Volume 7, Number 13 (9-2017)                   2017, 7(13): 0-0 | Back to browse issues page


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Piravi Vanak M, Ghahramani M B, Mazaherian H, Sayyad A. Cinematic Thinking and Fragmentation of the Imaginary Cultural Geography. Scientific Journal of Motaleate-e Tatbighi-e Honar. 2017; 7 (13)
URL: http://mth.aui.ac.ir/article-1-388-en.html

1- Assistant Professor, Faculty of Religions and Civilizations Arts, Isfahan Art University. , mpiravivanak@gmail.com
2- Associate Professor, Faculty of Performing Arts and music, College of Fine Arts, University of Tehran.
3- Assistant Professor, Faculty of Architecture, College of Fine Arts, University of Tehran.
4- PhD Student in Art Studies, Art University of Isfahan.
Abstract:   (204 Views)

In the “Theses on the philosophy of history”, Walter Benjamin argues that “for without exception the cultural treasures… owe their existence not only to the efforts of the great minds and talents who have created them, but also to the anonymous toil of their contemporaries. There is no document of civilization which is not at the same time a document of barbarism”. The most obvious and best examples of the cultural treasures in Benjamin’s discussion can be found in monumental architecture, and the history has always shown that the rulers had been interested in these magnificent statements by stone. Benjamin’s discussion challenges the dominant theory that seeks an ideal image of these magnificent architectural works in order to confirm the glorious cultural past, and by establishing this image, it could introduce these artworks as expressions of culture and national identity. Before Benjamin, Nietzsche had also derided this desire to admire great historical artworks, and their interpretation in line with the historical progress. This perspective would challenge the triumphantly interpretation which suggests history as a moving forward and progressive process, because as Benjamin points out, every progression is associated by a catastrophe. By employing Benjamin’s discussion and using the cinematic thinking’s model suggested by Gilles Deleuze, it is attempting in this article to revise the role of architectural monuments in establishing national identity. Deleuze himself had recognized the freedom in interpretation, free from the constraints of the historical context as a ground for the emergence of new ideas and creativities. He believed that reading of artistic works should not be a study in the history and their formation context, but this reading must allow us to confront with new reformulation and new creation of concept.
 

     
Type of Study: Research | Subject: معماری و ....

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