PostMODERNISM, an art which is in due to variable functions and constantly is being changed in nature and identity. These things are in direct relation to today sculpting while these amazing varieties are not obvious in any fields as they are in the world of sculpture. Now it is queried which evolutions in modern era, in this field, did cause the rise of postmodern sculpture? Regarding the content and concept of sculpture, it is assumed that although predominant formalism led to changes in prevailing attitudes in modern sculpting, postmodern sculpture rises by new form of expression. This article has a descriptive – analytical approach in evolutions and alternations of sculpting since modern era from 1950 to 1980. Regarding there is no academic organizing in evolution backgrounds and rise of postmodern sculpture by their effects on sculpting from 1980 up to now, the necessity of concerning it in this research is highly sensed. Finally it is concluded the the evolutions like the changes in content of gallery to show sculpture, change in industrial reproduction in materials as artwork forms and the effective role of time and place in production and showing of sculpture were of those important basic evolutions caused the modern sculpture meaning, as an abstraction form, to be under questioned and changed its identity. These changes caused the rise of new understanding to give special “content and meaning” by sculpture in a new form.From 1980s, the term "pluralism" as a slogan heard the most nominated the frequent and various styles attended in that time. In sculpting of this decade and later, in addition to inspiring from the previous movements, styles and even the past eras in sense of postmodern the “topic” is obvious and turned into a character far away from abstract principles predominant in modern era. By the advent of postMODERNISM the statue changed from a modern three-dimensional artwork that occupies the space to a state expressing a concept and in fact this idea linked three-dimensional art in an intellectual reflect to dream. Now statue is an endless circular diagram path which is moving from volume to space, to object, to location and to concept. In the 1960s, new approaches in the field of art arose like Art Povera, Post Minimalism and Conceptual Art in various formats such as Environmental art, Performance art and Installation. Changes in form and expressing form of statue, factors such as displaying statue in public places, relationship between statue and environment and natural base, stating the industrial reproductive objects as a form of artwork, displaying the state works by photography and change the concept of gallery, the effective role of time and location in performing and displaying the statues are the basic revolutions which made the identification of modern statue as an independent object under question and changed its identity. In other words, these things revealed a jump from external skin to internal structure despite of position of artwork location. These evident changes became the main indexes of turning away from modern abstraction to a pure form to make a new understanding in significant form and content. In postMODERNISM unlike the MODERNISM, the “content and meaning” express the first words by changing the existing structures. In fact the postmodernist statue`s characteristic is its ability to pay our attention to internal accurate relations between form and space to express a significant message. Some characteristics of this kind of statue can be mentioned as its sensitivity over daily events and social facts by expressing these things by potentials of this field which is displayed in form of metaphor, symbolism and allegory. In fact the “topic” in postMODERNISM art allow sculptors to express their personal concerns and environmental problems and plan everything in their works without any worries and ceremonials. Forms and types of post-modern sculpture internally and "self-organizing" brought art definitions to indeterminate boundaries. Boundaries between form and meaning content have been mixed and the form of statue extended to new gamut of meaning relations. Artistic styles changed till involved in semantic inevitable and shake art definition. There is no definition to link the various types of artistic sculptures together and offer a common artistic characteristic of them. Sculptors turn the common aspects of life to a performance which expose a person to events and challenges his understanding, brings him to new region of emotional notion and offers experience behind the change of these objects and complicated imaginations, a key point is hidden which is the internal search of definition.

