Art

The present study aims were to find a way to identity formation of the subaltern women via reviewing and analyzing the ideas of Gayatri Chakravorty Spivak one of the critics and thinkers of the post-colonial studies. In her famous article, "Can the Subaltern Speak?" she examined the status of the subalterns and, considering colonialism and patriarchy, found that the subalterns could not speak out. According to her critique of feminism, Marxism, and subaltern studies, she believed that the colonial social-political hierarchy has been reproduced in the post-colonial domain, and the voice of the subalterns was never heard. This research criticized Spivak's ideas with a descriptiveanalytical method and sought an approach to identity formation of the subaltern women and answer the question that how the subaltern woman could speak out? The findings of the research showed that Spivak only focused on verbal communication and disregards the non-verbal aspect of it; which art could be its main pillar. Art in the role of a media could act as a language for subalterns and give them identity. The artistic activities of Iranian women on the Hormuz Island were an example of such a media that had been able to give them identity.

The Necessity of Artistic Discourse in Modern Islamic Civilization

Sedigheh Pourmakhtar
Abstract
The true existence of each society begins with the emergence of human communication and continues to build on the basis of these relations. Given the widespread and profound role of human communication in social life throughout history, mankind has benefited from all sorts of tools to develop it throughout the realm of life. The contemporary era, called the age of communication, requires a two-way communication between nations, cultures and, in general, civilizations for their dynamism. One of the main elements of communication is discourse. The result of this relationship is not only the reflection of the social world and its related entities, but also the creation and construction of the world and ultimately the modern civilization. Accordingly, every civilization can contain a set of discourses. One of these discourses, which does not rely solely on the word, but can be more effective in communicating with its nonverbal character and adds to the speed of the effect of transmitting messages, is artistic discourse. This discourse will make the way more accessible by attracting more audiences. This research, with a descriptive-analytic method, while highlighting the features of artistic discourse, by focusing on Homi K. Bhabha and Gadamer ideas examines its special position in the civilizations as well as its necessity in civilizations and especially modern Islamic civilization, and concludes that It seems that art can create a common language among civilizations.

One of the main sources of Persian painting is literary works. Epic literature, and especially the Shahnameh of Ferdowsi, has been noticed more than other literary types because it narrates the chivalry of the kings and national heroes of Iran as well as the Iranian people. In different periods, the Iranian artists benefit the themes of this valuable book; one of the main pillars of Iranian literature. But the encounter of artists to this work varied in different periods. This study examines this encounter. By conducting a case study, this research inspects old Iranian miniatures of Tahmasbi Shahnameh and their adaptation in terms of contents and literary themes with works of contemporary Iranian artists, namely Hossein Behzad, Majid Mehregan, Ardeshir Mojarad Takestani, Mohammad Baqer Aghamiri, and Mahmoud Farshchian. The research has been carried out through descriptive-analytical and comparative approach. The main purpose of this study is finding out how the old and contemporary Iranian painting encounter with the themes of Ferdowsi's Shahnameh as the main basis of Iranian epic literature. Therefore, the present study seeks to answer this question; what are the differences and similarities between the old and contemporary miniatures regarding epic Iranian literature? And what are the causes of these differences and similarities? The findings of this research show that similarities and differences are a function of social and economic conditions and also changing the artist and audiences place.

Jean-Francois Lyotard (1924-1998), one of the most prominent critical thinkers of the second half of the 20th century, is most famous for his analyzes of postmodernism and postmodernity. Lyotard believes that the great theoretical metanarratives and the liberation of modernity, useful in organizing knowledge for humanity, have lost their credibility and power in the postmodern world. In another part of his speech, Lyotard considers the role of art to break down reasonableness, and argues that modern and postmodern art refers to the great idea of showing the boundaries of understanding and new possibilities. The reflection of the postmodern situation that he analyzes can see in the film The Amour of the Austrian director Michael Haneke (1942-). This research has done through a descriptive-analytical method and its main purpose is to help better understand the postmodern cinema. It also seeks to answer the question of how the Lyotard postmodern status is portrayed in Haneke's Amour film? Finding and tracking Lyotard's opinions in the Amour film, this article concludes that the film represents the post-modern situation Lyotard describes, in which the metanarratives have lost their effectiveness and the postmodern replaces this situation.

