Feminist theorists try to approach their philosophical perspectives from various systems. They approach it from the perspectives of liberalism, Marxism, radicalism, existentialism, postmodernism, etc. Whatever may be the system they use, their aim seems to be to divulge the oppressions undergone by the women. They use a method or adopt philosophical thinking so that they can spell out their cries in a philosophical manner. Using the philosophical systems does not mean that the philosopher who forwarded the system was aiming at (...) the liberation of women. I would like to present in this essay the utilitarian and Marxian perspectives on Feminism. For the utilitarian perspective, I base myself on Harriet Taylor Mill and the Marxian perspective is from the writings of Karl Marx. I also attempt to connect the philosophy of Harriet Taylor with the Iranian movie, The Day I Became a Woman, and the philosophy of Karl Marx with the illustrious play of Bertolt Brecht, The Caucasian Chalk Circle. (shrink)

This article examines some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela in order to explore the sense of Gilles Deleuze’s view that modern political cinema is characterized by a “missing” people, to which the adequate response is the people-sustaining or people-generating trance. I argue that the element missing from Deleuze’s discussion is how the typical way for a people to go “missing” under capitalism involves the obfuscation of their labor, an idea that sustains the (...) materially grounded trance in Varela’s Papeles Secundarios (2004) and Cuerpos Complementarios (2022), drawn from the filmmaker’s experience as casting director of Iranian artist Shirin Neshat’s production of her video installation Tooba (2002) in Oaxaca. The article discusses the “baroque critique” involved in Varela’s elliptically representing the workday of the non-professional Oaxacan actors employed in Neshat’s production, understood here as a critique articulated using the detritus of that production. The result is a paradigm of trans-temporal playfulness on film that also challenges the claims to trans-temporal experience sought in Neshat’s work. Thus, the article also locates these arguments within debates about whether films can “do philosophy”, including a hypothesis about the obfuscations of labor lying behind why making-of documentaries—and their capacities to critique the philosophical pretensions of their original subjects—have not figured more centrally in those debates. (shrink)

The object of compiling this treatise is to supply the Parsees a manual containing the morals of ancient Iranians and Zoroastrians. That there is a want of such a manual will be admitted by all thoughtful Zoroastrians, and if it should prove useful until a better one should be out, the compiler’s object shall have been gained. -/- There was no alternative but to take entire select pieces of prayers from the Avesta, and these have been so arranged that they (...) can be used by any person so as to serve the purpose of ordinary prayer and can be recited at any time and at any place. (shrink)

Collective imagination has traditionally associated architecture with political and economic power. As a result, when quoting Edward Said: «Modern Western culture is, in large part, the work of exiles, émigrés, refugees», the last people we typically consider are exiled architects. But is the heritage left by exiled architects truly insignificant? Can we find expressions of their spiritual quest, new life experiences, nostalgic feelings, and aesthetic shocks in their works? When does Modernism cease to be a universal language and instead becomes (...) an existential language of the exile – and can they both coexist? The international conference Architects in Exile. Stories of New Spatial Experiences" aims to address these questions. (shrink)

This paper raises a moral issue for contemporary post-revolutionary Muslim intellectuals in Iran. According to traditional Islamic teachings, ethics enables people to transcend from this mundane world and offers guidance on ways to improve virtues. Most contemporary Iranian Muslim intellectuals have attempted to pave the way for accomplishing this goal. After clarifying the ways in which Iranian Muslim intellectuals have faith in virtue ethics as a best possible moral normative theory, we claim that virtue ethics fails to support (...) some of our modern problems in the realm of politics such as human rights and democracy. Also, we argue that virtue ethics is not a good theory for ordinary average people who have weakness of will. A preliminary conclusion of the paper will be that utilitarianism, generally, and principle of utility, specifically, is a better solution to the modern problems. This, we believe, has been overlooked from the eyes of post-revolutionary Muslim intellectuals. Yet, we suggest that among different versions of utilitarianism, rule-utilitarianism is more justified to do this job. (shrink)