A city’s public realm is territories and urban spaces which facilitate people’s presence while are benefited by individual and social activities. For a comprehensive definition, public realm is the inclusive, accessible urban places during the 24 hours of the day that provides a ground for social interaction and association. Designing and shaping a public realm is one of the main attentions of urban design. From the beginning of 60’s, many architectures and urban design pioneers such as Jane Jacobs, Francis Tibbalds, Tridib Banerjee, …have talked about the decline of the public realm and even the death of public spaces, mentioning the constant reduction of quality as a cause. With a brief look at the results of modern cities and opinions about improving the public realm, we can distinguish the qualitative factors affecting the quality improvement of public realm. Facilitating the presence and movement of automobiles cost a lot for the modern city. As a result, urban spaces were invaded and dominated by cars and pollution. Jane Jacobs believes that urban planners failed to accommodate cities and cars. Le Corbusier, one of the pioneers of modern architecture and urban planning tried to make car-oriented planning as an inseparable part of his designs by creating large scale express ways and fast physical changes in response to functional needs. But according to Jane Jacobs the result wasn’t anything but the loneliness and uselessness of open spaces. Similarly Tibbalds considered too much attention towards cars as a cause of cities and urban environmental decline. Extinction and decline of the public realm as the spaces for people’s public and civic life results in anti-social behavioral, unwillingness to association and social cooperation, reduction of social diversity, social abnormalities, frustration and indifference towards the public realm, environmental pollutions, physical and psychological health reduction, fragmentation of spaces and placelessness. So apparently the famous MODERNISM motto “form follows function” had faced a serious defeat because the improvement of the quality in the two dimensions of form and function although it was not enough to create a place in the public realm and it seemed other dimensions should be taken into account. With the emerge of concepts such as semantics and semiotics in literature and linguistics and their introduction to other disciplines, architecture and urban planning and design did not stay away from these concepts either. Accordingly people like Robert Venturi, Scatt Brown, and Kevin Lynch believe that every phenomenon has a third component named as ‘meaning’ besides form and function which was forgotten or denied completely by functionalists completely. On the other hand people like Jon Gehl, William Whyte, Jacobs and others emphasized greatly on the social content of the public realm since its people who are the embellishment and constructors of the public realm. So it is hard to percept space without its social content. Therefore improving the quality of a public place is dependent on quality improvement of social and semantic components of the public realm which has two components of function and form. A public realm that considers the improvement of every quality aspect plays an important role in different aspects of human life and vivacity and favorability of citizenship. In social dimension while civil life provides a context for social interaction it can improve social abilities, sociability and decrease antisocial behavior and even crime. On the other hand such a realm encourages social events, conviviality and tourism. Since a quality public realm provides the possibility of daily physical movement, cycling and running, in the health related aspects, it entails a longer life span, decreases in stress levels and depression, shows lower risk of heart attack, diabetes, cancer, and bone problems. The fulfilled civil life requirement from an environmental point results in the development of a sustainable public transport which is followed by improvement of air quality, opportunities of different species life quality, reduction of greenhouse gas emissions, pollutions and acidic rains. Regarding the economic aspects, urban vitality causes progress in the implementation of regional economy, land value and investment increase, business and occupation success and tourist attraction. This article intends to present a comprehensive model of the qualitative components of public realm by analysis an uprising the opinion of theoreticians and the existing literature. The model demonstrates that in order to improve and achieve the quality of public realm there is a need for a sustainable process with the contribution of a constant design led management.

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,-Qā, na”,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,-Qā, na 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: QajarEuropean 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,-Qā, na school.

Hand-woven carpets are considered as one of the mos t prominent industrial and cultural arts in Iran. The design and role of these rugs are influenced by socio-cultural contexts and always have signs of society and culture of the producers. Among the different types of Iranian carpets, pictorial carpets are an important source of s tudy for unders tanding the social and cultural contexts of producing societies. The texture of these carpets became popular with various subjects from the Qajar period, under the influence of fundamental changes in printing techniques and photographic technology and influenced by the social changes of that period. In the meantime, a group of pictorial carpets influenced by the social and political developments of the Cons titutional Revolution were produced in the late Qajar eras, which in the contemporary his tory of Iranian carpets are referred to as cons titutional carpets. Coinciding with the years of the Cons titutional Revolution, carpet production and trade became the mos t important economic activity in Iran, and more than half of the country's working population was engaged in carpet production. Sociologis ts believe that works of art and culture, because they are produced, dis tributed and consumed in the social context and by human factors, therefore cannot be immune from the effects of social variables and the hidden and obvious traces of social changes can always be seen and s tudied in these works. Therefore, considering the activity of a significant part of the factors of production and trade of Iranian carpets during the Cons titutional Revolution, the main issue of the present s tudy is how to reflect the social dimensions of the cons titutional discourse in Qajar era image carpets. The purpose of this s tudy is firs t to emphasize the importance