Artwork interpretation in a simple word is an explanation of the meaning of art. The audiences play an important role in art and forms one of the three vertices of artwork triangle: artist, artwork and audience. If we consider artwork as a process, the audiences are the outcome of the work and is the one that created for and to be seen by them. Therefore, feedbacks or interpretations and readings of them have an important place in art critique. Iran's miniatures in different eras have experienced a variety of audiences from kings to ordinary people that affect this art. Therefore, it is expected that different kinds of interpretations have been observed. The research carried out through descriptive-analytical method, by comparing old and contemporary Iranian epic miniatures seeking to answer the question of what are the kinds of artwork interpretation in old and contemporary Iranian epic miniatures? The findings of this research shows that old paintings have created interpretations based on the author's intention and contemporary painting with a hermeneutical approach made multiple interpretations of the artworks.

One of the main sources of Iranian painting is literary books and all kinds of literary works such as Lyric, Epic, Religious
etc. have been applied in paintings. Since, the epic literature and especially Ferdowsi’s Shahnameh, which
describes the valor of kings and national heroes as well as the Iranian people, has received more attention than any
other literary genre and at various times Iranian artists used the its theme, which is one of the central pillars of Iranian
literature, in their works. But artists’ encounter to this work was different in each era, and this study examines
this encounter. The cases in this study is Shahnameh Baysonqori from ancient Iranian painting and comparisons of
its designs with the works of contemporary Iranian artists in terms of content and literary themes. The research is a
descriptive-analytical one with a comparative approach and its main purpose is the way ancient and contemporary
Iranian paintings encountered the themes of Shahnameh Ferdowsi as the main basis of Iranian epic literature. The
present study, while investigating the similarities and differences between theses encounters, seeks to answer the
question of: what are the causes of these differences and changes? The results of this study revealed the greater
dependency of ancient miniatures to the text, the centrality of kings and their actions, and addressing details. In the
contemporary era, because of the variety of the audiences, the dependence on the text has been reduced and the audiences
have found a special place; also the addressing to detail has been reduced and the artists often focus on national
heroes and their bravery.
یکی از منابع اصلی نقاشی ایرانی کتب ادبی بوده و از همه انواع ادبی مانند غنایی، حماسی، مذهبی و... در آثار نقاشی به کار
گرفته شده است. از آن جا ادبیات حماسی و به ویژه شاهنامه فردوسی که به شرح دلاوری پادشاهان و قهرمانان ملی و ه مچنین
مردم ایران پرداخته، بیش از انواع دیگر ادبی مورد توجه بوده است و در دوره های مختلف، هنرمندان ایرانی از مضامین این کتاب
ارزشمند که یکی از ارکان اصلی ادبیات ایران را تشکیل م یدهد بهره برده اند؛ اما مواجهه هنرمندان با این اثر در هر دوره متفاوت
بوده است که این پژوهش به بررسی این مواجهه پرداخته است. موارد مورد مطالعه در این پژوهش شاهنامه بایسنقری از نگارگری
قدیم ایران و تطبیق نگاره های آن از لحاظ محتوایی و مضامین ادبی با آثاری از هنرمندان معاصر ایران می باشد. پژوهش به روش
توصیفی - تحلیلی و با رویکردی تطبیقی به انجام رسیده است و هدف اصلی آن چگونگی مواجهه نگارگری قدیم و معاصر ایران
با مضامین شاهنامه فردوسی به عنوان پایه اصلی ادبیات حماسی ایران است. پژوهش حاضر ضمن بررسی وجوه شباهت و تمایز
این مواجهه، به دنبال پاسخگویی به این پرسش است که علل و عوامل وجود این تفاوت ها و تغییرات چیست؟ از نتایج این پژوهش
می توان به وابستگی بیشتر نگارگری قدیم به متن، مرکزیت قرار گرفتن پادشاهان و اعمال آن ها، پرداختن به جزییات اشاره کرد.
در دوران معاصر از آن جا که طیف مخاطبین گسترده شده است، در آثار هم از وابستگی صرف به متن کاسته شده است و مخاطب
جایگاه ویژه ای یافته است؛ ه مچنین از پرداختن به جزییات کاسته شده و موضوع اصلی را غالباً پهلوانان ملی و اعمال پهلوانی
آ نها تشکیل م یدهد.

