Fatemeh Sara Pakdaman

Studies on fictional and factual narratives suggest the prominence of memory and culture in the formation of individual self-portrait(s). This study aims to foreground the milieu in Zadie Smith’s Swing Time (2016), zeroing in on social semiotics underlying the narrative’s structure. Drawing on Maurice Halbwachs and Pierre Nora’s theories, the paper...

One witnesses the sudden dissolving of the diegetic musical piece into an utter silence in Amour. One finds no departure, but to admit the abrupt and yet ever likely and expected transition of life to death. The concert is over. One is to take a bus ride home gracefully. All is done. Anne has been a superbly competent master whose pupil has managed...

John Cage narrates: “...Somebody said that Brecht wanted everybody to think alike. I want everybody to think alike... Everybody looks alike and acts alike, and we’re getting more and more that way. I think everybody should be a machine. I think everybody should be alike.” The interviewer asks Cage: “Isn’t that like pop art?” And consequently, Cage...

“Putting it negatively, the myth of eternal return states that a life which disappears once and for all, which does not return, is like a shadow, without weight, dead in advance, and whether it was horrible, beautiful, or sublime, its horror, sublimity, and beauty mean nothing.”1 As Kundera, himself, puts it, the idea of living once and never retur...

Society and its human relations have always had a mutual connection with arts and culture; thus, the majority of artistic creations have always reflected images of society in the very heart of them. Sociological Studies of art, as an independent field does have a long history, however with the rise of modern social fields of study in the 19th and 2...