of s tudying pictorial carpets containing political and social themes as valid cultural documents in contemporary Iranian his torical and social discourse and then to recognize the visual dimensions of the reflection of the cons titutional movement in carpets and production geography this type of carpet. Accordingly, the main ques tions of the research are: a: How is the discourse of cons titutionalism reflected in the pictorial carpets of this period? B: Which regions belong to the geography of the production of pictorial carpets with cons titutionalis t themes? For this purpose, using library resources, 5 samples of woven carpets with cons titutionalis t themes were identified and s tudied in a descriptive-analytical manner. The results showed that in the Qajar period, carpet weaving facilitated the gathering of the working masses, the promotion of modernis t ideas, and the mobilization of forces for protes t and revolutionary actions in terms of inclusive development among production-prone areas. On the other hand, the intertwining of politics with trade and art in the Qajar era and the special place of carpet production and export in the country's economy and employment had caused pictorial carpets with cons titutionalis t themes in other arts to be influenced by the social discourse of the cons titutional era. The social dimensions of the cons titutionalis t discourse, including nationalism, libertarianism, jus tice, and progress, provided a s trong social and cultural foundation that was reflected in the arts of the period, including an important group of pictorial carpets. The analysis of the samples showed that the reflection of the cons titutionalis t discourse in the carpets of the Qajar period is reflected in the form of visual, literary and symbolic signs. These signs are depicted in the visual dimension by referring directly to the images of freedom-loving heroes and elites and the texture of their image in the field of carpets, and in the literary dimension by reflecting constitutionalis t ideals such as freedom and jus tice in the form of explicit written meanings. In the symbolic dimension, the reflection of these ideas has been done in the form of using the s tructure of composition and symbolic designs, including the s tructure of the altar and the symbolic design of the face. These cultural symbols and signs have contributed to the continuation of the discourse of libertarianism and MODERNISM among the masses and the working masses and have created a symbolic and sometimes critical language towards the ruling class discourse. The s tudy of pictorial samples of carpets and characters attached to them showed that the majority of carpets in the geography of the city of Tabriz and with images of characters and heroes active in the city have been produced in this city. Attention to the political and geographical position and the role of human factors in the revival and development of Iranian carpet weaving in the Qajar era showed that the social elites of this city in terms of having such characteristics sooner than other regions realized the country's backwardness and were prone to accept new ideas and dissent. At the same time, the support of Tabriz merchants, led by carpet merchants, provided the ground for the production of carpets with images of constitutionalis ts in this city.

Upon the rise of Qajar Dynasty in the history of this country and following the progress and consolidation of the social, economic and cultural propositions, and also the expansion of foreign relations with the western countries, familiarity of the Iranians with the modern world and the concept of MODERNISM, and the beginning of westernized living experiences, imagism and more specifically the mural painting underwent significant changes due to economic interaction and the flow of capital toward the society to some extent (which resulted in individual possessions and class conflict). Moreover, the promotion of education level and the awareness of the aristocratic women of Qajar (who were out of sights by being confined to the indoor areas) and their participation in the society followed by the western women, and on the other hand, the opening of new places such as DarolFunun1, creating modern methods such as nature drawing and the like, in the form of perspectives, making light-dark and perspective, photo printing, and producing artificial colors and the rise of painters like Kamal-ol-Molk and Mazin-ol-Doleh, all and all led to changes of thought in the society and laid the foundation for the dominance of modern technology across the society. The mural painting, which was exclusively possessed by the royal families, entered into the social life of the first class strata and subsequently into the lives of the people around them and due to the fast propagation of this wave into the daily affairs, it appeared in the social lives of the wealthy people insofar as ordinary people, who were in contact with those strata and the people who enjoyed such artistic issues such as mural painting, assumed ownership in their own lives. The spirit of that period in the mental body of the time also allowed the ordinary people to use this privilege, in the light of which the government somehow managed to achieve its governmental pseudo-legitimacy and subsequently, it could respond to the motivations of the society as well as the people’ s personal affairs (Democracy), and in return, it could legitimize people’ s satisfaction by creating emotional and instinctive motivations; because the images of the European women on the walls of the wealthy people houses and also their postal cards were easily available for the public through printing and using modern methods. Of course, further in the process of these changes and the extensive possibility of being influenced by the West, the Kings of Qajar tried to imitate the performance of Iran’ s former powerful governments (like the Achaemenid Empire & Safavid Dynasty) in order to attach more legitimacy to their own governments; and following these imitations, some aspects of Iranian archaism were reappeared in the imagism of this period. The outcome of the entire mentioned factors led to the lack of a comprehensive and specific art style in painting and mural of this period, and this multiculturalism was clearly evident at all the levels of the society and art; However, a general classification can be made of the paintings of Qajar period, and that would be: 1. Iranian-Traditional, 2. Iranian-Western, 3. Westernized, 4. Street Painting (Graffiti). In this paper, library and field research techniques were employed for data collection, and the author investigates mural developments and the intellectual interpretation in this area in Qajar Dynasty using interpretive historical method within inferential reasoning framework. The