداهه‎سازی در اجرای عاشیق، یک ساختار واحد نیست، بلکه ترکیبی چندوجهی و ارگانیک از هنرهای نمایش، موسیقی، رقص و ادبیات (شعر) است که در لحظه خلق و اجرا می‎شود. مسئلۀ اصلی این پژوهش، چگونگی تبلور این بداهت در هنر عاشیقی و امکان توسعۀ آن به مثابه یک روش تحلیلی در دیگر گونه‎های هنری است؛ اهمیتی که از منزلت ویژۀ بداهه به عنوان پوشش اجرایی خاصی ناشی می‎شود که دستیابی به آن نیازمند تمرین عمیق است. هدف این مقاله، تحلیل پدیدۀ بداهه‎سازی به عنوان سنتی دیرینه در اجرای عاشیق‎های آذربایجان، با اتکا به نظریۀ هنر اجرا از ریچارد شکنر است. چارچوب نظری شکنر بر پایۀ شش مهارت اکتسابی هنرمند بنا شده است که شامل اعتماد کردن، رهایی، پذیرفتن پیشنهاد، گوش سپردن و دقت نظر، داستان‎گویی و برقراری ارتباط غیرکلامی می‎باشد. بر این اساس، پرسش اصلی پژوهش به شرح زیر طرح می‎گردد: سنت بداهه‎سازی در هنر عاشیقی آذربایجان چگونه بر مبنای مؤلفه‎های نظریۀ پرفورمنس‎آرت تبلور و تحقق می‎یابد؟ این پژوهش با رویکردی کیفی و با هدف کاربردی، به روش توصیفی-تحلیلی و با استفاده از منابع کتابخانه‎ای انجام شده است. فرایند تحلیل ابتدا نحوۀ به‎کارگیری بداهه‎سازی در اجراگری عاشیقی را از منظر میدانی مورد بررسی قرار داده و سپس، این یافته‎ها را به‎طور نظام‎مند با مهارت‎های شش‎گانۀ شکنر تطبیق داده و تفسیر می‎کند. یافته‎های پژوهش حاکی از آن است که عاشیق‎ها بداهه‎پردازی خود را نه در خلأ، بلکه در تعاملی پویا با متغیرهای محیطی انجام می‎دهند. این تعامل شامل توجه دقیق به فضای مجلس، سنجش نیاز و کشش مخاطب و بهره‎گیری از الگوهای آموخته‎شدۀ سنتی است که همگی در قالب نوعی سوبژکتیویتۀ آنی (لحظه‎ای) شکل می‎گیرند. نتایج به‎روشنی نشان می‎دهد که بداهه‎سازی عاشیق‎ها، به دلیل ماهیت آموزشی چندوجهی‎شان، با مجموعه‎ای از مهارت‎های روان‎شناختی و اجرایی شامل بازآفرینی رفتار، دگرگونی، تمرکز، انرژی، رابطۀ با مخاطب و تلفیق آیین و بازی آمیخته است. این ترکیب جامع، بداهه‎پردازی عاشیقی را به عنوان یک الگوی بهینه برای آموزش، تولید و اجرای هنرهای نمایشی و موسیقایی معاصر معرفی می‎کند.

https://rpa.soore.ac.ir/article_729897_858dbb8f3507f88012978f91fc80260e.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 The Place of Painting in Parajanov’s Cinema with an Emphasis on the Film “The Color of Pomegranate” جایگاه نقاشی در سینمای پاراجانف؛ با تأکید بر فیلم رنگ انار 35 49 728989 10.22034/rpa.2025.2051336.1122 FA مریم شادانلو کارشناس ارشد نقاشی، گروه نقاشی، دانشکده هنر، دانشگاه آزاد اسلامی، تهران مرکز، تهران، ایران. عبدالحسین لاله دانشیار، گروه سینما، معاونت هنری، فرهنگستان هنر جمهوری اسلامی ایران، تهران ، ایران. 0000-0001-7738-3036 Journal Article 2025 02 07 This study attempts to clarify the place of painting in Sergei Parajanov’s cinema. He is one of the influential directors in the world of cinema who, influenced by religious ideas as well as intellectual and cognitive perceptions of Armenian culture, language, and history, has created works of art in the field of cinema. One of these works is the film ‘The Color of the Pomegranate,’ which is the subject of this study. This film, like other world cinema circles, is also particularly famous in Iran. The present study has been conducted with a descriptive-analytical approach in accordance with the requirements of its subject. By referring to various domestic sources, it can be seen that unfortunately little research has been done on this subject, or it has not been addressed independently; the research that has been done has been either solely in the field of cinema art or solely in the field of Sergei Parajanov’s artistry as a painter. In this study, while introducing Parajanov’s personality in various artistic dimensions such as painting, poetry, and cinema, Armenian history, culture, and civilization have also been introduced. Although the film ‘The Color of Pomegranate’ is specifically introduced in this study, we also get to know his other artistic and cinematic works, especially from the perspective of visual values, which is the main goal of this article. By studying and considering all of Parajanov’s works, we realize a single spirit and an integrated whole, all of which show a deep meaning influenced by the aforementioned history and culture. In addition, in the process of conducting this research, by utilizing the diverse and rich sources of Armenian folk and visual culture in the film ‘The Color of Pomegranate,’ we further understand the connection between the visual values of painting and cinema in Parajanov’s works. Considering the small number of sources on the subject of the research and by carefully examining and analyzing the works of Sergei Parajanov—both his paintings and his cinematic works—results were obtained that show the importance of the connection between the art of painting and cinema even more than before. The main question of the research is, what kind of relationships exist between Parajanov’s paintings and cinematic works? In answering this question, most attention has been paid to his outstanding work, ‘The Color of Pomegranate.’ Sergei Parajanov is a film director who has a valuable class and position in the world. To accurately and correctly address his artistic personality, one must look at both his production works and his other works, such as paintings. Various studies have shown that there is a close and defined connection between his paintings and his cinematic works, which has given both of his works distinctive characteristics and status. It should be noted that without paying attention to one of the two aspects mentioned, it may not be possible to achieve a correct and acceptable analysis. Therefore, in the present research, an attempt has been made to examine all the fields and areas related to this issue. In addition to the considerations and studies of all of his visual, literary, and written works, the views and published writings of others in this regard have also been addressed. In this article, we will get acquainted with all of his arts, including painting and cinema, and especially the film ‘The Color of Pomegranate.’ Sergei Parajanov, an Armenian director, holds a prominent place in the history of world cinema. His works, including ‘The Color of the Pomegranate,’ were produced with the benefit of Armenian popular and visual culture. This film was clearly influenced by the visual values of painting and its schools. This film has strong visual symbolic support. It should be noted that the art of painting and the art of cinema have much in common in various aspects of aesthetics and visual language. Certainly, addressing it will strengthen both artistic fields. In addition to cinematography, Parajanov is known for his graphic and visual works, especially visual and volumetric collages. Since childhood, he was fascinated by ethnic affiliations such as dance, music, and painting. “Sergey’s completed films, unfinished films, and even unrealized projects testify to his respect for myths, ancient traditions, legends, and his penchant for the supernatural” (Galastyan, 82: 1400). Parajanov has four feature films and nine short films in his filmography; among his documentaries, two have received the most attention; they are about two painters. The first one, made in Armenia and named ‘Hakob Honatanian,’ is about an Armenian painter living in Tbilisi in the 19th century, and the second one, made in Georgia and named ‘Arabesques of Pirosmani,’ is about a Georgian painter of Armenian descent. In his article titled “An Artist Determined to Save Beauty,” Siranush Galestian introduces Parajanov’s four feature films as follows: Shadows of Our Forgotten Ancestors (1964), Sayat-Nava or the Color of Pomegranates (1969), Suram Castle (1985), and Strange Lover (1988). The elements of aesthetics in cinema have similarities with the elements of aesthetics in painting. Alain Rabegri believes that cinematic forms and shapes can create a reality or perceive content from within it; this makes cinema an art. In this context, there are important common elements between cinema and painting that make cinema of particular importance. On the other hand, cinema is a language that is understood through signs and images, and the concept of cinema aesthetics begins from the point where the breaking of time and space is achieved through technique. By examining and analyzing mise-en-scène in the expressive meaning of the image, we finally arrive at a clear and lucid understanding of the film. Therefore, the importance of mise-en-scène is that it makes us understand the phenomena behind it through images. The research theory is related to Clive Bell’s ‘aesthetic hypothesis’ in the first chapter of his book Art, where he writes, “The common attribute of all works of art is meaningful form” (Bakhtiarian, 2014: 111). He goes on to clarify that in pure aesthetics, there is no need to “peek into the mental state of its creator” (Bakhtiarian, 2014: 113). From Bell’s perspective, meaningful form is the only characteristic feature of art that also stimulates and evokes a certain ‘aesthetic emotion’ in the audience. Clive Bell considered Cézanne’s works to be the supreme example of painting and believed that his works contained meaningful form. According to Bell, Post-Impressionist painters largely ignored realistic representation and copying in their works, and therefore, Bell had found meaningful form in their art. According to Clive Bell, the beginning of all aesthetic systems is based on a personal experience of a specific feeling, and objects that generate aesthetic feelings are considered works of art. From Bell’s perspective, although all works of art cause a specific feeling in the audience, different works of art do not create the same feeling in the audience. According to him, all aesthetic feelings are of the same type. Of course, Bell has limited this type of aesthetic feeling to works of visual arts such as painting, sculpture, architecture, and the like. According to Bell, finding the common feature of objects that generate aesthetic feelings is the main problem of aesthetics. This feature is the distinguishing feature of works of art from other non-artistic objects. Bell considers the reason for classifying works of art and distinguishing them from other classes of objects to be the existence of a special and unique attribute and characteristic that belongs to the class of works of art. He considers this unique and special attribute to be an inherent rather than a contingent attribute. According to Bell, a work of art without such a unique and special attribute is worthless and cannot be considered a work of art. Bell introduces this common attribute as ‘meaningful form,’ and he explains this meaningful form as the combination and relationships between forms, colors, and lines that stimulate the aesthetic feelings of the audience. According to Bell, who largely limits his definition of meaningful form to the visual arts, the relationships and combinations between forms in works of art (meaningful form) are the unique and common characteristic and attribute of works of art. در این پژوهش تلاش شده است تا جایگاه هنر نقاشی در سینمای سرگئی پاراجانف روشن گردد. او یکی از کارگردانان تأثیرگذار عرصه جهانی سینماست که متأثر از اندیشه‎های مذهبی و نیز دریافت‎های فکری و معرفتی از فرهنگ، زبان و تاریخ ارامنه به ساخت آثاری تألیفی در عرصه سینما دست زده است. یکی از این آثار فیلم رنگ انار است؛ که در این پژوهش مورد امعان نظر واقع شده است. این فیلم همچون دیگر محافل سینمایی جهان، در ایران نیز از شهرت ویژه‎ای برخوردار است. پژوهش پیشِ رو بنا بر اقتضائات موضوع آن، با رویکردی توصیفی ـ تحلیلی انجام شده است. با مراجعه به منابع مختلف داخلی، می‎توان دریافت متأسفانه تحقیقات کمی پیرامون این موضوع انجام شده و یا مستقلاً به آن پرداخته نشده است؛ پژوهش‎های انجام گرفته، یا صرفاً در زمینۀ هنر سینما بوده است و یا صرفاً در زمینۀ هنرمندِ نقاش ‎بودن سرگئی پاراجانف. در این پژوهش هم‎زمان با معرفی شخصیت پاراجانف در ابعاد مختلف هنری چون نقاشی، شعر و سینما، به معرفی تاریخ، فرهنگ و تمدن ارامنه نیز پرداخته شده است. اگرچه در این پژوهش فیلم رنگ انار به‎طور ویژه معرفی شده است، اما در کنار آن با دیگر آثار هنری و سینمایی وی نیز آشنا می‎شویم؛ مخصوصاً از منظر ارزش‎های بصری که هدف اصلی این مقاله است. با مطالعه و ملاحظه همه آثار پاراجانف، متوجه روح واحد و کلیت به‎هم‎بافته‎شده و یکپارچه‎ای می‎شویم که همگی معنایی عمیق و متأثر از عرصه تاریخ و فرهنگ یادشده را نشان می‎دهند. علاوه‎بر آن، در روند انجام این پژوهش، با بهره‎وری از منابع متنوع و غنی فرهنگ عامه و تصویری ارامنه در فیلم رنگ انار، به ارتباطِ ارزش‎های بصری نقاشی و سینما در آثار پاراجانف بیشتر پی می‎بریم. با توجه به تعداد کم منابع پیرامون موضوع پژوهش و با بررسی و تحلیل دقیق آثار سرگئی پاراجانف، اعم از آثار نقاشی و آثار سینمایی او، نتایجی حاصل آمد که اهمیت ارتباط هنر نقاشی و سینما را بیش‎ازپیش نشان می‎دهد. سؤال اصلی پژوهش آن است که بین آثار نقاشی و سینمایی پاراجانف چه نوع مناسباتی وجود دارد؟ در پاسخ به این پرسش، بیش از همه به اثر برجسته او، رنگ انار توجه شده است.