The construction of railways has been one of the symbols of advanced technology and modernity in various societies and is known as a means of expanding and transferring goods, men, and their ideas. During the political-economic circumstances of the second half of the 19th century, the first rail line of Iran was built under the Qajar rule. This was an 8 km railway to connect Tehran to Rey with some small wagons, most local people tended to call it Mashin-Doodi, which (...) translates as Smokey Machine. The railway then appeared in southwest Iran as a means of transport for the oil industry which was booming after oil discoveries in Khuzestan. The intercity railway started to operate in 1923 and was 57 km long, connecting Masjed-i-Soleyman to Dar-i-Kahzineh. It was established for exploitative purposes of foreign states resulting in a few small-scale and temporary projects, but the idea of constructing and expanding rail lines based on national investments finally materialized with the first national railroad. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser (...) concedes that there exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

This study investigated the rhetorical move structure of the dental sciences research article abstract (RAA) genre using Swales’ (2004) model of move analysis, CARS (Create a Research Space), to find the frequency of rhetorical moves and steps in RAAs of the selected journals and also to examine the association between the frequency of moves and steps in the RAAs. To this end, 251 abstracts from articles published in 2018, 2019, and 2020 in four Iranian PubMed-indexed dentistry journals were selected (...) and examined. The frequencies were counted and compared using the Chi Square statistic. The findings revealed that all of the abstracts included M3S4 and M3S5, and all but only one, included M3S1. Yet, M3S2 and M3S7 had not been used in the abstracts whatsoever, and M1S3 had been employed only once. It was also found that the RAAs in the Journal of Dentistry and the Dental Research Journal used the steps considerably more frequently than the RAAs in the Journal of Dental Research and Frontiers in Dentistry. The findings of this study can provide EAP instructors with practical insights into the needs and wants of dental students, and also serve as a complement to the guidelines for academic writing for dental researchers to produce more received RAAs. (shrink)

Owing to the escalating regional rivalries and the conventional arms race, Iran’s post-revolutionary hostilities towards the West, in addition to the crucial geopolitical and economic significance of the region, the complex Iranian nuclear crisis has made the global leaders to brood over the multilateral Iranian negotiations with the P5+1 and the International Atomic Energy Agency, which led to finalization and adoption of the Joint Comprehensive Plan of Action in 2015. The United Kingdom as a permanent member of the (...) United Nations Security Council, a nuclear state, the bridge to the Cross-Atlantic relations, in addition to its noted ‘special relationship’ with the United States, and having over two centuries of political ties with Iran has constantly played a crucial role in all stages of the negotiations and tightening the imposed embargoes. Indeed, ever since the 1979 Revolution the Anglo-Iranian relations have been volatile and have suffered from tension, instability, and upheavals; despite reconciliation in 1998 and some prominent diplomatic accomplishments in nuclear negotiations the sour relations had strained by several incidents in the past two decades. This study addresses the Anglo-Iranian relations and attempts to provide theoretical scrutiny of the UK foreign policy on the Iranian nuclear program and clarify the British approach through the lens of game theories with respect to neorealism, classical realism, neoclassical realism, and liberalism perspectives. (shrink)

It does not take much to realize that, concerning the topic of Iran, the lack of response and general confusion from the Left within liberal, Western democracies is deeply symptomatic. That the perplexed responses of liberals seem to be characterized by a fetishization of the Iranian Other, reducing them to an empty screen onto which the liberal ideological subject may project their fantasy, prevents the Left from acknowledging that Iranian ideology functions as an over- identification with many of (...) the excesses which liberal ideology is so used to criticizing. The present work seeks to traverse this fantasy space, explicating the way Iran is considered to the object-cause of liberal desire and the consequences this conception has for the Left’s capacity to coherently respond to the present situation as it unfolds. (shrink)

Abstract: There are inherently relations between English language learning education and learners’ psychology. Learners possess their individual ways of comprehending and employing the language. Speaking in front and at the presence of others make them embarrassed and petrified in language classrooms. This matter causes the learners to behave in a particular psychological way either consciously or unconsciously through repetitions of some words or phrases, reveal sentences nervously, lack of confidence and produce ungrammatical sentences while communicating with others. As a result, (...) language instructors need to apply remedial courses to unlock the challenging issues of the learners which influences on their relationship in the classroom. Treating students equally and proper counseling of every learner irrespective of their knowledge and a genuine assurance that they are equally important components of a language classroom are some of the techniques that can work wonders in mitigating these issues. This study tries to deal with the negative and positive psychological treatments EFL learners may reveal in various foreign language classrooms which pose as challenges to language educators and tries to manage these issues with some remedial courses and prospects. (shrink)