Artwork interpretation in a simple word is an explanation of the meaning of art. The audiences play an important role in art and forms one of the three vertices of artwork triangle: artist, artwork and audience. If we consider artwork as a process, the audiences are the outcome of the work and is the one that created for and to be seen by them. Therefore, feedbacks or interpretations and readings of them have an important place in art critique. Iran's miniatures in different eras have experienced a variety of audiences from kings to ordinary people that affect this art. Therefore, it is expected that different kinds of interpretations have been observed. The research carried out through descriptive-analytical method, by comparing old and contemporary Iranian epic miniatures seeking to answer the question of what are the kinds of artwork interpretation in old and contemporary Iranian epic miniatures? The findings of this research shows that old paintings have created interpretati...

One of the main sources of Persian painting is literary works. Epic literature, and especially the Shahnameh of Ferdowsi, has been noticed more than other literary types because it narrates the chivalry of the kings and national heroes of Iran as well as the Iranian people. In different periods, the Iranian artists benefit the themes of this valuable book; one of the main pillars of Iranian literature. But the encounter of artists to this work varied in different periods. This study examines this encounter. By conducting a case study, this research inspects old Iranian miniatures of Tahmasbi Shahnameh and their adaptation in terms of contents and literary themes with works of contemporary Iranian artists, namely Hossein Behzad, Majid Mehregan, Ardeshir Mojarad Takestani, Mohammad Baqer Aghamiri, and Mahmoud Farshchian. The research has been carried out through descriptive-analytical and comparative approach. The main purpose of this study is finding out how the old and contemporary Iranian painting encounter with the themes of Ferdowsi's Shahnameh as the main basis of Iranian epic literature. Therefore, the present study seeks to answer this question; what are the differences and similarities between the old and contemporary miniatures regarding epic Iranian literature? And what are the causes of these differences and similarities? The findings of this research show that similarities and differences are a function of social and economic conditions and also changing the artist and audiences place.

Artwork interpretation in a simple word is an explanation of the meaning of art. The audiences play an important role in art and forms one of the three vertices of artwork triangle: artist, artwork and audience. If we consider artwork as a process, the audiences are the outcome of the work and is the one that created for and to be seen by them. Therefore, feedbacks or interpretations and readings of them have an important place in art critique. Iran's miniatures in different eras have experienced a variety of audiences from kings to ordinary people that affect this art. Therefore, it is expected that different kinds of interpretations have been observed. The research carried out through descriptive-analytical method, by comparing old and contemporary Iranian epic miniatures seeking to answer the question of what are the kinds of artwork interpretation in old and contemporary Iranian epic miniatures? The findings of this research shows that old paintings have created interpretations based on the author's intention and contemporary painting with a hermeneutical approach made multiple interpretations of the artworks.