https://rpa.soore.ac.ir/article_728989_0e9a6ef12cbb978f67d121fe1df3ad7b.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 An Archetypal Analysis of Female Images in Elizabeth Cary’s “The Tragedy of Mariam” Based on the Theories of Lesley Ferris تحلیل و بررسی کهن‎الگویی ایماژهای زنانه در نمایشنامه تراژدی مریم اثر الیزابت کری با تکیه بر نظریات لزلی فریس 51 62 729078 10.22034/rpa.2025.2068041.1177 FA فاطمه عسکری کارشناس ارشد رشتۀ ادبیات نمایشی، دانشکدۀ هنر، دانشگاه تربیت مدرس، تهران، ایران. اسماعیل نجار دانشیار گروه ادبیات نمایشی، دانشکدۀ هنر، دانشگاه تربیت مدرس، تهران، ایران. 0000-0002-4004-0838 الیزابت ولمن استادیار گروه تئاتر، دانشکدۀ علوم انسانی، مطالعات اجتماعی و هنر، دانشگاه کارولینای شمالی ویلمینگتون، آمریکا. Journal Article 2025 08 05 Female playwrights have often attempted to reflect less-discussed social issues and the psychological complexities of women in their works, serving as a mirror to these concerns. The study and examination of women’s works reveal aspects of their personalities and lives that may have been overlooked or neglected by male critics and authors. This article aims to analyze the feminine contradictions in the first play written by an English woman, Elizabeth Cary’s The Tragedy of Mariam, highlighting the female archetypes presented in the play. Elizabeth Cary, considering the background of female images in the history of drama and the Renaissance period, created several female characters in The Tragedy of Mariam whose actions and dialogues are unprecedented in comparison to contemporary works. The study uses Leslie Ferris’s feminine archetypes to classify the female contradictions and examine the female characters in the dramatic world. Ferris identifies five female archetypes: the patient prostitute, the silenced heroine, the headstrong woman, the golden girl, and the woman playing male roles. This research finds that Cary resolves the conflicts and contradictions among these female archetypes only through death and annihilation. The play is set in the Renaissance period, when patriarchal structures became more systematic through religion. The characters of Salome and Alexandra embody the headstrong and masculine woman, while Graphina represents the patient prostitute, Doris the golden girl, and Mariam the silenced heroine and headstrong woman. Elaine Beilin, in her article “Elizabeth Cary and The Tragedy of Mariam,” suggests that Cary, influenced by her religious beliefs and studies, aims to create a Christian figure in Mariam. Mariam’s dignified death is akin to Christ’s crucifixion, sorrowful yet redemptive. Considering the time period in which Cary lived, it’s not surprising that she may have identified with male authors, scholars, and prophets, or at least subscribed to the notion of women as inherently flawed. The husband’s dominance over the woman, a concern of the author, is evident in Herod’s abandonment of his first wife and his remarriage, contrasted with Salome’s lack of right to divorce. At first glance, Salome’s character in The Tragedy of Mariam appears to be a stereotypical femme fatale, responsible for the downfall of the play’s hero, Mariam. However, upon closer examination, particularly considering the author’s personal life, it becomes clear that Salome represents a facet of the author’s own inner conflict. Salome embodies the author’s desire to challenge patriarchal dominance, as evident in her own struggles with her husband and family. The author’s daughter notes that her father was a strict patriarch, and although her mother was strong-willed, she had learned to acquiesce to his demands. The need to appease her father often took precedence, and the author’s own experiences as an intellectual woman, mother, and caregiver to eleven children led to feelings of stress, depression, and a reliance on sleep as an escape. As we know, Christianity, like Judaism and other Abrahamic religions, although promoting monogamy as the ideal family structure, citing Adam and Eve as a model, and criticizing polygamy in the Hebrew Bible, allows men to remarry if they can provide financially and justly. Similarly, the Torah and Talmud grant this right to Jewish men. In the play, there are several references to the Ten Commandments, highlighting the biblical context. The female author’s dissatisfaction with this issue is expressed through Doris’s words, where she accuses Mariam of complicity in betrayal, and Mariam defends herself by citing the law. In this context, Mariam can be seen as a figure who takes upon herself the burden of women’s sins, much like Christ, and is thus sacrificed. Cary’s struggles with her faith are well-documented, and her eventual conversion from Protestantism to Catholicism is significant. The Catholic tradition places greater emphasis on the Virgin Mary, and it’s possible that Cary sought to reclaim and reimagine the feminine divine. Mariam’s rejection of Herod’s love and her defiance in the second half of the play can be seen as a form of rebellion, a deliberate attempt by Cary to subvert the traditional portrayal of women as submissive and obedient. This reinterpretation of the female protagonist is a testament to Cary’s innovative and bold storytelling. The play portrays women as enemies of each other, reflecting the society of Cary’s time. The fluidity of the main character, Mariam, among these female archetypes highlights the complexity of female contradictions. This study introduces Elizabeth Cary and highlights the significance of her work, offering insights into the feminine perspective in drama and theater, valuable for researchers in literature, theater, women’s studies, and sociology. The Renaissance period provided an opportunity for upper-class women to pursue education and knowledge alongside men. Many institutions and families collected books and created personal libraries, allowing women to access new ideas and experiences. As a result, women began to create and write about their inner and outer worlds in various forms, such as stories, plays, and travelogues. However, for centuries, even the few women who managed to write and be active in the literary world were overshadowed by male writers and scholars. With the emergence of women’s studies, particularly from the mid-1970s, a revisionist historiography sought to rediscover and introduce these women writers, reviving their works and bringing them out of obscurity. Elizabeth Cary’s works, including The Tragedy of Mariam, were among those rediscovered and studied for the first time. This play was translated into Persian in 2020, introducing Cary to Iranian scholars and artists. Our study analyzes the female characters in Cary’s play, using Leslie Ferris’s theories to examine the conflicts and contradictions among women in the play. Before delving into the analysis, it is essential to introduce Elizabeth Cary and Leslie Ferris’s theories, providing a foundation for understanding their contributions to the dramatic discourse in Iran. The Tragedy of Mariam begins with the false news of Herod’s death, which triggers a series of illicit relationships and betrayals among those around him. Mariam, Herod’s second wife, confesses that she never loved him, despite his obsessive love for her. When Herod returns, his sister Salome, who is promiscuous and treacherous, plots against Mariam and spreads rumors