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin (...) Kalbi Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

The church-funded CARFO or KARFO (Afrikaans Christian Filmmaking Organisation) was established in 1947, and aimed to ‘[socialise] the newly urbanized Afrikaner into a Christian urban society’ (Tomaselli 1985:25; Paleker 2009:45). This initiative was supported and sustained by the Dutch Reformed Church (DRC), which had itself been part of the sociopolitical and ideological fabric of Afrikaans religious life for a while and would guide Afrikaners through tensions between religious conservatism and liberalism and into apartheid. Given Afrikaans cinema’s ties with Christian (...) religious and political conservatism, we explore the role – even the centrality – of the Afrikaans church in cultural activity before 1994, and then after 1994. Here, Afrikaans church is an inclusive term that brings together various denominations of Afrikaans-speaking churches, but which mainly suggests the domination of the DRC. After establishing the role of the Afrikaans church in the way described above, we move towards the primary focus of our study: exploring the representation of clergy in the contemporary Afrikaans film Faan se Trein in order to describe certain theological implications of this representation. With reference to Faan se Trein, our article notes and comments on the shifts that have occurred in clergy representation in Afrikaans cinema over the past decades. Osmer’s four tasks of practical theology, namely, descriptive, interpretive, normative and strategic are used for theological reflection. With due contextual reference to Afrikaans film dramas such as Broer Matie [Brother Matie], Saak van Geloof [A Matter of Faith], Roepman [Stargazer], Stilte [Silence], Suiderkruis [Southern Cross] and Faan se Trein, we arrive at some preliminary conclusions about the representation of clergy in mainly contemporary Afrikaans cinema. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

This research investigates the representations of gendered social actors within the subversionary discourse of equal educational opportunities for males and females in Iranian English as a Foreign Language (EFL) books. Using critical discourse analysis (CDA) as the theoretical framework, the authors blend van Leeuwen’s (Texts and practices: Readings in critical discourse analysis, Routledge, London, 2003) ‘Social Actor Network Model’ and Sunderland’s (Gendered discourses, Palgrave Macmillan, Hampshire, 2004) ‘Gendered Discourses Model’ in order to examine the depictions of male and female (...) social actors within this gendered discourse. The gendered discourse of equal opportunities was buttressed by such representations within a tight perspective in proportion to gender ideologies prevailing in Iran. Resorting to CDA, we can claim that resistance against such gendered discourse in Iranian EFL textbooks militates against such gender norms. These representations of male and female social actors in school books are indicative of an all-encompassing education, reinforcing that the discourse of equal opportunities is yet to be realized in the education system of Iran. (shrink)

This study examines the representations of male and female social actors in selected Iranian EFL (English as a Foreign Language) textbooks. It is grounded in Critical Discourse Analysis and uses van Leeuwen’s Social Actor Network Model to analyze social actor representations in the gendered discourses of compulsory heterosexuality. Findings from the analysis show that the representations endorse the discourse of compulsory heterosexuality which is an institutionalized form of social practice in Iran. Three male and three female students were interviewed (...) to find out what they think about these representations. Their responses with regard to whether they think textbooks should also include representations of other forms of sexuality were non-committal and vague. To them LGBT people are the ‘‘Other’’ practicing a form of sexuality that is not normal. Such exclusions could obscure the reality regarding the existence of such gender identities and represent the world in a particular manner. (shrink)

Sob o título "Immanent Frames. Postsecular Cinema between Malick and von Trier", o livro editado por John Caruana e Mark Cauchi inclui um conjunto significativo de artigos sobre cinema “pós-secular”, de autores prestigiados, nomeadamente os próprios editores, mas também Robert Sinnerbrink, Catherine Wheatley, Sarah Cooper e William Rotham, entre outros. O livro está estruturado em 13 capítulos, distribuídos por três partes – Parte I: “The Poles of Postsecular Cinema: Malick and Von Trier”; Parte II: “The Spectrum of (...) Postsecular Cinema: Beyond Malick and Von Trier”; e Parte III: “Conversation on Cinema: Luc Dardenne and Jean-Luc Nancy”, esta última constituída por duas entrevistas, respectivamente com o cineasta e o filósofo. (shrink)

