تقابل نشانگان هویتی از منظر رویکرد جهانی سازی و جهان محلی گرایی؛ مطالعه موردی: آثار منتخب آنه محمد تاتاری و رابعه باغشنی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مفهوم هویت تحت تأثیر پروژه جهانی سازی تغییر کرده؛ جهانی سازی با گسترش ارتباطات در شبکه های اجتماعی، مردمان جوامع مختلف را با وجود تنوع فرهنگی، به سوی استانداردسازی سبک زندگی سوق داده و باعث شده از این طریق تکثر هویتی خود را از دست بدهند. این پژوهش با تکیه بر روش نشانه شناسی به عنوان هدف پژوهش به وضعیت نشانه های هویت ایرانی-اسلامی در دو سطح هویت فروملی (قومی) و فراملی (جهانی سازی) در برخی آثار هنری آنه محمد تاتاری و رابعه باغشنی می پردازد تا به این سوال پاسخ دهد که چگونه می توان نشانه های هویت ایرانی در آثار هنرمندان قائل به جهانی سازی را با نقاشی هنرمندان قائل به جهان محلی گرایی مورد مقایسه و تحلیل قرار داد؟ فرضیه اصلی این پژوهش، احتمال می دهد هر دو هنرمند از نشانگان هویت ایرانی در آثار خود استفاده کرده باشند. یافته های این پژوهش بیان می دارد که باغشنی در آثار خود با تمرکز بر نشانه های هویت ملی و هویت جهانی شده، اصل را بر نشانه های هویت جهانی قرار می دهد. در مقابل، تاتاری در آثار خود با تمرکز بر نشانه های فروملی و فراملی، اصل را بر نشانه های هویت قوم ترکمن و معرفی آن به جهانیان می گذارد. این پژوهش از مسیر روش کتابخانه ای- اسنادی انجام شده و بر اساس اصول روش توصیفی-تحلیلی تنظیم گردیده است.TThe Confrontation of Identity Syndromes from the Perspective of Globalization and Glocalization Case Study; Selected Works of Ane Mohammed Tatari and Rabee Baghshani
Identity is the basis of the existence of every person and human society; in this way it starts with a familiarity with one other and another and causes awareness of oneself and one's identity. Globalization recently made the familiarity between the self and the other to be largely economic and one-way from the West to the East. Many thinkers believe that the expansion of communication and the increase in the volume of information transfer through social networks have caused the people of different societies with all their cultural diversity to tend to a kind of standardization of lifestyles and in this way lose their plural identity. On the other hand, the glocalization approach tries to deal with the homogenization of identity. This confrontation has appeared in various fields, including art and painting, but due to the complexity and interdisciplinary nature of the issue, less attention is paid to it. This research tries to look at the status of signs of Iranian-Islamic identity at the two levels of sub-national (ethnic) and transnational (globalization) identity, relying on the semiotics methodology. For this purpose, the selected works of Ane Mohammad Tatari and Rabee Baghshani has been analyzed to find out that "how can we compare the signs of Iranian identity in the works of artists who believe in globalization with the paintings of artists who believe in global-localism?" From the point of view of semiotics, every artist lives in society as a biological being and tries to have a critical representation of that society and represent this attitude in his works. In this method, there is no difference between verbal, non-verbal or even combined symptoms and all of them are symptoms that criticize the existing situation. Accordingly, our main hypothesis here states that "both groups of painters who believe in globalization and glocalization have used symptoms of Iranian identity in their works with the difference that artists who believe in the idea of globalization use the symbols of Iranian identity in the context of the symptoms of the unified culture considered by globalization, while the artists who believe in the idea of glocalization have used the symbols of Iranian identity in the context of the symptoms of the specific culture of their place of residence. Semiotic analysis has revealed that each artist has established a contrast between Iranian identity and the global identity signs. Briefly the findings of this research show that Baghshani focuses on the signs of national identity and globalized identity in his works. On the other hand, Tatari in his works focuses on sub-national and transnational signs, and focuses on the identity signs of the Turkmen nation and its introduction to the world. This research was carried out through desk-based method and was organized by the principles of the descriptive-analytical approach to show the differences and similarities between the works of these two artists and how they have looked at the conflict between their national identity and the identity of another world.
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