about her infidelity. The play explores the complexities of female relationships and the societal expectations placed upon women during the Renaissance period. The play’s portrayal of female relationships is complex, with women often pitting themselves against each other. The character of Mariam is particularly noteworthy, as she navigates the societal expectations placed upon her and struggles to assert her agency. The play ultimately ends with Mariam’s death, which is orchestrated by Salome. The play suggests that the societal constraints placed upon women during this period lead to their downfall and that women’s agency is often suppressed. The analysis highlights the ways in which the play portrays the tensions and contradictions faced by women during the Renaissance period and how these tensions ultimately lead to tragic consequences. اغلب نمایشنامه‎نویسان زن در آثارشان سعی کرده‎اند آینه‎ای برای بازتاب مسائل کمتر پرداخته شده اجتماعی و پیچیدگی‎های روانی زنان باشند. معمولاً مطالعه و بررسی آثار زنان نشانگر زوایا و وجوهی از شخصیت و زندگی آنان است که می‎تواند از نگاه منتقدین و نویسندگان مرد مغفول مانده باشد یا آنها نسبت به این وجوه زنانه غفلت ورزیده‎ یا به آنها ناآگاه باشند. در این مقاله پژوهشگران با نمایان کردن شاخص‎های زنانه اولین نمایشنامه نوشته شده توسط یک زن انگلیسی، یعنی نمایشنامۀ تراژدی مریم اثر الیزابت کری، تلاش کرده‎اند تضادهای زنانه را در مهم‎ترین اثر این نمایشنامه‎نویس دورۀ رنسانس تحلیل کنند. الیزابت کری با توجه به پیشینه ایماژهای زنان در تاریخ نمایشنامه‎نویسی و دورۀ رنسانس به پردازش چندین شخصیت‎ زن را در نمایشنامۀ تراژدی مریم پرداخت که حجم کنش‎ها و دیالوگ‎های آنان در نسبت با آثار معاصر وی کم‎نظیر یا حتی بی‎نظیر است. برای طبقه‎بندی تضادهای زنانه‎ و اساساً بررسی شخصیت‎های زنان در جهان دراماتیک از ساختار کهن‎الگوهای زنانه لزلی فریس استفاده شده است. لزلی فریس در کتاب زنان بازیگر: تصاویر زنان در تئاتر می‎نویسد عدم حضور زنان در تئاتر، مفهوم زن را به شکل یک نشانه یا یک ابژۀ نمادین ساخت؛ ابژه‎ای که توسط نمایشنامه‎نویسان و بازیگران مذکر، هنرمندانه کنترل و دستکاری شدند. فریس پنج کهن‎الگوی زنانه را به عنوان ایماژهای تکرارشونده در جهان دراماتیک معرفی می‎کند: فاحشه صبور، قهرمان زن زبان‎بسته، زن خودسر، دختر طلایی و زنانی که نقش مردان را بازی می‎کنند. ایماژهای زنانه منشأهای مختلفی دارد که گونه‎هایی از آنها از ساختار اجتماعی نویسندگان نشئت گرفته ‎است و از دوران باستان تا به امروز همواره وجود داشته و بازتولید شده‎اند و باعث ایجاد کشمکش درون بافتار زنانه و میان آنها بوده ‎است. پژوهشگران با بررسی آثار کری دریافته‎اند او پایان این تضادها و کشمکش‎ها را درنهایت فقط در مرگ و نیستی می‎یابد. نمایشنامه تراژدی مریم در دوره رنسانس، یعنی پس از قرون‎وسطی در زمانی نوشته شده است که ساختار پدرسالار از طریق دین توانسته نظام‎مندتر شود. در این نمایشنامه ما با زن خودسر و مرد ـ مانند سالومه و الکساندرا، و فاحشه صبور گرافینا، دختر طلایی دوریس، و قهرمان زن زبان‎بسته (و همچنین زن خودسر) مریم، روبه‎رو هستیم. در این نمایشنامه، همچون جامعه کری، زنان با یکدیگر دشمن‎اند. نکتۀ مورد توجه این نمایشنامه سیالیت کاراکتر اصلی، مریم، میان کهن‎الگوهای زنانه و نمود بارز چنین تضاد زنانه‎ای است. در کنار معرفی الیزابت کری و نمایان کردن اهمیت این متن کلاسیک نمایشی، بررسی نگاه و نگرش زنانه در گذر زمان تاریخی برای پژوهشگران حوزۀ ادبیات نمایشی، تئاتر، مطالعات زنان و جامعه‎شناسی ارزشمند می‎باشد.

https://rpa.soore.ac.ir/article_729078_05749f7a6d2ac04b5fcd879b26eb8250.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 The Role of Socio-Cultural Conditions in Writing Short Screenplays in 2010s Iran بررسی نقش شرایط فرهنگی- اجتماعی بر نگارش فیلم‎نامه‎های کوتاه دهۀ 90 در ایران 63 74 730650 10.22034/rpa.2025.2068296.1179 FA محمدرضا شهبانی نوری کارشناس ارشد رشتۀ نویسندگی رادیو، دانشکده تولید رادیو و تلویزیون، دانشگاه صدا و سیما، تهران، ایران. 0009-0007-8324-1115 Journal Article 2025 08 09 This study aims to explore how the socio‑cultural conditions of the 2010s—the 1390s in the Iranian calendar—shaped the thematic, narrative, and symbolic structures of contemporary Iranian short screenplays. The research is founded on the assumption that the short screenplay, as an autonomous yet understudied narrative form, reflects the hidden layers of cultural experience and the creative consciousness of a new generation of Iranian filmmakers. Rather than merely recording reality, these short scripts function as interpretive constructs through which social anxieties, generational disillusionment, and transformations in everyday life are encoded into symbolic cinematic language. The significance of the study stems from the short screenplay’s position as both a cultural product and a vehicle of critical expression. During the 2010s, Iranian society witnessed a period of intensified economic strain, digital expansion, and ideological fragmentation following the political unrest of the previous decade. These rapid changes fostered new sensibilities among young artists who grappled with constraints of censorship, unemployment, and shifting values. In this context, the short screenplay evolved into a hybrid arena where aesthetic experimentation collided with socio‑political awareness. Its concise form, reliance on visual signifiers, and openness to metaphor made it an ideal site to capture the tensions between hope and despair, conformity and dissent, silence and expression. While much scholarship on Iranian cinema has concentrated on feature films or auteur figures, the short screenplay offers distinct insights into the micro‑politics of culture. Its production is typically independent, low‑budget, and festival‑oriented; yet precisely such marginality enables writers to articulate new voices outside institutional structures. These works reveal how a generation trained in digital literacy and social media platforms reimagines storytelling through condensed and elliptical narratives. They translate collective unease into brief but resonant vignettes that mirror the fragmentation of social space and the dispersal of meaning in urban life. The short screenplay, therefore, becomes a unique archive of contemporary cultural imagination. Methodologically, the research follows a qualitative content analysis approach within an interpretive constructivist paradigm. A purposive sample of five notable short fiction screenplays from the 2010s—Hayvan (The Animal), Sorahi (The Ewer), Ghomarbaz (The Gambler), Retouch, and Korsoo—was selected. These works were chosen based on their festival recognition, critical reception, and thematic diversity, representing varied artistic reactions to similar socio‑cultural contexts. Data gathering relied on documentary and library‑based sources, complemented by textual analysis. The collected data were coded and classified into analytical tables focusing on narrative structure, characterization, symbolism, and ideological subtext. The theoretical framework integrates three complementary perspectives: 1- Saussure’s structuralism, emphasizing the relational nature of signifiers and the system of meaning; 2- Bourdieu’s post‑structural sociology, particularly his notions of field and cultural capital; and 3- Marcuse’s theory of critical individualism, which positions imagination as a force of resistance against one‑dimensional rationality. This interdisciplinary model enables the study to read short screenplays not as isolated artistic artifacts but as nodes within a network of cultural production and negotiation. The findings highlight recurring thematic patterns: family