We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can (...) that seeing-in be inflected? Film is a relatively transparent pictorial medium: properties of the representation other than its content have a relatively low profile in our experience of it. This prevents film from exhibiting the sorts of inflection common in other pictorial media. However, film is certainly not completely transparent. Among the Design properties of which we are aware are temporal properties of the film. Is our experience of cinema inflected by these properties? And, if so, is this one source of the feature some take to constitute cinema’s distinctiveness as an artform, the special relation in which it stands to time? I argue that the answer to both these questions is Yes. (shrink)

With rapid changes in urban living today, peoples’ behavioural patterns and spatial practices undergo a constant process of adaptation and negotiation. Using “house” as a laboratory and everyday life and spatial relations of residents as a framework of analysis, the paper examines the spatial planning concepts in traditional and contemporary Iranian architecture and the associated socio-cultural practices. Discussions are drawn upon from a pilot study conducted in the city of Kerman, to investigate ways in which contemporary housing solutions can (...) better cater to the continually changing socio-cultural lifestyles of residents. Data collection for the study involved a series of participatory workshops and employed creative visual research methods, participant observation and semi structured interviews to examine the interlacing of everyday socio-spatial relations and changing perception of identity, belonging, socio-cultural and religious values and conflict. The inferences from the study showcases the emerging social and cultural needs and practices of people manifested through the complex relationship between residents, the places in which they live, and its spatial planning and organisation. For a better understanding of this complex relationship, the paper argues the need for resituating spatiality as a socio-cultural paradigm. (shrink)

This paper offers an interpretation and discussion of the later Foucault’s multifaceted concept of ‘critique’. It argues that critique for Foucault is composed of three main elements: the ‘spirit’ (though not all of the substance) of Kant’s understanding of the Enlightenment; the practice of parrhesia that emerged in Ancient Greece and became central to Christian subjectivity; and the transfigurative aesthetic experience of modernity that was most richly depicted by Baudelaire. In the second section, there is a discussion of Foucault’s view (...) of an event that continues to perplex Western observers, the 1979 Iranian Revolution, juxtaposed with a Marxist understanding of the upheaval. Rejecting both historical materialist and liberal historiography, Foucault offers a unique perspective on the Iranian Revolution, deeming it to be a practical manifestation of critique in an ‘irreducibly’ religious context and based on a reformation of the self situated within a wider ‘political spirituality’. However, the trajectory of politics in Iran since 1979 bears resemblance to those of other, resolutely secular post-revolutionary societies, and thus raises the questions of whether Foucault ignores the universal in privileging the particular and in refusing synthesis between the West and the Orient, adopts an Orientalist epistemology. (shrink)

This qualitative research aims to explore and unravel the theory of natural law within its Greek context and its influence on political thought, particularly addressing the need to counteract the damages of tyranny and the cyclical succession of regimes, as articulated by Plato. This study reveals that the concept of natural law predates Stoics and it is rooted within the pre-Socratic natural philosophy. The study exposes that Aristotelian ethics and politics are rooted in the concept of natural law, ultimately giving (...) rise to the Aristotelian "mixed form of government" and laying the groundwork for republicanism. In extending this inquiry, I attempt to identify a parallel argument in ancient Iran, investigating the presence of natural law and its impact on the political landscape. The concept of natural law, emphasizing the alignment of social and political affairs with nature's rules, played a significant role in shaping the Indo-Iranian communities. The Sanskrit term rta and its Avestan equivalent, Aša, denote this foundational concept. However, the ascendancy of Zoroastrianism and its new theology led to the consolidation of all Indo-Iranian gods into the singular omnipotent deity, Ahura Mazdā. Ahura Mazdā, along with its prophet Zaraθuštra, possessed the authority to govern both earthly life and the afterlife. The exclusive attributes of Ahu and Ratu empowered God and its messenger to formulate and enact laws ensuring a place in heaven. Consequently, Divine Law and positive law became intricately intertwined within a unified legal framework. This divine law, sanctioned by God and enforced by the King, diverges from the Greek perspective, particularly that of Aristotle, where tyranny is seen as a deviation from the ideal political order. In the Iranian context, tyranny is synonymous with God's representation, sharing the holiness and regal attributes of a King, who, in the Iranian and Avestan sense, enjoys God's blessing as Xvarənah or Faer-e Izadi. The intertwining of law and authority of the King precludes the possibility of an independent legal sovereignty apart from the King’s authority. The monotheistic tenets of Zaraθuštra’s religion, officially established in the 4th century AD as the Religion of the State, solidify this integrated system. Consequently, the coexistence of republicanism or any mixed form of government within Iran becomes unattainable under the influence of this monotheistic doctrine. (shrink)