basis of the political-social developments together with the role of painting and the motives of statesmen in giving meaning to the exploitation of the virginal nature of painting alongside governmental pseudo-legitimation resulted in the appearance of new components which are the outcome of sharing such areas, which solely leads to the correct interpretation of the spirit of the time and the conditions prevailing it. Therefore, in order to realize this important principle, we have to answer the following question: How are the effects of the political-social developments of Qajar Dynasty on the murals of the house of the leader of the day of congregation1? This answer will lead to the production of important criteria for challenging the mind of the audience, which depicts the reason for the connection of these developments with the concepts underlying the mural paintings of that period. This is where the cryptography of concepts comes into view, and one can realize the principle governing this type of art (mural painting) through interpretation. Thus, the author attempts to investigate the themes of the codes and interpret the mural paintings drawn in wide spectrum of designs in this house by taking advantage of the produced components in the mentioned areas, which leads to the emergence of a modern line of thought in mural painting and its themes and even the consolidation of the modern attitude toward this matter in a period of history, which, from the view of the interpreters, might lie outside of the principal meaning, and it might pave the way for its reinterpretation so that we may realize the value of this field of art, which is in form of mural painting, in Qajar Dynasty.

Introduction: Fiction literature is constantly changing, and various schools have emerged in this field. The novel is the most prominent type of fiction and the product of a new era that has been accompanied by a wide range of progress and innovation in social, cultural and economic fields. Fiction literature evolved under the influence of this multidirectional growth. According to the requirements of each period, various literary schools emerged in the field of fiction. At the beginning of the eighteenth century, due to certain social and cultural conditions, realistic novels gained more attention. They focused on people and issues such as poverty, misery, jealousy and suffering and considered the reality of the matter and observation of accurate details regardless of innovation and imagination. With economic progress, cultural growth, and the emergence of MODERNISM at the beginning of the twentieth century, however, novelists shifted from socialism and simple expression to individualism, attention to man himself and his mind, and complex and difficult language. Therefore, the writers of modern novels abandoned the common traditional language because they saw pleasure in unconventional expressions. After the world wars and the growth of population as well as the complexity of man’ s life, modernist ideas became monotonous. So, with the advent of postMODERNISM and the requirements of the new age, a revision of modernist thoughts and lifestyles became necessary, and postmodern writers creativel started writing new works with different plots, narrative styles and writing techniques against normative rules. Meta-fiction is a type of postmodern story that is very different from pre-modern novels. Its most important feature is a conscious acknowledgment of the fabrication of the story. The postmodern current gradually entered the Arabic language and literature, and many Arab novelists such as Najib Mahfouz, Zakaria Tamer, Amjad Nasser and Majid Tobia turned to this new style of storytelling and wrote original postmodern works. Ibrahim Nasrallah, a well-known Jordanian writer with a Palestinian origin, is one of the authors whose postmodern background is evident in some of his works, such as "Barari al-Hammi", "The Child of Al-Muhamah" and the novel Harb al-Kalb al-Thani. This novel won the Arab Booker Prize in 2018 as a work that has fantasy and imaginative themes and narrates a full-fledged world war known as the Second Dog War. This article seeks to examine the storytelling technique of Ibrahim Nasrallah in this novel, to criticize its meta-fiction features, and to explore the purpose of using this storytelling technique. Methodology: This study is done in a descriptive and analytical manner based on library references. First, by enumerating the features of meta-fictions and explaining the structure of such novels, some meta-fictional features in the novel Harb al-Kalb al-Thani are examined. As a definition for meta-fiction novels, meta-fictions, unlike pre-modern novels that tried to depict the external and real world, do not reflect the real world. In fact, they consciously draw the reader's attention to their artificiality. Exposing industry and mocking precautions of fiction are the most important features of meta-fictions, which raises ontological questions about the relationship between the world of the text and the world outside the text (i. e., the worlds of the writer and the reader) (Waugh, 1996: 4). Results, Discussion and Conclusion: The results of the novel analysis are as follows:-The novel Harb al-Kalb al-Thani is a genuine meta-story that has the main components of a meta-fiction.-The author has used meta-fiction techniques of short connection, multiple ending and printed and written playfulness to connect the text and the reality. He has also created a short connection in this novel by entering the text, assigning a role to the audience, using literary criticism terms and referring to the method of storytelling.-The author of the novel shows the reader that the novel has been made using meta-fictional techniques and reminds him/her that he/she is studying a pure story. The events of the story and the characters are imaginary and do not exist in the real world.-By entering himself and the reader to the story, the author denies the god-like authority of himself. Also, by creating a free ending, he has culminated the uncertainty that is visible in the whole structure of the novel, giving the reader the ability to make many different interpretations and to contribute to the creation of the story. The author emphasizes the novel's visual and physical dimension and the storytelling in general through printed and written playfulness in the text. He shows that the novel is a collection of printed words; the words and characters that flow from his mind. With this narrative style, he puts his audience between imagination and reality, hegemony and extravagance. He depicts the destructive competitive sense of humanity in the 21st century. By avoiding mere realism, he conveys his messages in the text of the novel in such a way as to challenge the reader's mind.