disintegration, migration, moral decay, routine monotony, and identity crisis. However, it is not only the content but also the form that embodies these conditions. Narrative brevity, fragmented chronology, detached tone, and open endings represent a symbolic mode through which uncertainty and constraint are dramatized. Characters are often trapped between external authority and internal paralysis, revealing a consciousness shaped by conflicting values. Everyday objects—a pair of glasses, an animal mask, an empty room, or a wilting plant—function as visual motifs through which authors communicate silence, loss, and aspiration. The “economy of metaphor” that governs such scripts allows meaning to circulate through gestures, colors, and pauses rather than dialogue, producing an aesthetics of suggestion and ambiguity. The research also demonstrates that these screenwriters employ indirect discourse and elliptical storytelling as strategies of survival under institutional surveillance. Their use of minimal dialogue, spatial limitation, and symbolic framing transforms restriction into creativity. The visual landscapes—urban apartments, small shops, rooftops, border zones—echo the characters’ psychological confinement and the fragmented geography of modern Iran. In line with Bourdieu’s field theory, the short screenplay exists in a semi‑autonomous space between state‑regulated production and global festival circulation, reflecting both dependency and subversion. The act of writing itself becomes a negotiation of power where young authors struggle to maintain authenticity while achieving visibility. From the lens of critical individualism, the study interprets these works as expressions of both alienation and agency. Although despair, fatigue, and resignation permeate their atmosphere, moments of ethical choice or aesthetic clarity mark possibilities of emancipation. For instance, the portrayal of a quiet moral gesture—the return of an object, an unspoken refusal, a hesitant act of compassion—operates as a counter‑narrative to social cynicism. Here imagination acquires a redemptive function: it challenges the status quo not through overt confrontation but through subtle re‑humanization of experience. The symbolic register of these screenplays thus serves as an implicit social critique, proposing sensibility and empathy as forms of cultural resistance. Furthermore, the analysis reveals the intricate relation between form, ideology, and audience. The open‑ended structures invite viewers to participate in meaning‑making, transforming spectators into co‑interpreters rather than passive consumers. This dialogic quality, reinforced by the frequent use of silence and visual understatement, aligns with post‑structural principles that emphasize plurality and interpretive freedom. The ambiguity sustained throughout these narratives does not signal confusion but an intentional strategy to reflect the instability of truth in a society where official discourse often suppresses complexity. In discussing the socio‑historical impact, the research observes how the aftermath of economic sanctions, the rise of informal labor markets, and the digital reconfiguration of public space all find symbolic resonance in character portrayals. The weary workers, disoriented youth, religious novices, and aging loners populate these scripts as embodiments of a collective psychosocial fatigue. Yet, rather than surrendering to despair, the short form’s imaginative condensation turns limitation into lucidity—the capacity to distill large realities into small, precise moments of significance. This artistic minimalism resonates with Marcuse’s belief that true freedom emerges in moments when art detaches from functionality and reclaims its utopian tension. The study concludes that the Iranian short screenplay of the 2010s occupies a crucial intersection between cultural determinism and creative autonomy. It encapsulates the dialectic of adaptation and resistance: how young writers internalize social crisis yet transform it into reflective art. By mobilizing symbolic language and structural experimentation, their works reveal both the wounds and the wisdom of a generation navigating uncertainty. The short screenplay, though brief in duration, operates as a microcosm of collective memory—a mirror that refracts despair into imagination and critique. Ultimately, the research underscores that the short screenplay’s artistic and cultural potential exceeds its scale. Through its economy of form and depth of emotion, it articulates the shifting moral landscapes of Iranian society and offers renewed possibilities for social reflection. Structuralism elucidates the pattern of signs, post‑structuralism exposes the play of power within meaning, and critical individualism retrieves the emancipatory energy of imagination. Together they illustrate how cultural conditions inform the syntax of storytelling and how storytelling, in turn, reimagines culture itself. In sum, the decade of the 2010s should not be read merely as a period of socio‑economic fatigue but as a moment of creative re‑awakening within the margins of art. این پژوهش با هدف شناخت آثار شرایط فرهنگی و اجتماعی دهۀ 1390 بر شکل‎گیری محتوای فیلم‎نامه‎های کوتاه ایرانی انجام شده است. ضرورت این پژوهش ازآن‎رو مورد توجه است که به نظر می‎رسد فیلم‎نامۀ کوتاه، به عنوان قالبی مستقل و کمتر پژوهش‎شده، ظرفیتی بالقوه دارد تا بازتابی از لایه‎های پنهان زیست فرهنگی، تجربۀ زیسته نسل جوان و ذهن خلاق فیلم‎سازان نوگرای ایرانی باشد. دهۀ 1390 در تاریخ فرهنگی ایران با دگرگونی‎های اجتماعی، اقتصادی و ارتباطی گسترده‎ای همراه بود؛ از گسترش شبکه‎های اجتماعی و فشارهای اقتصادی تا شکاف‎های نسلی پس از تحولات سیاسی اواخر دهۀ 1380. این شرایط نه‎تنها بر سلیقۀ هنری و شیوه‎های تولید تأثیرگذار بوده، بلکه زبان روایت و فرم فیلم‎نامه را نیز دگرگون ساخته است. ازاین‎رو، مطالعۀ فیلم‎نامۀ کوتاه در این دهه فرصتی برای درک نحوۀ بازنمایی بحران‎ها و تکوین گفتمان‎های فرهنگی جدید فراهم می‎آورد. در این پژوهش، پنج فیلم‎نامۀ کوتاه داستانی از تولیدات دهۀ 1390 با روش تحلیل محتوای کیفی و رویکرد تفسیری ـ انتقادی بررسی شده‎اند. داده‎ها با استفاده از منابع اسنادی و کتابخانه‎ای گردآوری، سپس بر اساس چارچوب نظری ساخته‎شده از سه دیدگاه اصلی تحلیل شده‎اند: ساختارگرایی سوسور (رابطۀ دال و مدلول و نظام‎های نشانه‎ای)، پساساختارگرایی بوردیو (میدان فرهنگی و سرمایه نمادین) و فردگرایی انتقادی مارکوزه (نقد عقلانیت یک‎بعدی و نقش رهایی‎بخش تخیل). این پیوند میان نظریه و تحلیل متن، امکان تبیین رابطۀ میان ساختار اجتماعی و سبک‎های بیانی نویسندگان جوان را فراهم کرده است. یافته‎ها نشان می‎دهد مضامینی چون فروپاشی خانواده، مهاجرت، روزمرگی، بحران اخلاقی و سقوط ارزش‎ها در آثار مورد مطالعه برجسته‎اند. عناصر فرمی مانند ایجاز، گسست روایت، لحن سرد، پایان‎های تعلیقی و شخصیت‎پردازی غیرمستقیم، واکنشی هنری به شرایط متزلزل اجتماعی‎اند. این فیلم‎نامه‎ها با استفاده از نشانه‎پردازی، حذف و ایهام، به‎جای بازنمایی مستقیم واقعیت، آن را در قالب نماد و سکوت بازآفرینی می‎کنند. نویسندگان در مواجهه با فشارهای اقتصادی و نظام رسمی تولید فرهنگی، زبان استعاری، روایت غیرخطی و تصویرپردازی نمادین را برگزیده‎اند تا ضمن بیان نقد اجتماعی، از مرزهای ممیزی نیز عبور کنند. نتایج تحقیق نشان می‎دهد که اگرچه مضمون غالب این آثار، انفعال و ناامیدی است، اما فیلم‎نامۀ کوتاه ظرفیت فرا رفتن از بازتاب بحران و ایفای نقشی کنشگرانه در ارتقای آگاهی جمعی را دارد. تخیل انتقادی نویسنده می‎تواند به بازتولید امید، گفت‎وگوی نسلی و گشودگی افق‎های تازه در بیان فرهنگی منجر شود.