Warning and evangelism are two tools in inviting and guiding human beings that are mentioned in the holy books. Sometimes these concepts are quoted in the form of the stories of tribes and prophets such as the story of the prophet Jonah mentioned in the Qur'an and the Bible with some differences in the narration. Jonah is regarded in Christianity as the proof of the capacity of the gentiles for salvation and the design of God to make them partake of it. In the same passage he is referred to, as are many of the prophets, as a forerunner of Jesus.  Similarly the three days and three nights which he spent in the whale's belly are seen as a prefiguration of the three days and three nights he would be "in the heart of the earth. In Islam Yūnus (Jonah) the prophet was one of the most prominent descendants of Abraham. He was one of the apostles of Allah, even though he fled from his mission because he thought that Allah did not control him . His fate, however, designated him for destruction. Had he not praised Allah, he would have remained in the belly of the fish until the day of the resurrection of the dead. The myriads who were warned by Jonah believed in Allah and continued to enjoy His mercies for a time.  The story of Jonah was a favorite subject in Islamic legend; several motifs worthy of adaptation are found in it. In Islamic and Christian miniatures the story is a current subject.  In these paintings, a part of the narrative is highlighted; Most of the Islamic paintings depict the final part of the narration and most of the Christian paintings depict the initial part. This study aims to better understand Islamic and Christian paintings on the subject of the story of Younes related to medieval periods, based on iconographic views of Ervin Panofsky with the descriptive-analytical method and comparative approach. Panofsky established a layered or step-by-step method that was slow and deliberate, requiring an extensive education on not just the work of art but also of its culture of origin. If, for the linguist Saussure, words were signs that were signifiers for the thing signified, than for Panofsky, the work of art could be understood as a visual language in terms of the sign, signifier and the signified or icon, iconography, and iconology. Panofsky continued his opposition to formalism by stating that the “pre-iconographical description” was a “pseudo-formal analysis,” but that this first take was a “practical experience” that was “controlled” by the history of style. Moving up from the bottom to the next layer or level of meaning, Panofsky introduced the “secondary” or “iconographical analysis” that required “knowledge of literary sources that concerned historical themes or concepts.” What are the similarities and differences between Islamic and Christian paintings concerning the concept of warning and evangelism? What is the reason for the emphasis of Islamic and Christian paintings on a particular part of the story of Jonah? are the research`s questions

Mimesis is one of the most original terms in literary and art criticism. Plato called it imitation and believed that mimesis was manifested in 'particulars' which resemble or imitate the forms from which they are derived; thus, the mimetic world is inherently inferior in that it consists of imitations that will always be subordinate or subsidiary to their original. In contradiction to Plato Aristotle views mimesis and mediation as fundamental expressions of our human experience within the world - as means of learning about nature that, through the perceptual experience, allow us to get closer to the "real". In 17th and early 18th century conceptions of aesthetics, mimesis is bound to the imitation of (empirical and idealized) nature. In 20th century approaches to mimesis, authors such as Walter Benjamin, Adorno, Girard, and Derrida have defined mimetic activity as it relates to social practice and interpersonal relations rather than as just a rational process of making and producing models that emphasize the body, emotions, the senses, and temporality. Theodor Adorno (1903-1963), the German philosopher and sociologist from the Frankfurt school, believes that mimesis is not imitation, but a kind of simulation of the original pattern that mixes with it. By adapting the traditional meaning and the use of the term, Adorno aims to show the dynamics of mimesis. So, for him, mimesis also has features such as expressiveness and artistic creativity. The extension of this theory to the paintings of Farah Ossouli (1932-), the present Iranian painter, is the subject of this study. Most of her derivative artworks in Wounded Virtue paintings have quotes from contemporary Iranian poems by Ahmad Shamloo or Forough Farrokhzad even in compositions that reference famous images by Frida Kahlo, Francisco Goya, Pete. The figurative, decorative, and narrative style of Persian miniatures provided her with expressive potential and a rich tradition of refined beauty. Moreover, she found the impassive look of miniature figures suitable for her male and female protagonists engaged in universal themes. In Wounded Virtue, she selected famous artistic icons, because of some concept she liked, and then added her ideas and style of painting. She also made use of all three traditional characteristics of Persian miniatures — calligraphy, Tazhib (the decorative arts and book illuminations), and painting. In Wounded Virtue, however, they are infused with new features, such as contemporary Farsi poems, Tazhib designs with weapons, and new painted themes.
This search with the goal of knowing more contemporary Persian painting is done in a descriptive-analytic method and seeks to answer the question: Do Farah Ossouli's artworks include in Adorno's definition of mimesis? According to Adorno's view of mimesis, in this study seven features and characteristics of mimesis - expression, simulation, the language of society, showing reality, artistic creativity, - were extracted, and based upon them, derivative paintings by Farah Ossouli were studied. The results show that these works of Farah Ossouli overlap with the mimesis theory of Adorno.