In this paper, the management of Islamic cities in the urban economic spaces and also the contemporary cities are studied from three different viewpoints: First, the history of urban management through corporate institutions; second, the modern systems in European and American cities such as BID (Business Improvement District); and third, structural changes and urban management in the business space of the cities during Pahlavi I and II eras.Through the first viewpoint at the history of the cities and urban management’s rule during the Islamic rule, we encounter structures and institutions whose main characteristic was self-autonomy against the government; sometimes they were also a coordinator between people and the government. Corporate councils and organizations governed the economic system of the cities which had its own special hierarchy such as corporate masters including workers, and students and a trustful elderly acknowledged by the city sheriff deputy and head of the corporate and neighborhoods who was introduced by the city sheriff. These institutions were functioning properly at the time; hence, corporate councils played a significant role in management of the cities and neighborhoods and specially the bazaars, independent of business organizations. These councils which were located near bazaars and mosques facilitated rising of Khums and Zakat or urban tax-collection system.The first major, and obvious, question in a discussion of BID reforms is what “governance” and “good governance” mean? Despite its popularity the concept of “governance “is highly ambiguous and excessively broad, and has remained so, notwithstanding numerous attempts to clarify it. Indeed the elasticity of the concept is suggested as the key to its attraction, as some thinkers traces the intellectual context of the emergence of “governance” in academic and policy discourse: the notion of “governance” had an a priori attractiveness as it could refer to complexities entailing a good deal more than administration or management, namely the element of political restructuring and the handling of this, while at the same time including the administrative-management dimension. It opened the window for a focus on how “politics” or the political process was conducted and embedded within larger structures. The concept introduces the political dimension into an otherwise technocratic discourse of public issues but in such a way that allows more flexibility than an explicitly political approach. In practice, it enables the user to maintain a camouflage of political neutrality when necessary as governance discussions span the vast space between the political technical continuums and may hence be adjusted more towards one end or the other as circumstances require. The expansiveness of the concept goes further as governance literally can mean many different things to different people. We must summarizes the diverse meanings in the dimensions of substantive content and character. Along the first are those who define governance as basically the rules of conducting public business on one end, and those who see governance as the activities of steering public affairs on the other. The second dimension contrasts those who emphasize governance as process, and those who see governance as results or outcomes of public decision-making. Each of the various meanings-rules, steering, process or outcome-consists of highly variable contents.To improve the business, corporate, spatial, and local auto governed and participation of all stake holders of the corporate in urban spaces, BID is proved to be effective in European and American countries. Proportionate to such changes, the urban management changed from the traditional methods of the corporate councils to corporate unities and corporate and the relevant state offices and corporate unities played a significant role in management of the corporate sections of the cities.Since the 1990s, planning engagement with urban governance has sought to theorize space, scale and state strategy through multi scaled analysis of political and economic activity as a series of situated and context specific processes. A focus on multiple spatiality’s of state activities has led to ‘strategic-relational’ consideration of state power as social relations via a focus on the interplay between institutional forms and political forces. This approach shies away from focusing on national institutional structures and/or individual actors or organizations, instead considering ‘local political leadership’ in order to theorize broader structural changes. In reviewing geographical work on Islamic urban regime theory, regulation, growth coalitions and so on, which has considered how urban politics and policy are formed through public-sector and private sector coalitions of power which shape the ruling shows that research has concentrated on ‘functional equivalences’, not comparing institutions/actors but instead comparing similar modes, patterns and processes of governance.Based on the past experiences of the entities managing economic sections of the cities and incomplete MODERNISM experience of urban development in the last 90 years, the paper attempts to localize and develop a new approach such as BID based of Iran conditions and experiences in order to assist the management efficiency of Iranian cities.