https://rpa.soore.ac.ir/article_730650_7e86b6468dac517fa94a4331e2924128.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 Nostalgic Myth – Making in the Representation of Iranian Traditions in the Film A Cub of sugar اسطوره‎سازی نوستالژیک در بازنمایی سنت‎های ایرانی در فیلم یه حبه قند (نگاهی نشانه‎شناسانه به گفتمان ایدئولوژیک سنت و تجدد) 75 89 729259 10.22034/rpa.2025.2069259.1181 FA نسترن کرکوکی اسگویی دانشجوی دکتری علوم ارتباطات اجتماعی، دانشکدۀ علوم انسانی و تربیتی، واحد تبریز، دانشگاه آزاد اسلامی، تبریز، ایران. نازنین ملکیان دانشیار گروه علوم ارتباطات و رسانه، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران . داود نعمتی انارکی دانشیار گروه روزنامه‎نگاری و خبر، دانشکدۀ ارتباطات و رسانه، صداوسیما، تهران، ایران. ربابه پورجبلی استادیار گروه علوم اجتماعی، دانشکدۀ علوم انسانی، واحد زنجان، دانشگاه آزاد اسلامی، زنجان، ایران. Journal Article 2025 08 19 The film A Cube of Sugar by Reza Mirkarimi, which was screened in 2010, is one of the most acclaimed films in domestic and foreign festivals. In addition to receiving awards from the Fajr Film Festival, the film also represented Iranian cinema in the Best Foreign Language Film category at the 85th Academy Awards. Most of the research conducted on the film has often focused on the obvious level of its cultural signs and meanings, and as a result, the underlying layers of signs, symbols, and cultural codes have not been explored as they should be. The purpose of this article is to answer the question of what broader and larger cultural meanings and discourses are represented and conveyed to the viewer behind the film’s nostalgic look at Iranian culture and traditions. The present study, with an approach based on cultural studies and Fisk’s semiotic approach that emphasizes the codes of reality, representation, and ideology, has explored and analyzed the film A Cube of Sugar and its broader discourses. In addition, the aforementioned film has been analyzed based on Stuart Hall’s three positions in reading the text, including reading media products. The three readings considered by Hall are the preferred reading, the consensual reading, and the conflicting reading. The findings of the present study indicated that, behind the representations of wedding rituals as well as funerals and mourning ceremonies in Iranian culture and traditions in the film A Cube of Sugar, aspects of myth-making and an ideological discourse regarding the past are also evident in the film’s portrayal. In addition, by preferring, highlighting, and praising the traditional lifestyle and its values and rejecting life in a contradictory and contemporary way, the film mythologizes the traditional life and lifestyle of the older generation. Besides, in its cultural narrative of the two families of the bride and groom, the film portrays the bride’s family as representing the traditions of Iranian culture and the groom’s family as representing the manifestations of modernity and Western life, and in this way, it presents an ideological and polarized representation of us who are good and them who are bad. The filmmaker’s attitude towards us, who are the bride’s family, is positive, and towards them, who are the groom’s family and have chosen a modern life, is negative. The Cube of Sugar is also important in at least two other aspects. First, the film can be classified as a “national cinema” film in terms of its emphasis on displaying our cultural traditions in holding two wedding ceremonies and a funeral and indirectly promoting a native and nostalgic discourse of Iranian traditions and customs in contrast to today’s modern and “non-native” culture. The Cube of Sugar is entirely dedicated to representing the objective and subjective elements of ancient Iranian culture and customs for viewers of both old and new generations. In this way, it is a film that also fits within the framework of the country’s cultural and cinematic policies. In this macro-policy, artists are encouraged to familiarize the new generation with ancient Iranian-Islamic culture and customs, in contrast to the global and Western “uniformizing” culture, and to prevent a generational gap in this regard. With these considerations, it can be said that A Cube of Sugar is a worthy film as it honors Iranian values and traditions and reminds the Iranian viewer of them through the “language of cinema.” The fact that this film, as a work aiming to represent aspects of Iranian-Islamic social and cultural traditions through the depiction of two ceremonies—weddings and funerals—in the cultural geography of the city of Yazd, raises the question of how successful it has been in this regard and what discourse it promotes, makes the film unique in its kind and worthy of research and study. The present study is based on semiotics, and among the various approaches to semiotics and cultural analysis, John Fisk’s semiotics has been considered. The choice of Fisk and Hartley’s semiotics better illuminates the way of representation and meaning creation and also the way of “transmitting meaning” in the film A Cube of Sugar and has deeper insights. In Fisk’s semiotic analysis, a media text and its codes operate in a hierarchical and complex structure, and these codes are already explicitly or implicitly encoded in the film/television. Fisk’s three codes, which are completely simplified for analysis in this article, are the codes of reality, representation, and the level of ideology. The sequences were selected according to the research questions and with “purposive” sampling and examined through the three levels of Fisk’s semiotics mentioned above. The reading and analysis of this film has also been based on Stuart Hall’s three positions in “Reading the Text.” Hall identifies three ‘positions’ for the ‘reading/decoding’ of a text by the audience or analyst: The first position is a hegemonic one, in which the code appears natural and transparent, and the reader accepts the preferred reading intended by the producer of the text. The second is a negotiated/compromising reading, in which the reader, while more or less agreeing with the producer’s position and accepting their preferred reading to some extent, also resists it and interprets it in a way that reflects their own position, experiences, and interests rather than those of the producer. The third position is an oppositional reading. In this reading, the audience, based on their own understanding and social position, opposes the dominant codes of the text’s producers and reveals meanings beyond the preferred position of the text’s creator. In other words, the audience disagrees with the ‘preferred’ code of the text and attempts, in engaging with the text, to establish an alternative interpretive framework. Despite all that has been said, it should not be overlooked that, historically and geographically, Iran has always been a multi-ethnic and multicultural land. What has preserved this cultural