پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 967 |
| تعداد مقالات | 8,010 |
| تعداد مشاهده مقاله | 13,573,803 |
| تعداد دریافت فایل اصل مقاله | 9,616,620 |
مطالعه چندگانگی هویت در آثار سیندی شرمن با رویکرد روانکاوانه فروید | ||
| جلوه هنر | ||
| مقاله 3، دوره 13، شماره 1 - شماره پیاپی 30، خرداد 1400، صفحه 33-47 اصل مقاله (1.94 M) | ||
| نوع مقاله: مقاله ترویجی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2021.32891.1556 | ||
| نویسندگان | ||
| مهناز حسن پور* 1؛ مینا محمدی وکیل2 | ||
| 1کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه الزهرا( س)، تهران، ایران ( نویسنده مسئول). | ||
| 2استادیار گروه نقاشی، دانشکده هنر، دانشگاه الزهرا (س)، تهران، ایران. | ||
| چکیده | ||
| یکی از دغدغههای هنرمند معاصر خلق آثاری است که نمایان‌گر ابعاد وجودی زندگی‌اش باشد. این نوع از آشکارسازی دلالتی بر سرکوب است که در معیارهای روان‌کاوی قابل بررسی است. سیندی شرمن، هنرمند و عکاس معاصر آمریکایی، در آثارش از خود به‌عنوان سوژه استفاده می‌‌کند. هدف از بررسی آثار شرمن نشان دادن نوعی سرکوب، واپسزنی و فرار از هویت است که ریشه در گذشته دارد. سوال اصلی این است که، آیا او در این جابه‌جایی نقش، سعی بر پنهان کردن هویت واقعی خویشتن را دارد؟ برای یافتن پاسخ از رویکرد روانکاوانه فروید استفاده شده است که با روش تحلیلی و توصیفی بررسی می‌شود. شرمن در زندگی گذشته خود دچار ناکامیهایی مانند رشد در خانوادهای خشک و مذهبی و ازدواجی ناموفق بوده است که در خوانش آثارش نتایجی مانند پنهان شدن در نقاب و فرار از شرایط را دارد؛ در حالی‌که به جامعه مصرفی و بازیچه شدن انسان معاصر نیز اعتراض دارد. | ||
| کلیدواژه‌ها | ||
| رویکرد روانکاوانه فروید؛ سیندی شرمن؛ چندگانگی هویت | ||
| عنوان مقاله [English] | ||
| The Study of Identity Multiplicity in Cindy Sherman's Works with Freud's Psychoanalytic Approach | ||
| نویسندگان [English] | ||
| M. Hassanpour1؛ M. Mohammadi Vakil2 | ||
| 1M.A., Art Faculty, AL Zahra University, Tehran, Iran (Corresponding Author) | ||
| 2Assistant Professor, Painting Department, Art Faculty, AL Zahra University, Tehran, Iran | ||
| چکیده [English] | ||
| Subjects of contemporary art include numerous concerns, including man and his identity, which in the works of each artist, there is a difference in the way the technique is expressed and performed. After the Renaissance and the great changes of humanism, the creator of a work has become more important than before, and after passing through modernity and reaching postmodernity, he has led to the creation of works with different readings. After creation, the work of art acquires an identity independent of the creator, which is initially assimilated with the conditions and identity of the artist and is born from it and finds its path after birth, but with all these changes, it is an extract from the soul. Has the artist with him. One of the most important factors influencing this phenomenon is the effect of identity on the way of expressing the effect, which can be read in Freudian psychoanalytic approach. Social, human, cultural, and other issues are each separate and interrelated issues. The emergence of a work is directly related to the living and social conditions and other issues of the artist's life, which can be expressed in its own visual language. The artist's mental preoccupation plays an important role in creating the work. This can be an unresolved or concluded issue that manifests itself at any point in the artist's life and, in Jung's words, gives way to a dream and enters the real world, sometimes in the form of A work of art appears. In the postmodern period and beyond, all the rules that were once restrictive for the artist are removed and the artist applies his own unique rules and individual identity. One of the concerns of the contemporary artist is to create works that reflect the existential dimensions of his life. This type of detection implies repression that can be examined in psychoanalytic criteria. Cindy Sherman, a contemporary American artist and photographer, uses herself as a subject in her work. The purpose of examining Sherman's work is to show a kind of repression, repression, and escape from identity that is rooted in the past. Cindy Sherman, a prominent artist and photographer of the postmodern era, is one of the artists who has achieved a new language and a special look by transforming her visible identity and combining several branches of art by recording with a camera. The important question is whether Sherman's presence in all of his works is an emphasis on revealing