Gaining a high level of proficiency is the ultimate aspiration of all language learners, and the use of apology and politeness strategies is consistently associated with the levels of language proficiency. Owing to the significance of speech acts, politeness strategies, and level of proficiency, this study aimed to investigate the realization of apology speech acts and politeness strategies among Iranian EFL learners to examine and compare the lower-intermediate and advanced learners’ use of apology and politeness strategies. To achieve this (...) goal, 320 learners were selected out of 390 EFL learners who took a test of English language proficiency and were then divided into lower-intermediate and advanced levels. The findings of the study revealed significant differences between lower-intermediate and advanced Iranian EFL learners in the realization of the speech act of apology and politeness strategies. Advanced learners preferred to use more indirect and complicated forms of apology speech acts and tended to apply negative politeness and off-record strategies more than the lower-intermediate learners did. However, lower-intermediate learners preferred to use simple and more direct forms of apology and politeness strategies. It can be concluded that as learners increase their knowledge in the target language, and as their interlanguages get closer to the target language, they tend to apply more complicated and native-like speech acts and strategies . (shrink)

Dēnkard (Acts of the religion), written in Pahlavi, is a summary of 10th-century knowledge of the Mazdean religion and is described by Jean de Menasce on the title page of his translation as a ‘Mazdean encyclopedia.’ The Dēnkard VI (Book VI of the Dēnkard) is representative of late antique and early medieval Zoroastrian ethical ideas. This article analyzes Book VI of the Dēnkard based on modern moral philosophy and introduces it as a candidate for early consequentialism and capitalism. The first (...) generation of Iranian studies scholars in the late 19th and early 20th centuries such as Buch, Darmesteter, and Menant were aware of these concepts and even explained some of them, but the next generation did not take them seriously. This article also analyzes paymān (the ‘right measure’), that is the ancient Iranian ‘golden mean,’ in Book VI of the Dēnkard and shows the similarities and differences between paymān and the Aristotelian ‘golden mean.’ Probably, due to the biblical tradition in the interpretation of ancient religious texts or the anti-utilitarianism and anti-capitalism atmosphere in the second half of the 20th century, many scholars like Shaked inclined to the view that paymān is the main ethical principle of the Dēnkard VI and neglected its consequentialist and capitalist concepts. (shrink)

uses Schopenhauer, Lacan, and Buddhism to elucidate the tragic sense of human existence as conveyed by Wong Kar-wai.

In digital cinema, the ambiguity in the concept of representation asks us: How do moving pictures represent fictional objects? I am more concerned in the veracity of fictional objects than the representational theory of how fictional objects are generated. I claim that John Dilworth’s framework is uncritical, therefore, I will adopt an account of truth in fiction according to David Lewis. The purposes of this paper are: (1) to criticize John Dilworth’s framework, and (2) to provide Lewis’s theory as (...) an alternative solution in understanding the veracity of fictional objects. (shrink)

In 2003, biophysicist and Nobel Laureate Maurice Wilkins published his autobiography entitled The Third Man. In the preface, he diffidently points out that the title was chosen by his publisher, as a reference to the famous 1949 movie no doubt, featuring Orson Welles in his classical role as penicillin racketeer Harry Lime. In this paper I intend to show that there is much more to this title than merely its familiar ring. If subjected to a comparative analysis, multiple correspondences between (...) movie and memoirs can be brought to the fore. Taken together, these documents shed an intriguing light on the vicissitudes of budding life sciences research during the post-war era. I will focus my comparative analysis on issues still relevant today, such as dual use, the handling of sensitive scientific information and, finally, on the interwovenness of science and warfare. Thus, I will explain how science autobiographies on the one hand and genres of the imagination on the other may deepen our comprehension of tensions and dilemmas of life sciences research then and now. For that reason, science autobiographies can provide valuable input for teaching philosophy and history of science to science students. (shrink)

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste (...) through a hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