diversity over time is the culture and ‘national identity,’ which manifests itself in various rituals, customs, and traditions. The capacity of cinema to represent the culture and national identity of different communities is so significant that this potential is recognized in virtually all countries, and nearly every nation has sought to incorporate its national culture and traditions into film and cinema as a widespread cultural subject. فیلم یه حبه قند اثر رضا میرکریمی که در سال 1389 به نمایش درآمده، از فیلم‎های تحسین‎شده در جشنواره‎های داخلی و خارجی است. فیلم، گذشته از دریافت جوایزی از جشنوارۀ فیلم فجر، در هشتاد‎و‎پنجمین دوره جوایز اُسکار نیز، نمایندۀ سینمای ایران در بخش بهترین فیلم خارجی ‎زبان بوده است. بیشتر پژوهش‎های صورت‎گرفته دربارۀ فیلم یه حبه قند، غالباً به سطح آشکار نشانه‎ها و معانی فرهنگی آن توجه کرده‎اند و درنتیجه لایه‎های زیرین نشانه‎ها، نمادها و رمزگان‎های فرهنگی آن‎چنان‎که باید کاویده نشده است. هدف از مقاله حاضر، پاسخ به این پرسش بوده که در پس نگاه نوستالژیک فیلم در بازنمایی فرهنگ و سنت‎های ایرانی، چه معانی و چه گفتمان‎های فرهنگی فراگیرتر و بزرگ‎تری در فیلم بازنمایی و به بیننده القاء می‎شوند. مطالعه پیشِ رو، با رهیافتی مبتنی بر مطالعات فرهنگی و رویکرد نشانه‎شناسی فیسک که بر رمزگان‎های واقعیت، بازنمایی و ایدئولوژی تأکید دارد، فیلم یه حبه قند و گفتمان‎های فراگیرترش را واکاوی و تحلیل کرده است. افزون‎براین، فیلم مذکور، بر اساس مواضع سه‎گانۀ استوارت هال در خوانش متن ازجمله خوانش محصولات رسانه‎ای نیز تحلیل شده است. سه خوانش مورد نظر هال، عبارتند از خوانش مُرجح، خوانش توافقی و خوانش تخالفی. یافته‎های پژوهش حاضر نشان داد که در پس بازنمایی‎‎های‎ فیلم یه حبه قند از آداب‎ورسوم عروسی و همچنین فوت و مجلس ترحیم در فرهنگ و سنت‎های ایرانی، جنبه‎هایی از اسطوره‎سازی و گفتمانی ایدئولوژیک نسبت به گذشته نیز در بازنمایی فیلم به چشم می‎خورد. علاوه‎بر این، فیلم با ترجیح، برجسته‎ ساختن و تحسین سبک زندگی سنتی و ارز‎‎ش‎هایش و طرد زندگی به شیوۀ متجددانه و امروزی، از زیست سنتی و سبک زندگی نسل قدیم اسطوره می‎سازد. گذشته از این، فیلم در جریان روایت فرهنگی خود از دو خانواده عروس و داماد، خانواده عروس را نماینده سنت‎های فرهنگ ایرانی‎ و خانواده داماد را نماینده مظاهر تجدد و زندگی متجددانه و غربی جلوه می‎دهد و به این طریق، یک بازنمایی ایدئولوژیک و قطبی‎شده از ما که خوبیم و آنها که بد هستند، ارائه می‎دهد. نگرش فیلم‎ساز نسبت به ما که خانواده عروس باشند مثبت و نسبت به آنها که خانواده داماد باشند و زندگی متجددانه را انتخاب کرده‎اند، منفی است.

https://rpa.soore.ac.ir/article_729259_9a01733394880991e0c42b55487ad3a6.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 5 18 2026 02 20 The Relation of Salvation in Art and the Danger of Technology from Heidegger’s Philosophical Perspective (Case Study: Steven Spielberg’s Duel) نسبت رستگاری در هنر و خطر فنّاوری از منظر فلسفی هیدگر، بررسی موردی فیلم سینمایی دوئل (استیون اسپیلبرگ) 91 102 731936 10.22034/rpa.2025.2071583.1190 FA اسماعیل دستگرد دانشجوی دکتری رشته فلسفه هنر، واحد تهران شمال، دانشکدۀ ادبیات و علوم انسانی، دانشگاه آزاد اسلامی، تهران، ایران. احمدرضا معتمدی دانشیار گروه تولید، دانشکدۀ تولید، دانشگاه صداوسیما، تهران، ایران. سعید لواسانی دانشیار گروه فلسفه، دانشکدۀ ادبیات و علوم انسانی، دانشگاه آزاد اسلامی واحد تهران شمال، تهران، ایران. بیژن عبدالکریمی دانشیار گروه فلسفه، دانشکدۀ ادبیات و علوم انسانی، دانشگاه آزاد اسلامی واحد تهران شمال، تهران، ایران. Journal Article 2025 09 27 Martin Heidegger, one of the most influential philosophers of the twentieth century, offers a profound rethinking of the relationship between human beings, technology, and art. In his seminal essay ‘The Question Concerning Technology,’ Heidegger challenges the conventional, instrumental definition of technology as a mere collection of neutral tools or means to human ends. Instead, he presents a deeper ontological analysis, claiming that technology is a distinct mode of revealing or unconcealment (aletheia) of Being. He argues that modern technology discloses the world through a particular framework called enframing (Gestell), a mode in which everything, including nature and humanity itself, is revealed only as a resource to be controlled, stored, and optimized. Enframing is not merely a physical system or a set of devices, but a mode of understanding the world—a metaphysical disposition that transforms beings into standing-reserve (Bestand), available for manipulation. This shift in the essence of revealing conceals the deeper truth of Being, reducing it to calculability and efficiency. Consequently, the human subject is no longer a sovereign agent using tools but becomes enmeshed in the technological system, subject to the very logic of utility it sought to command. Heidegger’s analysis destabilizes the comforting narrative of human mastery over technology, showing instead that technology masters us by shaping the horizon of our understanding. This insight situates Heidegger within a broader tradition of twentieth-century critiques of modernity, alongside thinkers such as Jacques Ellul, Herbert Marcuse, and, later, post-humanist theorists, yet Heidegger’s ontological focus makes his critique unique. In stark contrast to this technological mode of revealing, Heidegger turns to art, and specifically to the work of art, as another essential way in which truth can emerge. In his essay ‘The Origin of the Work of Art,’ Heidegger investigates the essence of the artwork not from the standpoint of aesthetics, representation, or cultural value, but as a site of ontological disclosure. A genuine artwork, he suggests, opens a clearing in which the truth of Being can shine forth. Art, therefore, is not merely about beauty or expression—it is about the unconcealment of the world and our place within it. Whereas technology tends to level all things into resources and eliminate their mystery and singularity, art can bring forth the strangeness and depth of things, preserving their ambiguity and richness. Heidegger famously describes this as the struggle between earth and world within the artwork: earth, representing the concealed and sheltering aspects of Being, and world, representing the organized and meaningful context in which beings appear. The artwork stages this dynamic tension and, through it, reveals a mode of Being not captured by technological rationality. This paper examines the fundamental confrontation between technology and art as two divergent paths of revealing in the modern age. From a Heideggerian perspective, it seeks to illuminate the existential and ontological stakes of this opposition, especially in an era increasingly dominated by digital technologies, automation, and algorithmic thinking. Rather than viewing technology and art as entirely separate or opposing domains, this study explores the possibility that artwork can engage with technological resources without being subsumed by their enframing logic. In this sense, the paper investigates how art can critically appropriate technological tools to create spaces of resistance, reflection, and liberation. Heidegger himself hints at this