his hidden identity. And whether the works of this artist can be considered as feedback against his own repressed identity? The purpose of asking these questions is to show the effects of the artist's lived experiences and its effects on his works, which can be examined in the form of psychoanalysis. In the present article, by expressing Freud's psychoanalytic theory in the form of repression and displacement, an attempt is made to show the effects of the events of the artist's life and the direct impact on his works. The writing of the leading article is based on descriptive-analytical research method and the method of collecting information is library type, using reputable internet sites and Cindy Sherman's personal Instagram page. Takes. The artist has created different works over several periods of work. However, their common feature is that the artist is the subject of all his works, and an important part of the writing also deals with this issue, which can be analyzed within the framework of Freud's divisions. The writing of this research is important because no serious study has been done on this type of self-expression in art, and it also shows the impact of important changes in an artist's life on his works, so that the contemporary artist finds a deeper connection between his life and work. Cindy Sherman is one of the postmodern artists who, without a feminist and biased view, has tried to show her identity throughout her life by transforming it into another form, which this multiplicity in identity and its relevance to Freud's psychoanalytic critique necessitates. Argues that research has not been addressed elsewhere from this perspective. According to Freud's classifications such as repression, repression, displacement, escape, and other factors, one consciously and unconsciously resorts to strategies such as art to get rid of these factors. Art is a way to get rid of these shortcomings. Cindy Sherman is a postmodern and post-modern artist who is one of the most prolific artists of all time; But in all his works and periods of work there is a common feature, and that is the subject of Sherman himself in the picture frame. A kind of seeing and being seen is a mechanism for defending against past repressions. In the slips of the tongue that he sometimes writes under his new works, he has reason to be aware of this kind of reaction. He consciously conceals his identity and sees it as a way to protest the status quo. The early periods of Sherman's work evoke spaces from the past that are depicted to find old pleasures, such as the use of dolls in some of his works, and the pursuit of childish pleasures, which in his works are distorted by The doll's appearance is interrupted. In his works, Sherman seeks an identity that he has pursued throughout his life, and his photographs illustrate this point. A way to escape or a way to boost happiness in an oppressed childhood. In all of her works, she seeks out a lost identity by playing different roles for different types of men and women, so that perhaps in the form of a role, her confusion may be reduced to some extent, while she has appeared more in the role of women and has no title for her works. Anonymity is also a reason to hide one's true identity. In some of his works, Sherman takes a protest look at the woman of today who has become an object and is being used more in the present society, a woman who uses every trick to maintain her physical attractiveness and seemingly safe position. Sherman does not claim to be a feminist, and the issue of being a woman is no different for her than being a human being, but she has challenged it all these years. As a result, Sherman's work can be seen as a response to his repressed identity, while he himself is relatively aware of it and uses the practice of photography to the best of his ability to find and conceal his identity. In his past life, Sherman has suffered from failures such as growing up in arid and religious families and unsuccessful marriages, which in reading his works have consequences such as hiding in a mask and escaping from circumstances, while also consuming society and playing with contemporary man. Has an objection. | ||
| کلیدواژه‌ها [English] | ||
| Freud's psychoanalytic approach, Cindy Sherman, identity multiplicity | ||
| مراجع | ||
|
