Tesis sobre el tema "Iranians in art"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Iranians in art".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
Sadeghinia, Sara. "Défis de quelques pratiques artistiques contemporaines de la jeune scène iranienne". Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30024.
Texto completoCulture 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.
Texto completoShojai, 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.
Texto completoYarmohammad, Touski Golnar. "Odes to Incongruity: Iranian Contemporary Art in Diaspora". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408639257.
Texto completoSadeghi, Asal. "De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son". Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.
Texto completoMany 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.
Texto completoKhazaie, 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.
Texto completoJAFARYAN, Faezeh. "Italian Neorealism and Iranian Cinema: A Deleuzian Reading". Doctoral thesis, Università degli studi di Ferrara, 2016. http://hdl.handle.net/11392/2403414.
Texto completoThe 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/.
Texto completoWalker, 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.
Texto completoImber, Kirstie Frances. "Unveiling the voice : the politics and poetics of the voice in Iranian women's art". Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/278/.
Texto completoKeshavarzi, Solmaz [Verfasser] y Christoph [Akademischer Betreuer] Wagner. "Iranian Modern Art during the Pahlavy Dynasty (1925-1979) / Solmaz Keshavarzi ; Betreuer: Christoph Wagner". Regensburg : Universitätsbibliothek Regensburg, 2021. http://d-nb.info/1234713187/34.
Texto completoZandian, Nastaran. "Bridging the worlds through art and culture, an Iranian cultural center in Washington D.C". College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7839.
Texto completoThesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
McAuliffe, Cameron. "Multicultural futures : the negotiation of identity amongst second generation Iranians of Muslim and Baha'i background in Sydney, London and Vancouver /". Connect to full text, 2005. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20051007.093239.
Texto completoSheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.
Texto completoZabolinezhad, Hoda. "A la recherche de la figure de l'artiste contestataire contemporain, dans le cadre de la mondialisation : le cas particulier des artistes contestataires iraniens". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC005.
Texto completo"The analytical philosophers of art and the conceptual artists have in common to refuse the theorization and the search for the beautiful as idea or norm, to pose instead a definition of art as a symbolic function always to decrypt from itself and its own language, without applying to it an essence a priori "explains Dominique Chateau (French esthetician, born in 1948). In other words, it is the aesthetics of logical empiricism and pragmatism. The reference to a part of the introduction to the first issue of the Revue francophone d'esthétique, under the direction of Frédéric Wecker, written by Jean-Pierre Cometti, Jacques Morizot and Roger Pouivet, clarifies the objective of this aesthetic theory. ; "[...] Would aesthetic problems have dissolved in the generalized media? Are they doomed to nourish a brilliant essayism but without theoretical significance? Should we give the floor to historians, social scientists or professionals in the art world? That is not our conviction. We want to bet on an aesthetic approach open to all the manifestations of art and that claims a bias of conceptual analysis and critical argumentation. In fact, it is not enough to appeal to a fundamental anthropological dimension, nor to stick to the petty currency of events and events. Like any discipline of any ambition, aesthetics must be able to construct its own objects and revise its results and procedures: this is its only guarantee of escaping the frenzy of interpretation. "Regarding this reflection the analytical aesthetic is a constant dialogue with the avant-garde works of art of modern and contemporary art, notably those of Duchamp and Warhol, emphasizing a set of sometimes heterogeneous aesthetic theories; far from traditional theories, all these theories reject the beautiful as an essential principle of what has become known to art, that is to say the work of art. [...]
Jafari, Sara. "L'évolution de l'art contemporain en Iran : l'art plastique : la peinture". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC003/document.
Texto completoIn this research project, I have analyzed the current contemporary Iranian painting and its evolution composed of periods of oppression in one hand and periods of progression on the other hand. This analyze is based on historical, political, social and cultural events in Iran. As long as one can remember, this country and its people has been invaded and exploited by foreign countries and even local governments which at all time, they have used resources and cultural treasure of Iran. For all these reasons, a national philosophy has taken place in the country, which pushes Iranian to think less about the future by trying to appreciate the present. The young generation of Iranian artist knows that it has to consider and to use its own roots and culture to get the opportunity to join the world-wide art
Saffaran, Elyas. "Recherches sur l'Iran et la Grèce anciens : éléments artistiques et culturels iraniens (traditions et rapports réciproques avec la Grèce, conservation et restauration)". Limoges, 1996. http://www.theses.fr/1996LIMO2007.
