Semiotics of post-revolutionary wall paintings (Case study: Tehran)

Document Type : Research Paper

Authors

1 PhD student in Political Sociology, Islamic Azad University of Tehran Center, Tehran, Iran

2 Assistant Professor, Department of Sociology, Islamic Azad University of Tehran, Center, Tehran, Iran

3 Associate Professor, Department of Sociology, University of Tehran, Tehran, Iran

Abstract

In this article, using the semiotic approach, the meaning of graffiti works or murals in Tehran has been discussed. It is a qualitative method that is equipped with a critical and semiotic approach to re-understand urban expressions in order to go beyond the expected meanings of urban murals and with the help of semiotic techniques to graffiti as a social reality. Reach. In the theoretical framework of the theory of representation of reality and also the analysis of discourse as two critical theories that believe that our understanding of works of art is always achieved through the mediation of various factors and those factors in predetermined forms and forms try to be real the findings of the article show that murals as part of the body of the city have always been a point of contention between public space and power structures. The municipality, as a part of its power, considers itself the owner of the city walls and has always sought to legitimize a part through the mythology of concepts, and in the process has marginalized various dimensions of urban reality, so along with painting. Formal murals there are always informal paintings that reflect various areas of urban life. The objective example of this type of painting is the role of women in urban murals.

Keywords


Abazari, Y. (2001). Roland Barthes and Myths and Cultural Studies, the Journal of Argonne, No. 18, Second Edition, Tehran: Ministry of Culture and Islamic Guidance Publications. (Persian).
Ahmadi Khorasani, N. (2010). “The Absence of Women in Street Art”, Humanities Monthly, Mehrnameh, First Year No. 7 Page 187 to 189. (Persian).
Bart, R. (2001). The Myth of the Present Time, Translated by Yousef Abazari, The Journal of Argonoon, Issue 18, Second Edition, Tehran: Ministry of Culture and Islamic Guidance Publications. (Persian).
Hall, S. (2009). The Work of Representation, In Cultural Representation and Signifying Practice, Sage Publication.
Howard, S. (2002). Key Concepts in Cinema Studies, Translated by Fatah Mohammadi, Tehran: Third Millennium Publication 14. (Persian)
Interview with Jackson Pollock by: William Wright, summer broadcasting, but never used); as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 144.
Kafsh Chian Moghadam, A. (2006). “How to Arrange a Mural Painting”, Journal of Visual Arts, March 2007-Issue 25 Page 43. (Persian).
Kazemi, A. (2010). “Semitics of Tehran Graffiti”, Humanities Monthly, Mehrnameh, Year 7, No. 175, Page 179. (Persian)
Nochlin, L. (1992). Woman, Art and Power, Visual Theory, Edited by Bryson.
Rashad, K. (2004). What is Graffiti? 1 and 2, available at: http://www.kolahstudio.com/Underground/?p=138.
Saduji, F. (2010). “Semitics of Tehran Graffiti”, Humanities Monthly, Mehrnameh, First Year, No. 7, Page 175-179. (Persian).
Soltani, L. (2001). Urban Milestones and Landmarks, Master of Architecture Accessible at http://www.noandishaan.com. (Persian).
Strainati, D. (2005). An Introduction to Popular Culture Theories, Translated by Soraya Pak Nazar, Second Edition, Tehran: A New Step. (Persian).
Van Dijk, T. A. (2010). Discourse analysis as Ideology analysis, Christina Schaffer & Animal, Weyden (ends). Language & Peace, Dartmouth: Alders hot.
Varner, S. (2007). “Youth claiming space: The case of Pittsburgh, Roboto Project in Youth cultures: scenes, subcultures and tribes, Eds”, By Paul Hokinson and Wolfgang Deicke, London Rutledge, 161-175.
Watson, J. and Hill, A. (2006). Dictionary of Media and Communication Studies, 7th Edition, Hodder Arnold Publication 1950.