Self-taught art is a way of art expression that defines and recognizes based on its independence from the world of formal art. These works reflect its creators' endeavor to express their inner world in strange and unfamiliar ways. The self-taught artist does not start working with the usual motivations of creating art, such as displaying and selling but creating spontaneously in an isolated condition without any connection and knowledge about official art space. This art can be considered as one of the sub-categories of the “ Art Brut” or in another term “ Outsider Art” . In this definition, those who are interested in self-taught art, are observed not as a psychiatry document, but as an aesthetic experience. Developments of nineteenth-century and MODERNISM have provided grounds for attention to self-taught art as an inspiring and innovative resource, which is continuing up to now. These works have exactly what European art had lost in its long journey; that means strong representation, structural transparency, and simple technique. This change in approach to these works that have not previously had any place in the official art world has raised many questions. The main purpose of this study is to determine the backgrounds of self-taught art and its position in the art world based on the theories of a great philosopher of contemporary art, Arthur Danto and tries to answer these questions: “ Based on which definitions and criteria the self-taught objects can be accepted as artworks? ” , and “ How the works that neither its creators consider them as artwork and nor themselves as an artist, become a branch of contemporary art? ” Danto believes that “ being art” means being in a field as “ art world” ; so work is not considered as art until it has been placed in the art world. But Danto disagrees with the openness of the art concept, which has been interpreted as “ anti-essentialism” , and he says that it does not lead to a correct definition of Art to say “ art is imitation” or “ art is not imitation” , so he has set criteria for artwork. He argues that artworks are a “ representation” of something else, not necessarily in the sense that they are exactly like their subject, but in the broader concept that they are about something. Since all of the artworks are about something, they have meaning, and meanings are embodied in them, so Danto says that artworks are “ Meaning Embodied” . The second characteristic he refers to is “ Dream-like” , and says that artworks are like dreams which contain visible qualities, but may not be real, so he defines art as “ Awakening Dreams” . Accordingly, Danto uses these characteristics, “ Meaning Embodied” and “ Dream-like” , as criteria for artwork. Regarding the position of self-taught artists, Danto states that while the members of the “ art world” have common principles, the outsider artists are unable to participate in that conversation for various reasons. They do not know the language of the art world discourse to talk about their works, so behaved with them as a neurotic human, not as an artist. According to Danto's definition of art and his criterion for artwork, we can say that self-taught work can be considered as an art because it has those characteristics. Answer to this question that “ How these works become a branch of contemporary art? ” reveals the role and importance of the art world. The self-taught artist is deprived of entering the official art world because of his social status as a person who does not know the defined art rules and his position as an artist. So they are still in a fragile situation where their presence in the art spaces depends on other important and influential actors of the art world, and they are the ones who can determine the position of self-taught art and enter it as an artwork to the galleries, museums and even art history. Members of the art world control the dominant narrative, and over the past century, they have selected among outsider artists. As the art world has been able to turn Andy Warhol's “ Brillo Box” into art, so they could change the work of self-taught art to something that was never meant to be. Placing the work in the space of a white cube gallery, with impressive lights and delicate frames, often obscures the main goals of the self-taught artist. Ultimately, power remains in the hands of the art world, the power of choice, the power of evaluation, and the power of financial valuation. This research is fundamental research that has been done in a descriptive-analytical method and data collecting through the library method among the available resources in the field of self-taught art. The tools used are in the form of taking notes and finally, by qualitatively analyzing the information, an attempt has been made to give appropriate answers to the questions raised.