Introducing alternative modes of assessment is but one response to the recent call for democratic and ethical language assessment. Yet, despite the recent emphasis in the discourse community and the rise in publication on alternative assessment, these new forms of assessment still need to be explored further. This study is a two-fold attempt: first, to investigate teachers’ attitudes and beliefs about different aspects of traditional testing and alternative assessment, and second to delve into their ethical orientation and to examine views (...) on language testing apropos of their general ethical viewpoints. A questionnaire was developed and used to collect Iranian EFL teachers’ views on language testing and ethics in general (N = 153). The results indicated that despite its agreed-upon disadvantages, an obstinate stigmatization and refusal of traditional testing may still seem a practice at odds with the common sense. In fact, until a better proposal can be offered, alternative assessment and traditional testing can best be regarded as supplements rather than substitutes. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a (...) grandiose exposition of Schopenhauer and Nietzsche Philosophies.. (shrink)

Os corpos no cinema estão sob a ordem de um olhar soberano que nos diz para onde devemos olhar e como devemos fazer isso. É um olhar poderoso que tudo sabe e tudo pode. Um olhar que nos posiciona não como simples espectadores, mas como sujeitos. É a partir daí que buscamos compreender como se arquitetam o medo, ou seja, qual é a ordem do cinema de horror, tecido com a pena do medo? Nessa arquitetura, os corpos aparecem (...) como lugares para vigiar e punir em espaços utópicos e heterotópicos. Espaços de memórias. Espaços de poder vigiar e punir. Espaço onde se impõe uma posição de sujeito, um poder sobre o sujeito. Portanto, os corpos no cinema de horror são artefatos para uma arqueologia do medo, escrita pelo poder do horror sobre estes corpos. Daí nosso interesse por esses lugares. Para demonstrar essa arqueologia, utilizaremos dois filmes franceses, produzidos em 2007, Frontière(s) e À l’interieur como espaços de horror construídos para o medo pelas vias da utopia e heterotopias pensadas por Michel Foucault, filósofo do presente, do nosso presente para compreender como se arquitetam tal medo por meio de sua história arqueológica, prática de um espaço chamado Labedisco/UESB. (shrink)

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to (...) examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The (...) continuing usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

This article aims to enhance understanding of the changing nature of the pre-colonial, (neo)colonial and postcolonial imagination of space and time in Africa and of its organising principle in African cinema. It will focus on the cartographic and time reckoning techniques and traditions of Africans in precolonial times in contrast to the space-time imagination expressed in colonial film in Africa, such as in the instruction documentary Daybreak in Udi (1949). This documentary, which promotes British colonial self-help development projects in (...) Africa, tells the story of the building of a maternity home in an Igbo village in Nigeria. Furthermore, the article will enhance understanding of the cinematic turn to a counterhegemonic film tradition as a stepping stone to the newly emerging field of African intercultural philosophical cinema. The time-space imagination in Common Threads (2018), shortlisted by the Zanzibar International Film Festival (ZIFF) for the best documentary will be analysed as a case in point. This documentary concentrates on the nineteenth-century and current Afro-Indian textile trade, the associated oral narratives and their visual impact on the so-called Kanga and Vitenge textiles. (shrink)

Neste capítulo, vamos tratar do discurso-corpo demarcado pelas utopias em justaposição com as heterotopias em duas produções cinematográficas do horror francês contemporâneo. Dessa forma, o corpo que operamos é feito de discurso, ou seja, todo seu tecido, seus órgãos, seus sistemas, seus ossos são discursos sobrepostos pelo visível e pelo dizível, da mesma forma, como demonstrou Foucault na obra O Nascimento da Clínica em 1963.

Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.

In recent years, we have been observing an increasing significance of industrial heritage in international heritage studies. Developed in response to urban development needs, industrial heritage is now considered a valuable part of the city. Such an approach has resulted in the adaptive reuse of industrial heritage in the developing countries. This is, indeed, a practical solution for sustainable development of cities and the subject matter of many academic discussions. In this respect Heritage Impact Assessment (HIA) seems to be a (...) useful tool. This paper aims to study the role of HIA in adaptive reuse practice in industrial heritage sites in Iran. For that purpose, the authors have used a combined research method including historic study, analytical-description techniques and questionnaire-based interviews (with heritage managers and planners). The results indicate that HIA guidelines play a useful role in preserving the significance of historic cultural heritage and should be observed in the adaptive reuse practice in respect of the industrial heritage sites in Iran. Based on the analysed examples of successfully converted sites, this paper advocates using HIA as a useful tool in determining the potential of a given industrial heritage site for a successful reuse. (shrink)