Texto completoAlthough nowadays these two countries, greece and iran, seem very distant from one another, in antiquity, they were very close. . . In spite of this situation, until now, it has been written a lot about these two civilizations, all over the world, in the west, like in the east. All aspects have been discussed. . . Because the ancient historians have been driven to give pictures of one or the other of these two civilizations, which do not always correspond to the strictly objective reality because they are transformed by the political thinking and the political propaganda. Therefore a comparative study about the artistic and cultural elements of these countries of tradition, which are very different from one another today, will unable us to understand better what, since the remote antiquity, has linked and separated them. These elements are the key to the careful understanding of the secrets of these two countries of the antiquity. It has been then noticed that iran and greece have, in their geographical area, known an artistic and cultural development very peculiar, which gives them a first rank place in the ancient world and in the history of humanity. This thesis deals with a thorough study of the definit image of these two civilizations. Furthermore, if artistic and cultural works and elements of these two civilizations do not grow old, with the methods available (technical and legal), and thanks to modern sciences, laws and international rights, one can keep and restore the cultural and artistic elements of these two civilizations for the next generations
Vassaf, Hamid-Reza. "Les sources préislamiques dans l’iconographie des amulettes et talismans iraniens chiites". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20104.
Texto completoIf we consider the important role of magic in Islam as well as in Muslim countries and possibly considering its important role in the making of the symbolic universe of Islamic art, the artistic study of magical items can be a new way for historians of Islamic art.The studies and comments developed in the framework of this thesis are two-fold: first, to discover the thematic and visual sources of the symbolic universe of Iranian Shiite amulets and talismans. Or in other words, to find a clear and precise answer to the question whether the composing elements of the iconography of Iranian Shiite amulets and talismans are strictly based on Islamic sources and primitive traditions of Arabic Muslim. Otherwise, can we consider other sources for these elements like the myths and the artistic traditions of oldest Mesopotamia and Persia?On the second hand, our goal is to attract the attention of historians of Islamic art on the themes of symbols - and their regional past - shown on Iranian Shiite magic items specifically and more generally on Islamic art.This work is based on a stylistic and artistic study as well as a thematic and comparative study between the textual and visual elements on the 166 Iranian Shiites amulets and talismans - collected from three collections: « Les cachets, bulles et talismans islamiques » from « Département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris », from « Collection des objets » from « Musée du Quai Branly » in Paris et from « Collection des objets talismaniques iraniens (ou des objets magiques iraniens) » from « Musée civilisations Europe Méditerranée de Marseille (MuCEM) » – with those in the pre-Islamic art of Mesopotamia and Persia.This work shows that both textual and pictorial components of these objects have a thematic relationship based on a cosmic and mythical pre-Islamic perspective. In addition, our analysis shows that the birth of the decorative and figurative writing could be the result of an ideological and cultural conflict between the Arabic Muslim conquerors and the intellectuals of conquered countries. Our study also shows that the symbolic universe of Iranian Shiites amulets and talismans was formed under the influence of many disagreements between primitive Islam imported by Arabic Muslims and new Muslims of conquered countries. Our analysis is only based on the three collections of French museums and it is essential to enrich it with other items from other museums around the world
Karimi, Mohammad 1959. "Iranian Access Television of Dallas: Cultural Issues, Preservation, and Community Formation". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278997/.
Texto completoBarzegar, Karim Najafi. "Mughal-Iranian relations : during sixteenth century /". New Delhi : Indian Bibliographies Bureau, 2000. http://catalogue.bnf.fr/ark:/12148/cb38948708g.
Texto completoRashti, Sogol. "Persian in practice". Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2003.
Texto completoRakhsha, Layli. "Diaspora and home: contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists". Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.
Texto completoWorth, Janet. "The distinctive fish motif on a 14th century Iranian bowl in the Art Gallery of South Australia's William Bowmore Collection of Islamic ceramics /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmw932.pdf.
Texto completoRastegar-Pouyani, Nasrullah. "Systematics and biogeography of Iranian Plateau agamids (Reptilia: Agamidae) /". Göteborg : Göteborg University, Faculty of Natural Sciences, 1999. http://catalogue.bnf.fr/ark:/12148/cb377547323.