Research background Ghasemlou, in his book Pathology of Persian Proverbs (2012), has tried to question the constructiveness and positive cultural impact of some of these proverbs with through a novel view, but his research lacks theory and method. In many cases, it only refers to their use and origin of proverbs. Athari, in an article entitled "Analysis of Time and Time Indicators in Proverbs with a Symbolic and Semantic Approach" (2013) has tried to show with a semantic approach how time is represented in a proverb. It can change from prescriptive tense to present tense, so as to form a level of knowledge and awareness in the minds of users. Zulfighari, also in an article entitled "Examination of Persian proverbs at two lexical and syntactic levels" (2008) tries to measure the amount of lexical changes and syntactic displacement as well as the adaptation with a formalistic and statistical point of view. He examines the lexical items in many proverbs. Objectives, questions, and hypotheses The research question in this study is: how can the criticism and analysis of the proverb "You don't want to be shamed, be the same color as the group" provide a modern and practical reading of this proverb to cultural users, so that it can bring about social changes? And how it reflects contemporary MODERNISM? In the analysis and pathology of this proverb, how can the theory of deconstruction help? The premise of the article is that the deconstructive reading of this proverb will provide a more modern reading so that more users can read it in accordance with the contemporary social changes in Iranian culture. This reading makes the dual oppositions in the construction of this proverb be shifted. By shifting these dualities, the semantic centrality changes from "collectivism" to "individualism". In other words, the deconstructive analysis of this proverb seeks to remove the semantic emphasis from "collectivism" to "individualism". Discussion There is no proverb that does not have an objective or subjective duality. Sometimes, there is an opposing duality in the construction which is easy to understand. In other times, there is a deep double opposition that makes the immediate understanding of the proverb somewhat difficult and complicated. "You don't want to be shamed, be the same color as the group" is one of the famous proverbs in the cultural atmosphere of Iranians today. The structure of this proverb, like all other cultural and non-cultural structures, is based on mutual pairs. The opposition on which the structure of this proverb is based is the duality of "individualism" and "collectivism". The opposition is "I" and "we". The opposite duality in the proverb is mental and profound. The superstructure and deep structure of this proverb show that the hidden and visible linguistic actions-condition, order, warning, threat-are aimed at promoting collective values. Being of the same color, which shows the centrality and semantic authority of this proverb, emphasizes more than anything the worldview of submission, imitation, uniformity and loyalty to the group. Although this proverb is a product of specific cultural, historical, social and of course class demands, with its intelligence and tyranny, it has made the individuality, originality and self-awareness of people be considered low value. The internal conflict in the proverb "You don't want to be shamed, be the same color as the group" can be studied in different fields such as sociology, psychology, history, etc. Cultural criticism of the proverb "You don't want to be shamed, be the same color as the group" raises questions such as "I" or "we". This cultural question shows one of the strategies and intellectual foundations in a society. The historical criticism of the proverb "You don't want to be shamed, be the same color as the group" also shows that classicism has always emphasized collectivist values and, by proposing predetermined patterns, demands the adaptation of individual behavior to them. Sociological criticism of the proverb "You don't want to be shamed, be the same color as the group" shows the dual opposition of the individual and the society. Durkheim, one of the positivist sociologists, "proposes the duality of the individual and the society". (Durkheim, 2003, p. 45). The economic criticism of the proverb "You don't want to be shamed, be the same color as the group" also shows the endless struggle between communism and modern capitalism. Conclusion It is necessary to organize a wise combination of the proverb "You don't want to be shamed, be the same color as the group", in order to be able to promote a kind of authority, individuality, talent, originality and innovation. The tyranny, authority and hostage-taking of this proverb must be broken so that individuality is freed and creativity and diversity grow. Deconstruction of the "You don't want to be shamed, be the same color as the group" can be a more excruciating reading and a more progressive and modern form of this proverb, and of course the necessity of this reading is a reflection of vitality, mobility and social and cultural dynamism of today's Iran. In the new reading, the reversal of priorities has caused the semantic authority to be removed from "homrang" and transferred to the word "Rosva". In other words, if in the traditional readings, "homogeneity" and collectivism were promoted in its essence, in this new and destructive reading, "scandal" or that is, individualism, becomes the center of semantic authority and "individualism" turns into "collectivism" and individuality and its essentials, i. e. freedom, independence, creativity, dynamism, dissent, etc., are emphasized.

