Auswahl der wissenschaftlichen Literatur zum Thema „Iranians in art“
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Zeitschriftenartikel zum Thema "Iranians in art"
Sattari Sarbanqoli, Sina, und Sirus Jamali. „A comparative study of painting and architecture stylistics of contemporary Iranian and western arts“. Journal of Art and Architecture Studies 10, Nr. 2 (15.12.2021): 31–41. http://dx.doi.org/10.54203/jaas.2021.5.
Der volle Inhalt der QuelleHassanzadeh, Fatemeh, und Shima Moallemi. „L’art populaire : un outil d’éveil identitaire chez l’apprenant iranien“. Voix Plurielles 10, Nr. 2 (28.11.2013): 120–30. http://dx.doi.org/10.26522/vp.v10i2.846.
Der volle Inhalt der QuelleNaef, Shirin. „Iran. A New Hub for Afghan Artists“. Almanach, Nr. 2 (08.12.2022): 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.
Der volle Inhalt der QuelleFekete, Albert, und Reza Haidari. „Special aspects of water use in Persian gardens“. Acta Universitatis Sapientiae, Agriculture and Environment 7, Nr. 1 (01.12.2015): 82–88. http://dx.doi.org/10.1515/ausae-2015-0007.
Der volle Inhalt der QuelleSousa, Inês, Farhad Shahram, David Francisco, Fereydoun Davatchi, Bahar Sadeghi Abdollahi, Fahmida Ghaderibarmi, Abdolhadi Nadji, Niloofar Mojarad Shafiee, Joana M. Xavier und Sofia A. Oliveira. „Brief Report: Association ofCCR1,KLRC4,IL12A-AS1,STAT4, andERAP1With Behçet's Disease in Iranians“. Arthritis & Rheumatology 67, Nr. 10 (23.09.2015): 2742–48. http://dx.doi.org/10.1002/art.39240.
Der volle Inhalt der QuelleRussell, James R. „Iranians, Armenians, Prince Igor, and the Lightness of Pushkin“. IRAN and the CAUCASUS 18, Nr. 4 (06.12.2014): 345–81. http://dx.doi.org/10.1163/1573384x-20140403.
Der volle Inhalt der QuelleAl-e Ahmad, Jalal. „To Mohassess, For the Wall“. ARTMargins 10, Nr. 2 (Juni 2021): 127–36. http://dx.doi.org/10.1162/artm_a_00297.
Der volle Inhalt der QuelleMirzaei, Mohammadreza. „Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall”“. ARTMargins 10, Nr. 2 (Juni 2021): 118–26. http://dx.doi.org/10.1162/artm_a_00296.
Der volle Inhalt der QuelleS., Yatsenko, und Kaverin S. „Archaeological Analogies to the Traditional Costume Elements in the Eastern Hindukush Area“. Teoriya i praktika arkheologicheskikh issledovaniy 34, Nr. 4 (Dezember 2022): 25–47. http://dx.doi.org/10.14258/tpai(2022)34(4).-02.
Der volle Inhalt der QuelleVanzan, Anna. „The Holy Defense Museum in Tehran, or How to Aestheticize War“. Middle East Journal of Culture and Communication 13, Nr. 1 (13.05.2020): 63–77. http://dx.doi.org/10.1163/18739865-01301004.
Der volle Inhalt der QuelleDissertationen zum Thema "Iranians in art"
Sadeghinia, Sara. „Défis de quelques pratiques artistiques contemporaines de la jeune scène iranienne“. Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30024.