Texto completoTakht, Keshian Fatemeh. "Reviving identity : an investigation of identity in Iranian artworks in the period 1958-1966 in relation to a contemporary fine art practice". Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86312/.
Texto completoKouloubandi, Abdollah. "Job Satisfaction Among Business Administration Faculty in Selected Iranian Universities". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332696/.
Texto completoSajad, Veismoradi. "How Different Parts of the Supply Chain Act in Fashion Industry in Iran". Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20857.
Texto completoProgram: Master programme in Applied Textile Management
Kazemi, Zadeh Gol Narges. "A Contrastive Study of the Speech Act of Refusal; Iranian ESL Learners and Native English Speaking Americans". University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1370217643.
Texto completoTavakoli, Omid. "A Burning Silence". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556307287955672.
Texto completoPessuto, Kelen. "O 'espelho mágico ' do cinema iraniano = uma análise das performances dos "não" atores nos filmes de arte". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284435.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T05:09:01Z (GMT). No. of bitstreams: 1 Pessuto_Kelen_M.pdf: 3175741 bytes, checksum: 12122eeb3b192b833dfc0faebb26d576 (MD5) Previous issue date: 2011
Resumo: Esta dissertação analisa as performances dos "não" atores no cinema de arte iraniano, a partir das obras Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salve o cinema (Salam cinema, 1995, Mohsen Makhmalbaf), Tartarugas podem voar (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) e O espelho (Ayneh, 1997, Jafar Panahi). Com base na antropologia da performance, busca-se responder às seguintes perguntas: Quem são os "não" atores? Por que são usados esse tipo de ator em vez de atores profissionais? Quais os métodos empregados em sua direção? Qual a relação que se estabelece entre o ator e o personagem? Para tanto, utiliza-se além da bibliografia pertinente a essa disciplina, ao teatro e ao cinema, o método comparativo, com filmes do mesmo diretor, assim como de outras cinematografias. Conclui-se que não há necessidade do ator ter uma técnica préestabelecida, sendo que a direção proposta por esses cineastas requer o mínimo de atuação. O ator-performer vivencia as situações que lhes são impostas e, a partir disso, cria personagens, algumas vezes baseados em sua própria experiência de vida, como em uma grande brincadeira de faz de conta
Abstract: This thesis analyzes the performance of the "non" actors in the Iranian art cinema, in movies Close-up (Nema-ye Nazdik, 1990, Abbas Kiarostami), Salam cinema (1995, Mohsen Makhmalbaf), Turtles can fly (Lakposhtha parvaz mikonand, 2004, Bahman Ghobadi) and The Mirror (Ayneh, 1997, Jafar Panahi). Based on the anthropology of performance, we seek to answer the following questions: Who are these "non" actors? Why they used that kind of actor instead of professional actors? What are the methods employed in its direction? and What is the relationship established between the actor and character? For this, we use the comparative method, with films from these directors, as well movies by other cinematographies. The conclusion reached is that there is no need for the actor to have a pre-established technique, because the direction proposed by these filmmakers requires minimal action. The actor-performer experience situations that are imposed for them and they create characters, sometimes based on their own experience of life, as in a grand game of make-believe
Mestrado
Artes Cenicas
Mestre em Artes
Khosravi, Mojgan. "Shirin Neshat: A Contemporary Orientalist". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/73.
Texto completoBonakdarian, Mansour. "Britain and the Iranian constitutional revolution of 1906-1911 : foreign policy, imperalism, and dissent /". Syracuse : Syracuse university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb401423014.
Texto completoSalimi, Gita. "Intergenerational differences in the experiences of middle-class Iranian migrant women post-revolution (1979) who are living in the UK". Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/27623/.
Texto completoAlikhani, Mohammad Mohsen. "Les restrictions et les créativités artistiques dans le cinéma iranien". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H300.
