نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری، گروه هنرهای تجسمی، دانشکده هنرهای تجسمی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 دانشیار، گروه هنرهای تجسمی، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران.
3 استادیار، گروه طراحی، دانشکده طراحی، دانشگاه هنر اسلامی تبریز، تبریز، ایران.
4 استادیار، گروه هنراسلامی، دانشکده ادبیات و علوم انسانی، دانشگاه محقق اردیبلی، اردبیل، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Graphic design has long been considered as one of the branches of visual arts. Creating communication and presenting meaning are among the main functions of visual texts, especially posters. In this context, the system of cultural posters, due to their artistic nature, involves limited audiences and codes. The authors of cultural posters use various methods to camouflage meanings in their texts, which sometimes become distorted due to technical and aesthetic issues. Intertextuality, as an approach that develops meaning through textual relationships, provides key capabilities for the critic, reader, or even graphic designer to explain signification. The theoretical framework of intertextuality, through movement among the relationships of texts within a systematic structure, facilitates the unfolding and inference of meanings. Genette’s Hypertextuality provides numerous capabilities for application in reading and analyzing texts, as well as creating and composing texts in various arts, especially ‘visual arts,’ available to the critic-author What hidden meanings from these graphic texts does the explanation of hyper-textual relationships in the cultural poster of the Presence exhibition reveal? This is the research question of the This paper, which in this direction, the Presence exhibition poster from the Azad Art Gallery poster project has been analyzed based on Genette’s six-stage model of hyper-textual reading of visual texts, using a descriptive-analytical method with reliance on library and internet resources. The research results showed that the poster of the Azad Art Gallery paining exhibition is meaningful at two levels: structural codes and process codes. Structural codes encompass superficial and surface meaning containing basic information; however, in process codes, the inference of meaning is facilitated through the movement between hyper-textual relationships with pre-text(s), which includes various meanings. Additionally, the body of studies from the perspective of quantitative Transformation includes different degrees such as amplifiction, extension, and excision. From the perspective of thematic Internal changes, inter-sign, transmedia, and trans-pragmatic manifestations have also been revealed.
کلیدواژهها [English]
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