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«انفجار فرهنگی» در ویژگی‌های بصری مطبوعات دوره ناصری (مطالعه موردی: روزنامه دولت علیه ایران و اختر) | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 24 آبان 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.47719.1597 | ||
| نویسندگان | ||
| حمیدرضا چتربحر1؛ فرناز معصوم زاده جوزدانی* 2؛ علی سلمانی3 | ||
| 1دانشجوی دکتری، دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
| 2گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر اصفهان | ||
| 3دانشیار گروه فلسفه هنر، دانشکده هنر و معماری دانشگاه بوعلی‌سینا، همدان، ایران | ||
| چکیده | ||
| مفهوم «انفجار فرهنگی» محصول آخرین تاملات یوری لوتمان است که نتیجه پیش‌بینی‌ناپذیری معنی‌شناختی هر نشانه فرهنگی در سپهر نشانه‌ای و نیروی حیات‌بخشِ فرهنگ تعریف شده است چنانکه به تدریج در یک ساختار فرهنگی تدریجی و قابل پذیرش می‌شود. هدف این نوشتار تحلیل چگونگی «انفجار فرهنگی» روزنامه‌ها در سپهر نشانه‌ای دوره قاجار به ویژه در ساختار بصری دو نشریه «روزنامه دولت علیه ایران» و «اختر» است. بعلاوه، این پژوهش ضمن ارائه الگویی تحلیلی برای فهم عملکرد مولفه‌های انفجاری در یک «سپهر نشانه‌ای» در پی پاسخ به این پرسش‌ها است که: نحوه صیرورت و پذیرش یک مولفه انفجاری در سپهر نشانه‌ای فرهنگی چگونه امکان‌پذیر می‌شود و ویژگی‌های بصری ناشی از انفجار فرهنگی در دو نشریه «روزنامه دولت علیه ایران» و «اختر» چگونه نمایان شده است؟ این مقاله از نظر هدف توسعه‌ای و از نظر روش تجزیه و تحلیل تطبیقی- تحلیلی و با رویکرد نشانه‌شناسی فرهنگی لوتمان انجام شده است. شیوه گردآوری اطلاعات به روش اسنادی است. جامعه آماری این تحقیق تمام شمارگان روزنامه اختر و دولت علیه ایران بوده و موارد مورد تحلیل به صورت هدفمند از میان آنها انتخاب شده است. یافته‌های پژوهش نشان می‌دهد که ویژگی‌های بصری روزنامه اختر دارای هویتی حاصل از نزدیکی به «دیگری فرهنگی» است و در سپهر نشانه‌ای دوره قاجار به مثابه یک عنصر آرمانی عمل کرده است و تلاش دارد تا نیروی نوینی را به فضای فرهنگی ایران القا کند. در سوی دیگر «روزنامه دولت علیه ایران» به مثابه الگوی «نزدیک» به «خود فرهنگی» و «مرکز»، برآمده از حافظه تاریخی بصری ایرانیان است. | ||
| کلیدواژه‌ها | ||
| انفجار فرهنگی؛ نشانه‌شناسی فرهنگی؛ مطبوعات دوره قاجار؛ روزنامه اختر؛ روزنامه دولت علیه ایران | ||
| عنوان مقاله [English] | ||
| "Cultural Explosion" in Visual Properties of Nasserid Newspapers (Case Study: Dowlat-e Elieh-e Iran and Akhtar Newspapers) | ||
| نویسندگان [English] | ||
| Hamidreza Chatrbahr1؛ Farnaz Masoumzadeh Jouzdani2؛ Ali Salmani3 | ||
| 1PhD Student of Art Research, Faculty of Higher Art Research and Entrepreneurship, Art University of Isfahan, Isfahan, Iran | ||
| 2Graphic Design Department, Visual Art Faculty, Art University of Isfahan | ||
| 3Associate Professor, Department of Philosophy of Art, Faculty of Art and Architecture, Bu-Ali Sina University, Hamadan, Iran | ||
| چکیده [English] | ||
| The concept of cultural explosion in the theory of cultural semiotics refers to a piece of new information which is unfamiliar to a base culture at the first encounter. The most important feature of the explosive components is their unpredictability, whether these components appeared from cultural otherness into a national ownness or it has emerged from multiple layers of the base culture. This aspect of cultural encounter is explained by Yuri Lotman in the book titled "Culture and Explosion". He states how meanings are formed as a result of both the interaction between familiar and unfamiliar things. Consequently, this cultural explosion starts creating a rupture in the structure of culture until the system tries to respond to it gradually. Lotman believes that as the cultural explosion is the life-giving force of a culture, it provides the dynamism of the culture. Moreover, cultural explosion gradually becomes acceptable in a cultural structure. Since during the Qajar dynasty, a new international relationships have been established, Iran has developed in various aspects. Particularly, as standard values were taken to align Iran with the manifestations of civilization in this era, some of the most important developments of Iran took place in early modern times. This time could be recognized as an international period of the confrontation between "self" and "other" in the world especially in Iran where the first newspapers began publishing. If considering newspapers as one of the first sparks of modernity, these publications could be understood as a cultural explosion which has influenced the symbolic sphere of Iran. As above mentioned, due to the description that every moment of the explosion is unpredictable, the explosion will become understandable if its gradualization is assumed to be formed through a historical process in a cultural semiosphere. It is noteworthy that an unpredictable concept looks like either a notion which is not perceivable at the moment or a new sign which has not been understandable. In other words, this kind of sign was created by such a semantic entropy realizing uncertainty in the context of shared meaning. Explaining the theory of cultural explosion, Lotman emphasizes on communication aspects of culture and beliefs; meanwhile, he states these communication components are formed based on internal or external interaction in the context of culture. Once an unfamiliar element is imported into a culture, it functions as a generator of cultural explosion. This moment can be considered as a decline stage of cultural activity in which the base culture attempts to rebuild itself by applying the patterns and possession of other cultures. According to internal and external elements