The various and sometimes divergent approaches and definitions in the study of Islamic art have made it difficult to study. Traditionalism and historical perspective, the two predominant approaches in the field, view Islamic art in different ways. On tradition and unchanging principles, while the historical perspective focuses on history and its contexts. The traditionalists view Islamic art as the result of grace infused into the artist, embodying the teachings of the perennial philosophy in the works of art, while the historical perspective views, the works of art the product of historical determinism and context. These differences have complicated the study of artworks even in prestigious festivals and the different and contradictory criteria for judging works of Islamic art. Using a descriptive-analytical and discourse- analytical method and a comparative approach, this study attempts to answer the questions: what is the discourse analysis of these two dominant approaches in Islamic art? And why, despite these two dominant discourses, is there no unity in the definition of Islamic art and its main characteristics? And to provide a basis for changing a more comprehensive definition. Research findings include disparities in discourse components, discourse formation, and sub-discourses.

Homi K. Bhabha is a Professor of English and American Literature and Language, and one of the most important figures in contemporary post-colonial studies who has developed a number of the field's neologisms and key concepts, such as hybridity, mimicry, difference, and ambivalence which describe ways in which colonized people have resisted the power of the colonizer. The term ‘hybridity’ has been most recently associated with the work of Bhabha, whose analysis of colonizer/colonized relations stresses their interdependence and the mutual construction of their subjectivities. Bhabha contends that all cultural statements and systems are constructed in a space that he calls the ‘Third Space of enunciation’ which makes the claim to a hierarchical ‘purity’ of cultures untenably. For him, the recognition of this ambivalent space of cultural identity may help us to overcome the exoticism of cultural diversity in favor of the recognition of an empowering hybridity. It is significant that the productive capacities of this Third Space have a colonial or postcolonial provenance. Descending willingness into that alien territory may open the way to conceptualizing an international culture, based not on the exoticism of multiculturalism or the diversity of cultures, but on the inscription and articulation of culture’s hybridity. It is the ‘in-between’ space that carries the burden and meaning of culture, and this is what makes the notion of hybridity so important. Homi Bhabha has developed his concept of hybridity from literary and cultural theories to describe the construction of culture and identity within conditions of colonial antagonism and inequity. For Bhabha, hybridity is the process by which the colonial governing authority undertakes to translate the identity of the colonized within a singular universal framework. As used in horticulture, the term refers to the cross-breeding of two species by grafting or cross-pollination to form a third, ‘hybrid’ species. By generalizing this theory into different aspects, hybridization can be studied in different spaces. For example, in the field of art, the effects of different cultures on the artwork of other cultures can be examined. This study examines the impact of European elements on Iran’s painting. The result of this research indicates that the third Space and Hybridity of Bhabha have been formed in contemporary Iranian painting, but through a process. The Qajar artistic style, like the Timurid school centuries before that, had its origins outside the historical period from which it derives its name. It was in the late Safavid period that a thoroughgoing Europeanized style began to oust the old native traditions, and by the beginning of the 12th/18th century the new style was completely dominant. The works were only mimicry of Iranian and European elements, whether consciously or unknowingly, they could not create the third space and hybridity, but it can be the beginning of this process. The theme and content, in terms of which the elements of previous Iranian painting have been inherited from their predecessors, are more evident in Coffee House paintings. But, the primitive usages of space, dimension and perspectives as European elements can be seen here. Kamal Al-Molk’s school was the culmination of a trend towards the adaptation of a European naturalistic style in Persian art, which led to the emergence of a Euro-Persian style in Iran. This approach began to take shape during the latter half of the 17th century. In this style, the subject with all the details was shown as a photo. Furthermore, in this style, European elements such as the three-dimensional space and perspective are dominant. Therefore, in these two styles, Coffee House painting and Kamal Al-Molk’s school, one element dominates another element, and therefore the third space is not formed. The term “Saqqā-Qāna” was initially applied to the works of artists, both in painting and sculpture, who used already existing elements from votive Shiite art in their own modern works. It gradually came to be applied more widely to various forms of modern Persian painting and sculpture that used traditional-decorative elements. The Saqqā-Qāna movement in the sixties tried to found and establish a “national” or “Iranian” school of art. On the other hand the attention was paid to modernism. The general perception was based on the belief that the artists could achieve a “modern-traditional” synthesis that included an Iranian identity and character. So, in this style the formation of the third space is evident. Therefore, the process of formation of the third space is evident in four stages in contemporary Iranian painting: Qajar-European style, the start point, Coffee House style and Kamal Al-Molk’s style are respectively the domination of Iranian and European elements and finally its formation in Saqqā-Qāna school.