منابع آدامز، لوری(1394). روششناسی هنر، تهران: نظر. باستید، روژه(1374). هنر و جامعه، ترجمه غفار، حسینی، تهران: توس. دهقان، علی و قاسمی، سهیلا(1391). نقد روان‌شناختی فروغ فرخزاد براساس مبانی روان‌کاوی فروید و آدلر، زبان و ادبیات فارسی، سال چهارم، شمار12، 43- 60. رقیمی، فاطمه و اردلانی، حسین(1397). بازخوانی مفهوم صیرورت دلوزی در آثار عکاسی سیندی شرمن، چهارمین همایش بین‌المللی افقهای نوین در علوم انسانی و مدیریت، 1- 7. ریترز، جورج(1389). نظریه جامعه شناسی در دوران معاصر، ترجمه محسن ثلاثی، تهران: علمی. ساروخانی، باقر(1375). درآمدی بر دایرة المعارف علوم اجتماعی، تهران: کیهان. شولتز، دون و شولتز، سیدنی(1379). نظریههای شخصیت، ترجمه یحیی سیدمحمدی، تهران: ویرایش. فرهادیکیا، مهسا(1393). مروری برتمهیدات زنانه، تندیس، شماره 289، 1- 10. قره‌باغی، علی اصغر(1380). سیندی شرمن، بحران هویت و وحشی‌گری‌های روشنفکرانه، گلستانه، شماره 32، 52- 56. ویدمن، کریستینا؛ کلیر، ملانی و لاراس، پترا(1393). 50 هنرمند زن که باید شناخت، ترجمه احسان نجفی، تهران: فرهنگسرای میردشتی. گادامر، هانس گئورگ(1393). هنر، بازی، نماد، فستیوال، ترجمه عربعلی شروه، تهران: شباهنگ. ماتسن تامپسون، جیمز(1394). نظریههای هنری در قرن بیستم، ترجمه داود طبایی عقدایی، تهران: افکار. مددپور، محمد(1388). فلسفههای پست مدرن و گریز و گذار از مدرنیته، تهران: سوره مهر. معین، محمد(1387). فرهنگ فارسی، تهران: آراد. معینی، محسن(1397). بررسی نقش هرمنوتیک بر درام مدرن و پست مدرن، تهران: باشگاه اندیشه. مقیمنژاد، مهدی(1393). عکاسی و نظریه، تهران: پژوهشگاه فرهنگ و هنر اسلامی. مهدی‌زاده، علیرضا(1390). تحلیل کنش عکاسی و خوانش عکس از دیدگاه نشانه‌شناسی، جلوه هنر، دوره 3، شماره 1، 1- 74. مهدی‌زاده، علیرضا(1397). مقاله تقسیم‌بندی عکس‌های مستند اجتماعی براساس گونه‌های ادبی: نظم و نثر، جلوه هنر، دوره 10، شماره 3، 47- 58. میرزایی، علیرضا(1390). تحلیل روانکاوانه عکاسی به مثابه شکار لحظه، وبلاگ عکاسی میرزایی(URL2). نجفی، موسی(1392). هویت شناسی: نظریه هویت ملی در ایران و بازتاب آن در فرهنگ، تاریخ و سیاست، تهران: آرما.
- Adams, L. (2015). The Methodologies of Art. Tehran: Nazar.
- Rojeh, B. (1996). Art and Society. (Gh. Hosseini. Trans.). Tehran: Toos.
- Dehghan, A; Ghasemi, S. (2013). Forough Farrokhzad Psychological Critique Based on the Principles of Freud and Adler Psychoanalysis. Sanandaj: Quarterly Journal of Persian Language and Literature, 4(12),43-60(Text- in- Persian).
- Roghimi, F; Ardalani, H. (2019) A Review of the Concept of Deleuze in Cindy Sherman Photography. Fourth International Conference on New Horizons in the Humanities and Management, 1-7(Text- in- Persian).
- Ritzer, G (2010) Contemporary Sociological theory. (M. Salasi. Trans.). Tehran: Elmi.
- Sarukhani, B. (1997) An Introduction to the Encyclopedia of Social Sciences. Tehran: Kayhan.
- Schultz, D; Schultz, S. (2001). Personality Theories. (Y. Seyed Mohammadi. Trans.). Tehran: Virayesh.
- Farhadikia, M. (2015). A Review of Women's Provisions. Tandis. (289), 1-20(Text- in- Persian).
- Widman, C. ; Claire, M.; Laras, P. (2014). 50 female Artists to be Recognized. (E. Najafi. Trans.). Tehran: Mirdashti.
- Qara Baghi, A. (2002). Cindy Sherman the Crisis of Identity and Intellectual Savagery. Journal of Visual Arts Golestaneh. 2(32) 52-56(Text- in- Persian).
- Gadamer, H, G. (2015). Art, Game, Symbol, festival. (A. Sherveh. Trans.). Tehran: Shabahang.
- Matson Thompson, J. (2016). Art Theories in the Twentieth Century. (D, Tabaei Aghdaei. Trans.). Tehran: Afkar.
- Moeini, M. (2019). Investigating the Role of Hermeneutics in Modern and Postmodern Drama, Tehran: Bashgah-e Andishe.
- Moin, M. (2008). Farhang-e Farsi. Tehran: Arad.
- Madadpour, M. (2010). Postmodern Philosophies and Escape from Modernity. Tehran: Surre Mehr.
- Moghimnejad, M. (2015). Photography and Theory. Tehran: Research Institute of Islamic Culture and Art.
- Mehdizadeh, M. (2012). Article Analysis of Photographic Action and Photo Reading from a Semiotic Perspective. Jelve-e Honar. 3(1), 1- 74(Text- in- Persian).
- Mehdizadeh, M. (2019). Article on the Division of Social Documentary Photographs by Literary Types: Poetry and Prose. Jelve-e Honar. 10(3), 47-58(Text- in- Persian).
- Najafi, M. (2013). Identity: The Theory of National Identity in Iran and its Reflection in Culture, History and Politics. Tehran: Arma
URLs: URL1. Instagram, cindy Sherman(9 February 2019, Date received). URL2. http://mirzaee.akkasee.com/Mirzaei, A. (2011). Psychoanalytic analysis of photography as moment hunting. (1 August 2019, Date of received). URL3. http://www.moma.org/calendar/exhibitions/1154/ pinterest(9 February 2019, Date received).
| ||
|
آمار تعداد مشاهده مقاله: 805 تعداد دریافت فایل اصل مقاله: 818 |
||