in a symbolic sphere of culture, these elements can be classified into familiar and unfamiliar categories. Moreover, the imagined position of each element can be interpreted based on its relationship to established shared meanings and norms of a culture. This suggested classification, thus, can be proposed as follows: The first category contains ‘Antecedent Elements’ which embody already-existed patterns (or self-patterns or even historical patterns) of the culture located in the center of the symbolic sphere. The second one consists of ‘Proximity Elements’ which mostly shows more contemporary features of the culture in the midst of the symbolic sphere, particularly in comparison to Antecedent Elements. These elements have got more similarities to the previous group of elements known as historical patterns. The third group includes ‘Distant Elements’ which are more different from the central pattern in a way that introduces contemporary creativity near the boundaries of the symbolic sphere. This kind of element can be determined in comparison to the previous group of elements in terms of two important factors namely the dynamic life of elements as well as the disassociation/discontinuity with the past/center. The last category is devoted to ‘Ideal Elements’ which represents the ideal self-awareness of a culture since these elements are not only often located outside or at least on the boundaries of the symbolic sphere but also have little to do with internal patterns. The opposition of ideal elements and internal triggers a series of developments by breaking apart the system. As a result, the internal elements of the system are subjected to this gradualization process, so, the central cultural patterns are gradually being integrated into the idealistic elements. In this paper, the abovementioned proposed classification will be taken into account in order to analyze the visual characteristics of the cultural explosion of newspapers in the Qajar symbolic sphere. The particular focus of the study is on two newspapers namely “Dowlat-e Elieh-e Iran” and “Akhtar”; while this study has also put forward an analytical model for understanding the roles of explosive components in a symbolic sphere of culture on the foundation of the Luman’s theory of cultural semiotics. Based on our proposed model, the following questions have not been addressed yet: In what ways an explosive component can be formed and integrated in the semiosphere of a culture? How do visual characteristics of two Qajar newspapers (namely “Dowlat-e Elieh-e Iran” and “Akhtar”) imply the impact of a cultural explosion in this era? To answer these questions, a comparative analytical method is used based on Lotman’s cultural semiotics. Data gathering methods include documentary analysis and observation. The case studies are selected out of all the volumes of these two newspapers based on a purposive sampling technique. The most prominent findings of this paper demonstrate Akhtar newspaper as a manifestation of an ideal element in the Qajar semiosphere since the visual characteristics of this newspaper are bound with the publisher’s tendency towards otherness; meanwhile, this publication has attempted to introduce new features of Iranian culture. In addition, Dowlat-e Elieh-e Iran newspaper is a representative of the central self-pattern in this sphere since it can be regarded as the Iranian historical visual memory. In conclusion, the gradual integration of Nasserid Newspapers in the Qajar semiosphere can be assumed as the presence of an explosive component in two separate layers each of which has both independent identity and intensely bipolar characteristics. The four levels of elements should be taken into account from antecedent to ideal if an imported cultural element is supposed to be understood, classified, and integrated as an explosive component in the Qajar semiosphere. In detail, this study has also found that Dowlat-e Elieh-e Iran newspaper, on top of the governmental publication in the Nasserid period, not only acts as an antecedent element but also represents a gradual movement toward the center of the sphere. On the other layer, the Akhtar newspaper, representing non-governmental publications in this era, acts as an ideal element beyond the Qajar cultural boundaries; meanwhile, it transfers ideal visual language inspired by the external semiosphere through such a cultural bridge into the Qajar semiosphere. Furthermore, it can also be concluded that with the advent of explosive elements in the Qajar art, a novel visual language has been formed to provide a foundation for preparing unfamiliar imported cultural elements in proportion with cultural inquiries at this time. In the early times of this era, Dowlat-e Elieh-e Iran newspaper had taken advantage of cultural characteristics of otherness in order to reform those to historical self-patterns of the Qajar before Akhtar newspaper and other interested parties approached the culture of otherness. Ultimately, ideal elements were widespread in the most of newspapers of the late Qajar in favor of embracing the technology of movable type in this period, a long time after the invention of Gutenberg's printing press. | ||
| کلیدواژه‌ها [English] | ||
| Cultural explosion, Cultural Semiotics, Qajar Period Press, Akhtar Newspaper, Dowlat-e Elieh-Iran Newspaper | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 74 |
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