Purpose: One of the new areas of studying in the field of culture of developing countries is post-colonial studies, which deals with the relationship between culture and its elements. One of the important elements in this field is the issue of identity. On the one hand, the colonizer, with the idea that the colony lacks an independent identity, aims to create a new identity for the colony. Literary works as an important cultural tool play an important role in expressing and confronting these issues. Methodology: With a post-colonial reading of the story "Wolf" by Hoshang Golshiri and "Wide Sargasso Sea" by Jean Rhys, the present study deals with the efforts of the main characters in the story to preserve their identity. Akhtar and Antoinette, the two main characters of these stories, despite their differences, both have defended their identity. The current research deals with the efforts of these two characters with a descriptive-analytical method and a comparative approach and seeks to answer the question that what are the similarities and differences between the characters of these stories in the face of colonial factors and the issue of identity? Findings: The research comes to the conclusion that although the characters face factors that intend to take their subject, they try to protect it with their own efforts. In other words, although various colonizers want to turn subjects into objects, they have not given up knowingly and are still trying to remain subjects.

Neoformalism is one of the recent film criticism approaches which appeared in the 1980s and 1990s. This approach uses a new strategy in addition to achievements gained using prior methods. In this article, the specifications of this approach are studied on the basis of works of founders of neoformalism including David Bordwell and Kristin Thompson and issues such as definition of form and narration, differentiation of plot and story, principles of form, definition of device, function and motivation are expressed. According to the definition given by neoformalist, form is the overall system of relations between the elements in the whole film and narration is the plot's way of distributing story information in order to achieve specific effects. The set of all the events in a narrative, both those presented explicitly and those inferred by the viewer, constitutes the story and the term plot is used to describe everything visibly and audibly present in the film before us. A large nu...

In addition to aesthetic features, works of art also reflect the socio-cultural relations of the producing context. In Gilan, many holy shrines accommodate murals that belong to the Safavid period. On the other side, Karkia Shahnameh was written in the 15th century AD in the city of Lahijan. This Shahnameh is illustrated in the style of Turkmen painting in Shiraz. This paper as the descriptive-analytical study queries the similarities and differences between the designs of Karkia Shahnameh and the murals of the holy shrines. The data collection method is based on library review, and data analysis was conducted qualitatively. The research findings show that there are some distinctive similarities between mural paintings of the studied holy shrines and portrays of the Karkia Shahnameh, so that the semiotic spaces of Shiite culture is a part of it. Both paintings have common symbolic motifs such as dragon, sun, crown and cypress tree. The motif of the sun is used in the same sense in both paintings, but the role of the dragon has a completely opposite meaning. The motif of the crown in both paintings also means kingship, power, and celestial splendor. The cypress tree also has common meanings, all of which are rooted in Iranian cultural beliefs. Although those mentioned signs almost rooted in the Iranian culture, the unique representation of the symbols in each specific artistic work (murals or book illustration) convey distinguishable meanings due to the relations with other signs within the executed context.

