Application of Comedy and Satire in the Epic Theater: The Analysis of the Caucasian Chalk Circle by Bertolt Brecht

Comedy, satire, ridicule, and humor, in general, stem from a tragedy. Wherever weeping does not suffice for the tragic fate of mankind, humor or comedy takes on this task by making people laugh. It is not in vain that typical theatrical emoticons are displayed as two smiling and weeping faces. Tragedy and comedy are two opposing but interconnected aspects that have defined theater since the beginning of history. In this article, we will see how the epic theater, like the modern theater that crashed down the Aristotelian criterion in ancient theater, has used comical elements of comics (satire and comedy) in its structure to transcend features such as catharsis and the strong Aristotelian plot and turn the play into a means for making the audience aware of their position in the modern world. The main tool of epic theater for the realization of anti-Aristotelian theater is an interruption to keep the audience from being trapped and submissive to the plot and to make him/her contemplate. Comedy is an element can distance the audience from identifying himself/herself with tragedy

From Creation to Adaptation; Explaining Postmodern Aesthetics with an Approach to Photomontage Pattern in Late Capitalist Culture

The issue of aesthetics in postmodernism, unlike modernism, denies the aesthetic independence of political, social, and cultural issues, and accordingly, the paradigm of uncertainty in the trajectory of subversive discourses, without regard to objectivity and the issue of individual genius, resorts to techniques such as adapting and imitating previous ideas. Thus, it de-formalizes various cultural genres that have themselves been influenced by the process of modernization of late capitalist currents at the international level in the process of distortion. In the meantime, the intertextuality created by language games and electronic media sub-narratives, relying on the multiplicity of identities, blurs the line between reality and imagination in an aesthetic understanding of photomontage images. The purpose of this paper is to interpret the word "creation" as an adaptation in the process of creating photomontage images in an aesthetic way and based on the paradigm of the pluralism of the late capitalist era. Accordingly, it raises the main question of what interpretation of the photomontage model depicts the accelerated and multifaceted approach to the production of cultural symbols aimed at capitalist modernization in the path of postmodernist aesthetic discourse? Therefore, in a qualitative approach and in a descriptive-analytic study, documented data based on common themes among the variables in the research topic have been analyzed by content analysis method to conclude that the accumulation of space and time due to late capitalist culture with the central discourse of postmodernist aesthetics mixing path marks the atmosphere of cultural symbols that the idea of creating such a utopia of postmodernist atmosphere is compatible with the pattern of photomontage images and their imitation and fusion properties

Proporcionando estrategias óptimas en la arquitectura costera de la isla de Kish para hacer frente a futuras consecuencias ambientales

El propósito de este estudio es diseñar y explicar un modelo prospectivo para medir la sostenibilidad del turismo en la isla de Kish. En consecuencia, se ha considerado la conceptualización de la arquitectura costera o el turismo, la identificación de factores influyentes y estrategias operativas para mejorar la industria turística, especialmente en las dimensiones costeras de la isla. Debido a la naturaleza exploratoria de la investigación, la estrategia utilizada en esta investigación es la teoría fundamentada. El muestreo utilizado en este estudio fue un muestreo teórico. La base principal para la recopilación de información ha sido la realización de entrevistas en profundidad con gestores y expertos senior en turismo costero para alcanzar la saturación teórica. Se realizaron un total de 13 entrevistas. Después de recopilar la información, se analizaron los códigos de entrevista escritos. Los hallazgos se codificaron según el patrón paradigmático de Strauss y Corbin. Por lo tanto, luego de realizar los tres pasos de codificación abierta, axial y selectiva, se logró el modelado final. El modelo consta de 6 categorías generales (causal, contextual, intervencionista, fundamental, estrategias y consecuencias) y 12 subcategorías y 36 conceptos y datos semántico

Perceptions of the Meanings and Meaning-Making Factors of Yazd Traditional Houses Based on the Approach of Cultural Semiotics

Abstract| As the first place in the formation of human experience aspects, the house can be the basis of the thought and culture of society. These aspects of identity in the semantic system of architectural texts in traditional Iranian houses are beyond what is visible. This meaning can be found through reading, perception, contemplation, and exploration of the underlying and hidden layers of these houses. This study is based on the approach of cultural semiotics, trying to understand the structure of traditional buildings by relying on the method of cultural semiotics and discovering the hidden cultures and traditions in these houses by understanding symbolic concepts. The study is trying to answer these main questions: How are meanings formed in traditional houses of Yazd and what factors lead to the formation of the meanings? This study uses the descriptive-analytical method and is based on the cultural semiotics approach proposed by Yuri Lotman and Roland Posner. In this regard, the association or differences and conflicts between symbolic systems in the context of traditional houses in Yazd were first examined. Its previous interpretations were then reviewed, and its symbolic transformations were explained using Lotman’s cultural semiotics approach. The results suggest that the meanings in traditional houses are defined as an entrance complex and the central courtyard and are repeated as multiple texts with the correlation of all the indicators. These similarities in symbolic systems are intertwined in the whole and components, which are based on the relationship between object and context, unity and plurality homomorphism, boundedness, and interaction, and developed in the framework of the semiosphere of Yazd’s cultural space