Der volle Inhalt der QuelleCulture in general and art in particular, occupy a unique position in the structure of society. Despite the conflicts, political and ideological convulsions has been known for a century, Iran today is no longer a country under the political yoke of theocracy obscurantist. Unlike the noisy speech and actions hostile Islamic leaders who so easily cause the attention of the general public in the West, Iranian artistic expression is very little known to the public worldwide. This is from a personal realization plastic what evaluated as true representatives and spokespersons of Iranian society progressive are no longer policies, but its artists. Iranian artists trying to show the voice of another Iran, a country with a history thousands of years, but still as loving culture and eager for freedom. Very attached to their history and culture, the works of Iranian artists to develop between heritage and innovation which indicate universe where a symbolic language, ostensibly hybrid builds between traditions and modernity post-revolutionary. Through different mediums contemporaries, such as photography, performance, installation, video, these works reflect the research gesture and language may reconstruct the mosaic of reality. The regard of artists, built by their cultural codes, however, does not prevent to consider the current social and political problems. By against, Iranian artists intelligently divert the reality of metaphorical and symbolic way to transmit the content of their message to the world. In this way, Iranian contemporary art, has been able to flourish on the international scene and has attracted the attention of some collector’s art market and international exhibition curators, in recent decades
Mokhtabad-Amrei, Seyed Abdolhossein. „Iranian contemporary art music“. Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
Der volle Inhalt der QuelleShojai, Kaveh Darya <1995>. „Contemporary Iranian Art: Emerging Interest in Iranian Art in the International Art Markets and the Reception, Production and Assessment of Iranian Contemporary Art in the International Sphere“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15423.
Der volle Inhalt der QuelleYarmohammad, Touski Golnar. „Odes to Incongruity: Iranian Contemporary Art in Diaspora“. Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.
Der volle Inhalt der QuelleSadeghi, Asal. „De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son“. Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.
Der volle Inhalt der QuelleMany traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting
Kadoi, Yuka. „Aspects of Iranian art under the Mongols : Chinoiserie reappraised“. Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24748.
Der volle Inhalt der QuelleKhazaie, Mohammad. „The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning“. Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.
Der volle Inhalt der QuelleJAFARYAN, Faezeh. „Italian Neorealism and Iranian Cinema: A Deleuzian Reading“. Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.
Der volle Inhalt der QuelleThe influences of Italian neorealism on subsequent films and cinematic movements either in Italy or abroad have been studied by a great deal of scholars. Iranian cinema particularly Abbas Kiarostami’s films, also, have been investigated from the viewpoint of neorealism. The common ground of all these researches and studies, however, is the social content and some aesthetic and stylistic features of neorealism; the features such as ‘real locations, non-professional actors, long shots, simple plots, etc.’ which have been repeated by critics and historians of cinema as the defining features of neorealism. There are some thinkers, though, who tried to go beyond conventional definitions of this movement and pay heed to its philosophical dimensions. Gilles Deleuze is one of the most important philosophers, in this sense, who dedicated a chapter of his Cinema 1 (1986) to Italian neorealism and cited many Italian films as examples of his theories throughout his two-volume cinematic books. According to him, Italian neorealism is a turning point in history of cinema, where a new cinematic image came to exist for the first time, a pure optical image which gives a direct presentation of time. In this study, we tried to make a comparison between neorealism and Iranian new-wave in terms of concepts and definitions Deleuze ascribed to neorealism and we tried to explore different kinds of time-image and thoughtimage in some Italian and Iranian films.
Shobeirinejad, Seyed Abdolhadi. „Using deconstruction to advance traditional compositional and pictorial spaces in contemporary Iranian art“. Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/972/.
Der volle Inhalt der QuelleWalker, Parker Sharon LaVon. „Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place“. Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
Der volle Inhalt der QuelleBücher zum Thema "Iranians in art"
Jacobi, Hannah. Stimmen aus Teheran: Interviews zur zeitgenössischen Kunst im Iran. Frankfurt am Main: Edition Faust, 2017.
Den vollen Inhalt der Quelle findenT͡Sagaraev, Valeriĭ. Zolotai͡a i͡abloni͡a nartov: Istorii͡a, mifologii͡a, iskusstvo, semantika. Vladikavkaz: Respublikanskoe izdatelʹsko-poligr. predprii͡atie im. V.A. Gassieva, 2000.