Texto completoThe art of cinema since its emergence in Iran and on the grounds of the Royal Court in 1900 was immediately subject to censorship from the administration in power, attached to traditional religious beliefs. Its extension to Iranian society, four years later, was the result of the country intellectuals' efforts. But as soon as it was presented to the public, film art has had to face two very strong antagonisms in the society: religion and morality; because this media -major element of modernity -was considered by both as a source of corruption. The cinema, for its part, never gave up. From the first national productions, and gradually. we see the emergence of works that take into account the constraint of censorship in trying to bypass it, by expressing their concerns in disguised form essentially through metaphors. What distinguish Iranian cinema as apart from the world of filmmaking, is the tendency to develop a metaphorical language that emanate from its historical past. Iranian cinema, indeed, drew its inspiration and foundations in Persian poetry. Throughout history, poets -the first- have learned to usi metaphor to express their ideas despite the prohibition. This look and dimension are then intensified and gradually impregnated the Iranian society in general and artists in particular. This way of reacting became later so usual that the Iranian people, too, began to use it in tum often to express his thoughts through an indirect and symbolic way. He knows instantly how to decode the language and to receive the message or messages. It is in this context that Iranian filmmakers have managed to build an adequate method to pass the bounds of censorship. criticize Iranian society through this poetic transposition and create a lively interaction with the audience. This evolution. which began with the national production in the early thirties, was reinforced in the late fifties to crystallize at the end of the next decade
Alirezai, Hossein. "Le Théâtre iranien ou tazié comparé au mystère médiéval". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375954022.
Texto completoKarimi, Leila. "A test of a model of work-family interface : a study of Iranian employees /". Full text available, 2006. http://adt.curtin.edu.au/theses/available/adt-WCU20061129.141130.
Texto completoEmami, Azita. ""We are deaf, though we hear; we are dumb, though we talk; we are blind, though we see" : understanding Iranian late-in-life immigrants' perceptions and experiences of health, illness and culturally appropriate care /". Stockholm, 2000. http://diss.kib.ki.se/2000/91-628-4361-3/.
Texto completoAlavi-Mybodi, Seyed-Mohamad. "Les Causes et les effets du divorce en droit iranien". Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105213g.
Texto completoEtemadi, Sedigheh. "L'irruption du jeu dans l'art visuel contemporain (iranien en particulier)". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC008.
Texto completoI was ten years old. It was after the war and Iran was embargoed. At school I only had two pencils to write my homework, one black and one red. Both were decorated with the symbol of a brand, a black crocodile. It was also a guarantee of quality. My crocodile pencils wrote well. I was used to seeing them, my crocodiles. Then I spent a lot of time with my aunt. She was sewing. I played with the remains of the fabrics. I was fascinated by the colors and shapes that I created with these pieces of fabric. I probably started my first collages at that time. Later when I became a painter, animals and colors were the basis of my paintings. Among these animals the crocodile arose without my being aware of the reason for this apparition. One day while thinking I remembered my childhood pencils! When I started painting, the limits and constraints in Iran did not allow me to express myself freely. Then the childhood game that I had taken in the style of my painter, made me this one pleasant and playful. I had my colors and the game, and I expressed what I wanted; I had managed to find a language of playful and strong expression and I was delighted. I was not the only one to take the game as a way to get around the limits and the censure. Breaking the boundaries through play was the center of our work. The reflection on the irruption of the game in the contemporary visual art and in particular in Iran became the central subject of my reflection and my interrogation on the reasons which led us to express ourselves thus. I chose it as the subject of my thesis. [...]
Arefi, Marzieh. "The relationship between first and second language writing skills for Iranian students in Sydney : an application of the interdependence hypothesis /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030617.095305/index.html.
Texto completoDivsalar, Mohamed Reza. "Industries d'amont et développement de l'agriculture dans le Tiers Monde le cas iranien". Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37597204p.
Texto completoEftekhar-Jahromi, Goudarz. "La Garantie des vices en matière de vente étude de droit iranien et comparé". Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb361054162.
Texto completoRafifar, Jalal. "L'Industrie lithique néolithique du Zagros et du plateau iranien, 10000-6000 avant J.-C". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376177962.
Texto completoBraud, Jean. "La Suture du Zagros au niveau de Kermanshah (Kurdistan iranien) évolution géodynamique, magmatique et structurale /". Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37603422h.
Texto completoAssef, Zahin Ibrahimzada Mohammad. "La Formation de l'union conjugale et la situation juridique de la femme en droit iranien comparé". Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105226t.
Texto completoSedigh, Zadeh Mehdi. "Att studera i ett främmande land : en studie av motiv och studiesituation bland utländska studerande vid svenska högskolor /". Uppsala : Stockholm : Uppsala univ. ; Almqvist & Wiksell [distributör], 1994. http://catalogue.bnf.fr/ark:/12148/cb369571807.
