Volume 8, Issue 1 (Semi-Annual 2024)
JIC 2024, 8(1): 1-13 |
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Ghassemi V, Shairi H, Ziaee M. (2024). Semiotic analysis of the formation process of "discursive non-subject " in the paintings of Ahmad Morshedloo. JIC. 8(1), 1-13. doi:10.61186/jic.8.1.215
URL: http://jih-tabriziau.ir/article-1-215-en.html
URL: http://jih-tabriziau.ir/article-1-215-en.html
1- Faculty of Industrial Arts, Tabriz Islamic Art University, Tabriz, Ira
2- Department of French, Faculty of Humanities, Tarbiat Modares University, Tehran, Iran ,shairi@modares.ac.ir
2- Department of French, Faculty of Humanities, Tarbiat Modares University, Tehran, Iran ,
Abstract: (4858 Views)
Ahmad Morshedloo is one of the most famous Iranian contemporary painters whose in his works, he has addressed social issues with a critical expression in a realistic manner. In Morshedloo's works, the human subject is represented, a subject that has resisted social action and is "non-subject". The dominant subject of Ahmad Morshedloo's paintings are human subjects, which occupy most of the space of the frame and are depicted in a muted, monochrome background. The human subjects in these works are lonely, sad and bored, and most of them hide their gaze. In this way, they look like people who are empty of life, ghostly and deformed, who have become passive in their social relations and in other words, " non-subjectivity ".
The following article tries to analyze the visual discourse and the semiotic mechanisms of the "non-subject" subject in Ahmad Morshedloo's paintings by relying on the semio-discursive approach. Discursive semiotics is an approach in which meaning is received through examining signs in relation to each other and other discourse elements. The manner of this communication and interaction creates various discourse systems, which include actional system, tension system, and sensible system. Action discourse is focused on the principle of action, action and possession of a valuable object. sensible discourse is based on the principle of presence and sensory-perceptual and emotional relationship of sensible person with the world, with himself and with others. The tension discourse is based on the principle of fluid and spectrum relationship between two streams of "extensity" (cognitive world and outside of me) and "intensity" (emotional and inner world).
The purpose of writing this article is to show, relying on the visual discourse of Morshedloo's paintings and its unique visual expression, using the semiotic analysis method, how the concept of " non-subject" was formed in the visual discourse of the works and the process of production and It has affected the reception of meaning. "non-subject" define a human subject who has lost the ability to evaluate and judge and cannot take voluntary action. Research methodology is descriptive-analytical, and five works of Ahmad Morshedloo's paintings are analyzed in this article. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “non-subject” in visual discourse? 2. What are the major semio-discursive functions of “non-subject” in the visual discursive system? The results showed that formation of discursive “non-subject” is as a result to negate components of action in the subject, and by creating a negative process through disrupting the order and creating chaos in modality verbs and through visual measures such as norm avoidance, repetition, and automaticity, faceless in subject, marginalization and threat of the subject by everyday objects are manifested in the works of Morshedloo. Also by using of the semio-discursive components of "non-subject", the tense and emotional atmosphere in the visual discourse of the paintings has peaked, and an emotional and modality subject has been formed with the characteristics of doubt and anxiety.
The following article tries to analyze the visual discourse and the semiotic mechanisms of the "non-subject" subject in Ahmad Morshedloo's paintings by relying on the semio-discursive approach. Discursive semiotics is an approach in which meaning is received through examining signs in relation to each other and other discourse elements. The manner of this communication and interaction creates various discourse systems, which include actional system, tension system, and sensible system. Action discourse is focused on the principle of action, action and possession of a valuable object. sensible discourse is based on the principle of presence and sensory-perceptual and emotional relationship of sensible person with the world, with himself and with others. The tension discourse is based on the principle of fluid and spectrum relationship between two streams of "extensity" (cognitive world and outside of me) and "intensity" (emotional and inner world).
The purpose of writing this article is to show, relying on the visual discourse of Morshedloo's paintings and its unique visual expression, using the semiotic analysis method, how the concept of " non-subject" was formed in the visual discourse of the works and the process of production and It has affected the reception of meaning. "non-subject" define a human subject who has lost the ability to evaluate and judge and cannot take voluntary action. Research methodology is descriptive-analytical, and five works of Ahmad Morshedloo's paintings are analyzed in this article. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “non-subject” in visual discourse? 2. What are the major semio-discursive functions of “non-subject” in the visual discursive system? The results showed that formation of discursive “non-subject” is as a result to negate components of action in the subject, and by creating a negative process through disrupting the order and creating chaos in modality verbs and through visual measures such as norm avoidance, repetition, and automaticity, faceless in subject, marginalization and threat of the subject by everyday objects are manifested in the works of Morshedloo. Also by using of the semio-discursive components of "non-subject", the tense and emotional atmosphere in the visual discourse of the paintings has peaked, and an emotional and modality subject has been formed with the characteristics of doubt and anxiety.
Keywords: Ahmad Morshedloo, discursive non-subject, discursive semiotics, realism painting, Iranian contemporary painting
Type of Study: Original Research |
Subject:
2
Received: 2022/08/28 | Accepted: 2022/12/17 | Published: 2025/01/4
Received: 2022/08/28 | Accepted: 2022/12/17 | Published: 2025/01/4
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