Sustainable dwelling is a mental concept, yet it should meet the physical and emotional requirements of humans for living. Therefore, only those sites in which human needs are satisfied can be regarded as sustainable dwelling. Iranian traditional houses with their genuine characteristics are still something to be desired. In these houses the courtyard is the heart of the structure and at the same time it is counted as its organizing principle. Hence, understanding the function of the courtyard leads us (...) to an understanding of the purpose of the whole building. This paper argues that the traditional Iranian courtyards are a materialization of the concept of sustainable dwelling. Moreover, the writer contends that probing into the courtyard for the concept of sustainable dwelling has the added advantage of shedding light on a solution to palliate life conditions in contemporary modern houses of Iran. To this aim the courtyards of three famous houses in Kashan, Iran during the Qajar dynasty, namely Borujerdiha house, Tabatabe'i house and Saleh house are examined as the closest historical examples to our modern world. This study the writer aims to provide a local definition for the concept of sustainable dwelling and second to suggest a practical solution by which to reach an ideal state of life in the contemporary world. (shrink)

In recent years, the significance of industrial heritage has seemed to become a growing trend in international heritage studies. Concerning their attributed values and the crucial needs for urban development, this branch of cultural heritage has been considered the important grid of cities. This has caused a great acceptance of adaptive reuse practices especially among developing countries which is a smart response to an ongoing debate to reach sustainable development. The flexibility of these buildings and sites seems an important criterion, (...) which can be improved through adaptive reuse practice. Therefore, this research aims to introduce the concept of flexibility in industrial heritage sites, evaluate its criteria among adaptive reuse practices, and make a comprehensive flexibility model for it. Indeed, the final goal is to determine the condition that based on the flexibility model, the adaptive reuse practice would be a proper way of encountering these sites. A historical-interpretation research method, analytical-description techniques, and questionnaire-based interviews are applied in this research. Results indicate that flexibility has genuinely been considered in this practice. Analysing flexibility techniques, this paper suggests a valuable framework to achieve the flexibility of industrial heritage as the presupposition of successful adaptive reuse in these sites. (shrink)

Resumen: Resulta incuestionable la importancia que el filósofo francés Gilles Deleuze otorga al cinematógrafo. Conforme a su teoría del conocimiento, si la filosofía "piensa" mediante conceptos, el cine "piensa" mediante imágenes: se trata de un medio de creación artística a la vez que de reflexión (distinta de otras formas de "escritura") acerca de los problemas de la condición humana. De hecho, afirmamos que el propio pensamiento de Deleuze guarda mucho en común con las técnicas cinematográficas, al igual que sucedería en (...) la literatura del siglo XX, por ejemplo en James Joyce (en lengua anglosajona) y Jorge Luis Borges (en lengua castellana). -/- Abstract: There is no doubt as to the importance that cinematography has for the French philosopher Gilles Deleuze. According to Deleuze's theory of knowledge, just as philosophy "reasons" through concepts, cinema "reasons" by means of images. Cinema is a means of artistic creation and at the same time reflects in a way distinct from writing on the problems of the human conditions. In fact, this essay argues that Deleuze's own thought had much in common with cinematographic techniques, a relation which occurred in the twentieth century literature of James Joyce (in the English language) and Jorge Luis Borges (in the Spanish language). (shrink)

In this paper, we intend to promote an analysis of the use of the artificial language Heptapod B in Story of Your Life written by Ted Chiang and in its filmic adaptation, Arrival, written by Eric Heisserer and directed by Denis Villeneuve in relation to the authors’ views on the metaphysics of time. In both literary and filmic texts, the glossopoeia is used as a plot device upon which the alien race’s time perception is constructed and explicated in connexion with (...) the strong metaphor provided by Fermat’s principle of least time. Throughout the article, we discuss these hybrid interfaces of literature, cinema and science, researching the stories’ specific diegeses, the writers’ own elicitations as well as various texts on the Philosophy of time. The result consists of a comprehensive exegesis of the problematics generated by the narratives and an extensive philosophical debate on the subject. (shrink)