Den vollen Inhalt der Quelle findenRozwadowski, Andrzej. Indoirańczycy--sztuka i mitologia: Petroglify Azji Środkowej. Poznań: Wydawn. Nauk. Uniwersytetu im. Adama Mickiewicza, 2003.
Den vollen Inhalt der Quelle findenShahrām, ʻIbādʹilahī, Hrsg. Ṣanāyiʻ-i dastī va huvīyat-i millī. Tihrān: Sāzmān-i Intishārāt-i Būrahʹkahʼī, 2009.
Den vollen Inhalt der Quelle findenḤayātī, Zahrā, 1975 or 6-, Hrsg. Az huvīyat-i Īrānī. 8. Aufl. Tihrān: Sūrah-i Mihr, 2007.
Den vollen Inhalt der Quelle findenZahrā, Rahnavard, und Dānishgāh-i. al-Zahrā, Hrsg. Contemporary Iraninan [i.e. Iranian] art & the Islamic world. [Tehran, Iran]: Al-Zahra University, 2002.
Den vollen Inhalt der Quelle findenBānū, Humāʼī Māhdukht, Hrsg. Tārīkh-i Iṣfahān: Mujallad-i hunar va hunarʹmandān. Tihrān: Pizhūhishgāh-i ʻUlūm-i Insānī va Muṭālaʻāt-i Farhangī, 1996.
Den vollen Inhalt der Quelle findenBānū, Humāʼī Māhdukht, Hrsg. Tārīkh-i Iṣfahān: Mujallad-i abnīyah va ʻimārāt va ās̲ār-i bāstānī. Tihrān: Nashr-i Humā, 2005.
Den vollen Inhalt der Quelle findenW, Ferrier R., Hrsg. The Arts of Persia. New Haven: Yale University Press, 1989.
Den vollen Inhalt der Quelle findenMahlodji, Erfan. Hennaria: Traditional Iranian henna art. Stow, Ohio: TapDancing Lizard, 2002.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Iranians in art"
Koo, Gi Yeon. „The Choice for the “Zendegie Normal (Normal Life)”: Changes Among Iranian Young Immigrants“. In Gulf Studies, 249–67. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_15.
Der volle Inhalt der QuelleErfani, Farhang. „“What Are Filmmakers for in Needy Times?”“. In Iranian Cinema and Philosophy, 39–67. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012920_3.
Der volle Inhalt der QuelleHatami, Elaheh. „Chapter 1. Dance: A Dilemma in Iranian Art“. In TanzScripte, 23–44. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460801-003.
Der volle Inhalt der QuelleMoussavi-Aghdam, Combiz. „“Iranian Modernism” and the Idea of Indigenous Art“. In New Histories of Art in the Global Postwar Era, 127–37. Names: Frigeri, Flavia, editor. | Handberg, Kristian, editor. Title: New histories of art in the global postwar era: multiple modernisms / Flavia Frigeri and Kristian Handberg. Description: New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-12.
Der volle Inhalt der QuelleFitzpatrick, Andrea. „Veiled Iranian Identities in the Photographic Art of Sadegh Tirafkan“. In Der Mann in der Krise?, 182–98. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218805-010.
Der volle Inhalt der QuelleOvla, Arman. „Myth and Mythology Related to Water in Indian and Iranian Culture“. In Art and Architectural Traditions of India and Iran, 85–99. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-8.
Der volle Inhalt der QuelleGhahari, Hassan, Gary A. P. Gibson und Gennaro Viggiani. „Diversity of Iranian Chalcidoidea.“ In Chalcidoidea of Iran (Insecta: Hymenoptera), 399–410. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789248463.0021a.
Der volle Inhalt der QuelleGhahari, Hassan, Gary A. P. Gibson und Gennaro Viggiani. „Diversity of Iranian Chalcidoidea.“ In Chalcidoidea of Iran (Insecta: Hymenoptera), 399–410. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789248463.0399.