Producing series is part of the common media activities. Home video series are introduced by written signs. The typography of the titles of these series consists of symbolic relationships which influence the transfer of meaning. These relationships are categorized as “referential” and “non-referential” signs. The present research aims to analyze the referential and non-referential signs in the two syntagmatic and paradigmatic categorizations in the typography of the Iranian home video series. The method is descriptive-analytical and the data collection method is library analysis (note-taking and Image reading). The research suggests that there is a close relationship between the text’s meaning transfer with its form and content. Typographies are partly included in the referential signs due to the use of specific symbols and their direct reference to the natural world as well as the series’ content, such as The Monster, Frog, and Rhino in which the text refers to the natural world and also the series’ content. Others like Dracula, Yaghi, and Mortal Wound are included in non-referential signs due to containing symbolic concepts which require more contemplation to perceive the meaning. The interaction between referential and non-referential signs in the typography of series can be analyzed and plays a central role in characterizing the text, the series’ title and transferring its meaning. Also, these are categorized into syntagmatic and paradigmatic categories considering the typography of symbol and text.

Posters of the Art of Resistance Festival are one of the fields of formation of symbols and signs affected by the Islamic Revolution. The juxtaposition of the two factors, "image" and "text", is important in the design of these announcements. Symbolic relations appear in the design of the mentioned announcements in two ways: the axis of paradigmatic and the axis of syntagmatic. In the axis of paradigmatic, one element replaces another element. In the axis of syntagmatic, two or more elements are placed next to each other these relationships in some posters implicitly and in others explicitly convey the desired concept to the audience. In this research, the structural relations of signs in the posters of the resistance art festival will be identified.
Emamifar, Sajoudi, and Khazaei (2010) in an article entitled "Semiological examination of announcements from the emergence of the Islamic Revolution of Iran until 2001" investigated how meaning is produced in the design of posters from the Islamic Revolution of Iran until 2001. In an article entitled "The Art of the Islamic Revolution", Rahnavard (2000) investigated and analyzed the Islamic Revolution of Iran in 1979 and its influence and expression on the culture and art of Iran. Talebi (2017) in his article entitled "Reflection of Islamic components and values ​​in the art of resistance" examined the posters of the first decade of the Islamic Revolution of Iran.
This research aims to investigate the paradigmatic and syntagmatic axes of signs structurally and the types of relationships related to them in some posters of the resistance art festival, as well as analyze the explicit and implicit meanings of visual and written signs in them. Accordingly, the two following questions will be investigated:
Based on what relationships do visual and written signs in the posters of the resistance art festival form the meaning transfer process?
What roles do these relationships play in the meaning of the poster?

One of the most dangerous human pathogens with high prevalence worldwide is Streptococcus pyogenes, which has major impacts on global morbidity and mortality. A major challenge for S. pyogenes vaccine development is the detection of epitopes that confer protection from infection by multiple S. pyogenes types. Our aim was to identify the most conserved and immunogenic antigens of S. pyogenes, which can be a potential candidate for vaccine design in the future. Eight important surface proteins were analyzed. Using different prediction servers, strongest epitopes were selected. They had the ability to stimulate the humoral and cell-mediated immune system. Molecular docking was performed for measuring free-binding energy of selected epitopes. Seven epitopes from three surface proteins were selected as potential candidates for vaccine development. Conservation of selected epitopes among different Streptococcus types was checked. Further in vitro and in vivo tests are required to validate...