1. General IntroductionWahbi al-Tal whose pen name is Arar was born in 1899 in Irbid city in the north of Jordan, in a family involved in cultural activities. In that time, the Arab world was in cultural isolation and immersed in silence, pain, seclusion and backwardness. It was subordinate to the Ottoman Empire and on the verge of decline and demolition. His father was a educated Jordanian and Arar learned Turkish language which was the official language in education in that period. He was also familiar with Persian language which was taught at that time (al-Tal, 1957, p. 49). He got his title from Arar Ibn Amro Ibn sha'as al-Asdi who was a poet of the era of ignorance (Bekar, 1990, p. 31). Arar's poetry consists of themes such as love, attention to the women, win and drunkenness, being and nothingness, life and death, debauchery and pleasures, repentance, committed lyrics and resistance. Defamiliarization is one of the significant features of his poetry which has been employed in a variety of ways including the addition of rules, transgression in rhymes, elegant imagery, new combination, cohesion and harmony. 2. Theoretical FrameworkAddition of rules unlike deviation (from the norm) is not deviation from rules of language, but it is exercising additional rules on the rules of norm language. Addition of rules can be investigated and classified according to harmony in phonetic, lexical, grammatical, and analytical levels of phonetic harmony and lexical harmony. In this research, Mostafa Wahbi al-Tal’ s poetry that is one instance of the defamiliarization practices, would be analyzed and investigated. Besides the discussion about addition of rules, this article seeks to answer this question: How much addition of rules could make foregrounding in Arar’ s poetry and what is his goal of this literary approach? This research is based on the hypothesis that Arar has missed rhythms of prosody and phonetic harmony in some of the odes. 2-1 Review of the Literature Upon exploring the history of the study, no essays regarding the criticism of Arar’ s poetry were discovered; however, a number of essays about the poet himself have been found including: عَرار: شِعریَّه التَجرِبَه لا شِعریَّه الذاکِرَه “-” by Ibrahim Khalil,-“ Epistemological origins of Arar” by Ziyad Al-Zaabi,-“ The efforts of Arar, the great Jordanian poet, within the realm of Persian literature” by Bassam Ali Rababe'e,-“ The influences of the Sage of Neyshabur upon Arar, the great poet of Jordan” by Bassam Ali Rababe'e. اللُّغَه وَ الاُسلُوب فی شِعر عَرار“-” by Mahmoud Al-Sammarah,-And “ وجوووه وُّووصطُّر وهووالت و)عووت التوول یعوورارس بعروور ال ووص ال ووصبور ” by Behrooz Ghorbanzadeh. 2-2 The scope and focus of research The focus of this study is different from the aim of this research. The present study is a literary research on the addition of rules by the aforementioned poet. It is worth noting that findings of this research are gained through the examination of his poems (divan) called the Asyat Valley yabs. 3. Methodology This study investigates addition of rule practices based on the theories of formality in an analytical-descriptive method. 4. Discussion results Defamiliarization made by addition of rules and deviation cause foregrounding in Arar’ s poetry and this research achieved the following findings in this regard: 4-1 Phonetic and lexical harmonies are part of the most important features of addition of rules. Using these harmonies, the poet has done habit breaking in the field of addition of rules. Of course using deviation and addition of rules in Wahbi al-Tal’ s poetry were very effective on Arar and in this way, he has been able to bring foregrounding to his words in the eyes of audiences. 4-2 The element of repetition is one of the most important musical features of Arar’ s poetry which has made his poem’ s music twofolds and has given his poetry a certain coherence. Repetition has much frequency in his poem and appears in a variety forms such as phoneme, word and sentence repetitions. 4-3 Given the harmony between rhythm and content and between rhythm and words, the poet was keen on MODERNISM in rhythm and deviation from poetic metres, and about transgression in rhymes. One can also point to enter pantastichs in his poem. 4-4 He uses the following sound and fricative continuity in his poetry to express feelings like vitality, happiness, complain, sadness, and transfer them to the audience, and these lead to the poem foregrounding and musicality. 4-5 Derivative pun has the highest frequency in Arar’ s poetry. 4-6 Breaking the syntactic or verbal rules and ignoring them along with combining words or vocabulary association is pleasing for him, in fact, the language he uses is literary. The audience will notice a new massage and Arar’ s speech causes defamiliarization. 5. General Conclusion Addition of rules is one of the significant features of Arar’ s poetry which can be observed in form of harmonies (phonetic, lexical and grammatical), deviations, innovation and revival in a number of rhythms of prosody, attention to coherence and harmony in poetry, and transgression in rhyme.