possibility when he writes that “the essence of technology is nothing technological” and that “where the danger is, there grows the saving power also.” This paradox suggests that within the very structure of technological danger lies the potential for a different, freer relationship to Being. Art, by remaining attuned to this danger, can act as a site where such a relationship begins to emerge. It does not oppose technology with nostalgia for the past, but rather opens a poetic space for reimagining our dwelling within a technological world. The saving power is not a return to pre‑modern innocence but a transformation of our relation to technology through art’s capacity to disclose Being otherwise. Furthermore, the paper argues that Heidegger’s notion of poetic dwelling—a way of being in the world that honors the mystery and finitude of existence—is not merely an abstract ideal but a necessary response to the metaphysical domination of technology. The poetic does not reject the material or technical; rather, it redirects our attention toward the essential, the hidden, and the incalculable. Through poetic thinking and artistic creation, human beings can recover a more original relationship with truth—one that neither reduces nor objectifies but allows beings to appear in their own right. Poetic dwelling thus becomes a counter-disposition to enframing, a way of inhabiting the technological world without being consumed by its logic. To concretize this philosophical framework, the paper turns to cinema as a paradigmatic modern art form born of technology. Film exemplifies the paradox of art within technology: it relies on cameras, projectors, editing software, and digital platforms—all technological apparatuses—yet it can transcend mere technicality to disclose truth. Cinema can either reinforce enframing, reducing human experience to spectacle, entertainment, and commodified images, or it can resist enframing by opening a clearing where Being is unconcealed. The case study of Steven Spielberg’s Duel (1971) illustrates this tension vividly. The film portrays an ordinary man pursued relentlessly by a faceless truck, a machine without identity or motive. The truck embodies the anonymous, threatening presence of technology—massive, efficient, and opaque—while the protagonist’s struggle dramatizes the human confrontation with technological danger. Duel thus stages the Heideggerian struggle between earth and world: the earth as the concealed, overwhelming force of the machine, and the world as the fragile human attempt to make sense of and resist it. In this way, cinema demonstrates how art can appropriate technology without surrendering to its enframing, transforming technical means into vehicles of ontological disclosure. The implications of this analysis extend beyond cinema to the broader digital condition of contemporary life. In an age of ubiquitous screens, algorithmic governance, and artificial intelligence, the danger of enframing is intensified: human beings risk becoming mere data points, optimized flows, and standing‑reserve for systems of control. Yet, as Heidegger suggests, the saving power grows within the danger itself. Artistic practices that engage critically with digital media—experimental film, interactive installations, poetic coding, and algorithmic art—can open spaces of resistance and reflection. They remind us that technology need not only conceal but can also reveal, if approached poetically. Thus, the confrontation between technology and art is not a static opposition but a dynamic interplay with profound existential stakes. In this sense, Heidegger’s philosophy remains urgently relevant: it provides a lens through which to critique the reduction of human life to data and efficiency, while also pointing toward the possibility of recovery through art. In conclusion, this study reinterprets Heidegger’s critique of technology and his ontological elevation of art not as a binary opposition but as an invitation to engage more deeply with our modern condition. In a world increasingly defined by speed, optimization, and control, Heidegger’s philosophy calls for a turn toward slowness, receptivity, and attentiveness. The work of art, in its capacity to open a clearing for Being, remains one of the last refuges of truth in a technological age. Yet, rather than isolating itself from modernity, art may paradoxically find in the very tools of technology new ways to disclose the human, the mysterious, and the poetic dimensions of existence. Thus, this paper explores how, from within the technological condition itself, the artwork can respond to the challenge of enframing by reactivating the ontological power of art. In doing so, it seeks to articulate a space where technology does not dominate but serves; not conceals but reveals—a space where poetic dwelling becomes once again possible. خوانش وجودی هیدگر از فنّاوری، آن را صرفاً به مثابه ابزار یا تکنیک محض در نظر نمی‎گیرد، بلکه به عنوان نحوی از انکشاف هستی تلقی می‎کند که در قالب گشتل یا چارچوب‎بندی، جهان و موجودات را در مقام منابع و ذخایر تحت سلطه و تعرض قرار می‎دهد. از این منظر، فنّاوری نه‎تنها شیوه‎ای برای تولید و بهره‎برداری است، بلکه شیوه‎ای بنیادین از نسبت انسان با هستی است که می‎تواند به مستوری مضاعف و فراموشی حقیقت بینجامد. پرسش اصلی این پژوهش آن است که چگونه هنری چون سینما، که خود زاده فنّاوری مدرن است و به‎ظاهر در دل همین چارچوب‎بندی قرار دارد، می‎تواند از سلطه‎جویی و تعرض فنّاورانه بگریزد و به سوی اهدافی چون آزادی، حقیقت‎جویی، معنویت و استکمال انسانی حرکت کند. بر اساس اندیشه‎های فلسفی هیدگر، هنر در ذات خود توانایی گشودن راهی به سوی حقیقت را دارد. هنر می‎تواند از سطح ابزاری و بهره‎ورانه فاصله گرفته و به تجربه‎ای هستی‎شناختی بدل شود؛ تجربه‎ای که در آن دازاین با امکان‎های وجودی خود مواجه می‎شود و از اسارت گشتل رهایی می‎یابد. سینما، اگر بتواند به‎جای بازتولید صرف تصاویر و سرگرمی، به ذات هنری خود وفادار بماند، قادر است به مثابه مکانی برای نامستوری حقیقت عمل کند و انسان را به تأملی عمیق‎تر در باب هستی و آزادی فراخواند. در این مسیر، مفاهیمی چون نامستوری، حقیقت، گشتل و دازاین نقش کلیدی دارند. فیلم می‎تواند یا در مقام چارچوب‎بندی، به تحریف اصالت انسانی و مستوری بیشتر هستی دامن زند، یا در مقام انکشاف حقیقت، به پاسداری از آزادی و اصالت دازاین یاری رساند. این مقاله با طرح فشرده‎ای از اندیشه هیدگر در باب فلسفه تکنولوژی و هنر، به بررسی نسبت سینما و حقیقت می‎پردازد و نشان می‎دهد که چگونه فیلم می‎تواند به دو وجه متقابل عمل کند: یا در خدمت سلطه فنّاورانه قرار گیرد، یا به امکان رهایی و گشودگی حقیقت یاری رساند. مطالعه موردی فیلم سینمایی دوئل نمونه‎ای روشن از این مواجهه است. این فیلم با بهره‎گیری از زبان سینما، نه صرفاً در مقام بازنمایی تکنیکی، بلکه در مقام انکشاف حقیقت عمل می‎کند و نشان می‎دهد که چگونه دازاین می‎تواند از اسارت گشتل آزاد شود و به سوی تجربه‎ای اصیل‎تر از هستی گام بردارد. بدین‎سان، سینما در پرتو اندیشه هیدگر می‎تواند به عرصه‎ای برای آزادی، حقیقت‎جویی و استکمال انسانی بدل گردد.

https://rpa.soore.ac.ir/article_731936_7d9c51d9aef888433623a8df62b68de2.pdf