Der volle Inhalt der QuelleKholomeeva, Anna. „Идентичность иранцев в архитектуре X-XII вв“. In Testo e immagine. Un dialogo dall’antichità al contemporaneo. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-362-5/009.
Der volle Inhalt der QuelleAkbari, Hourieh. „Persian“. In Language Communities in Japan, 169–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198856610.003.0018.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Iranians in art"
Boroujerdi, Sarah. „Mapping Out Race: How Afro-Iranian Migrations Redefine the ‘Aryan Myth’“. In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-4.
Der volle Inhalt der QuelleBeizaeijouybari, B., und B. S. Gungor. „The effect of Islam on the design of Iranian gardens“. In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. Southampton UK: WIT Press, 2016. http://dx.doi.org/10.2495/iha160091.
Der volle Inhalt der QuelleVertiienko, H. V. „IMAGE OF ROOSTER IN THE ART OF SCYTHIA: IRANIAN CONTEXT“. In ХХV СХОДОЗНАВЧІ ЧИТАННЯ А. КРИМСЬКОГО. Liha-Pres, 2022. http://dx.doi.org/10.36059/978-966-397-283-1-71.
Der volle Inhalt der QuelleRoshan, Anita. „METALANGUAGE AND GRAMMAR LEARNING OF IRANIAN EFL LEARNERS“. In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.015.
Der volle Inhalt der Quelle„Saqqa-Khaneh School as Iranian Contemporary Art Movement: Post Colonialism or Orientalism?“ In April 18-19, 2017 Kyoto (Japan). DiRPUB, 2017. http://dx.doi.org/10.15242/dirpub.dirh0417049.
Der volle Inhalt der QuelleJamshidi, AR, F. Gharibdoost, M. Akbarian, F. Shahram, A. Nadji und F. Davatchi. „FRI0104 Reactive arthritis in 43 iranian patients“. In Annual European Congress of Rheumatology, Annals of the rheumatic diseases ARD July 2001. BMJ Publishing Group Ltd and European League Against Rheumatism, 2001. http://dx.doi.org/10.1136/annrheumdis-2001.139.
Der volle Inhalt der QuelleHeidarpour, Mostafa, und Seyed Mojtaba Hoseini. „Generating art tile patterns using genetic algorithm“. In 2015 4th Iranian Joint Congress on Fuzzy and Intelligent Systems (CFIS). IEEE, 2015. http://dx.doi.org/10.1109/cfis.2015.7391652.
Der volle Inhalt der QuelleАбеди, М., und Н. Ю. Митрофанова. „IRANIAN GARDEN CARPET AS A SYMBOL OF HEAVEN“. In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.01.
Der volle Inhalt der QuelleFarmad, H. S., und Z. Modarres. „"Are people as smart as their smart meters are?" - Iranian experience of statistics feedback to households“. In CIRED Workshop 2016. Institution of Engineering and Technology, 2016. http://dx.doi.org/10.1049/cp.2016.0777.
Der volle Inhalt der QuelleNaghibulsadat, Seyed Reza. „Image of Social Life in the Information Society: Content Analysis of Iranian and Non-Iranian Social Networks' Structures“. In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t1.3003.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Iranians in art"
Afkhami, Shirin, und Máté Szalai. Evaluating the current state of the Saudi-Iranian reconciliation. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.74.
Der volle Inhalt der QuelleBulent, Kenes. Jobbik: A Turanist Trojan Horse in Europe? European Center for Populism Studies (ECPS), August 2020. http://dx.doi.org/10.55271/op0002.
Der volle Inhalt der QuelleLylo, Taras. Російсько-українська війна в інтерпретаціях іранського видання «The Tehran Times»: основні ідеологеми та маніпулятивні прийоми. Ivan Franko National University of Lviv, März 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11730.
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