Texto completoTchalbianlou, Naroudine. "Peuples, nation, état pour une histoire des relations internationales, éléments sur la formation d'un état multinational et sur sa participation au concert des nations : présentation, traduction et édition de textes (iraniens) /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376188461.
Texto completoGohari, Nahid. "De la littérature au cinéma, transformation d'une écriture : le nouveau roman français et iranien et le cas de Bahman Farmânâra". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0225/document.
Texto completoSince its birth, novel writing has gone through many changes, not only in its shape but also in its content. In the twentieth century, novel writing and especially cinema evolved impressively due to the technological and scientific progress. The influence of cinematographic techniques on the writing and the collaboration with the New Novelists - such as Alain Robbe-Grillet and Marguerite Duras, Houshang Golshiri, and French and Iranian filmmakers such as Alain Resnais and Bahman Farmânâra - led to the creation of a trans modal writing and to the appearance of hybrid texts that both include characteristics of literary and cinematographic narratives. We must accept the theory that cinema is the writing of tomorrow and that the modern man is facing the Era of suspicion. Nevertheless, this kind of writing illustrates a structural similarity particularly between the work of Farmânâra and the New Roman scenarios, especially from the point of view of the character. As a result, we have a scrambled structure in the space and in the time dimension. This context allows us to create a new image of a man who is lost in the modern problematic society
رمان از آغاز پیدایش همواره شاهد تغییراتی در فرم و محتوا بوده است .با این حال به کمک گسترش علوم متفاوت و تکنیک های سینمایی، این این تغییرات در قرن بیستم ابعاد تازه ای به خود گرفته است تاثیر تکنیک ھای سینمایی بر روی نوشتارو مشارکت رمان نو نویسندگانی چون آلن رب گریه و مارگاریت دوراس در فرانسه و ھوشنگ گلشیری در ایران با سینماگرانی چون آلن رنه فرانسوی و بھمن فرمان آرای ایرانی، منجربه تولد نوعی نوشتار چند وجھی و متون مختلط گردید که معرف خصوصیات ھردو ژانرسینمایی و ادبی می باشد. . بدین ترتیب این تئوری که سینما نوشتار فرداست مطرح میگردد. نوشتاری که خود را با نیازھای انسان مدرن که در عصر شک وارد شده است، تطبیق داده است. بررسی این نوشتار از نقطه نظر پرسوناژ، ساختار زمان و مکان و ... د ر آثار بهمن فرمان آرا و مقایسه ی آن با برترین رمان های نو، رب گریه ، بوتور، دوراس و ھمچنین برخی از کتاب ھای گلشیری که بعضا توسط شخص فرمان آرا اقتباس گردیده اند، علاوه بر نشان دادن نزدیکی سناریوھای وی با رمان نو ، مبین تصویر دیگری است ازاین انسان سرگشته درجامعه پر از دشواری عصر حاضر
Salami, Shahnaz. "Enjeux et perspectives de la politique du droit d'auteur en Iran à l'heure de la globalisation et à la lumière du droit français et international : exemple du cinéma". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2112.
Texto completoThe recognition of copyright in Iran encounters significant difficulties in globalization times when international standardization of copyright clashes with national issues : such is the assumption that we will endeavor to check in the first part of our thesis. First, a study of copyright in Iran will show that the Iranian cultural policy concerning literary and artistic property is inspired by the French approach to copyright. Secondly, an analysis of international positive law will see cultural, political and economic issues that explain why the Iranian legislator tends to strike a balance between the Iranian distinctiveness and international positive law through a series of reforms. Finally, this study will illustrate the difficulties the Iranian legislator has to face in order to find a harmonization between international conventions on the one hand, and level of development of the country on the other. The second part of this thesis analyzes the development of film piracy and counterfeiting, the rise of black market and network evolution in the informal economy of communication, that all impede the efforts to comply the Iranian copyright with international copyright. Film piracy deserves to be seen as closely interwoven into the social, political, cultural and economic environment of today's Iran. This is the idea on which this part of our thesis is based. Through the technological, economic, social and political history of Iran's cinema, this study aims at discovering the reasons for the development of pirate activity in Iran, its consequences for the Iranian film industry and Iranian society. Through this analysis on piracy, this thesis finally presents it as an underground and misunderstood way of developing cultural globalization in Iran in the shadows. In filigree, this analysis shows how business network which pirate market films embody an « underground economy » organizing an underground cultural globalization in Iran