City and its symbols

The story of the city begins with memory retrieval. City is a space where individual and collective memories are formed the memories which becomes which becomes main part of the city presence and define and redefine the city. The urban elements, places and spaces that are individual or collective memories and shape context of the city, are colored with these memories accepted and transformed themselves and change into sign and symbol of the city. The street, the building and the square, place and space behind any scene obtains a new concept and are placed in the mental picture of the city. In the event and memory making event, the urban elements no longer regarded as other earlier elements however, the accumulation of memories give concepts to younger generations. However, the urban element since then becomes the showing place of the collective memory of different generations and after every event, every former event becomes alive and gains a new life. The past trace element becomes a symbolic element of today and moves toward tomorrow. The Physical space becomes a window to pass into the memories of the city and entrance into the land that behind the city walls are present the alleys, streets and squares. The street of Laleh Zar Street, Shahreza Street (Revolution) Azadi Street, Revolution Square, Azadi Square and many other places are present in the city of Tehran. What he has colored them are incidents and events are behind them as well as stories told about them. These places are full of urban memories, bittersweet, tragic, or sensational however, these locations are no longer square and the streets, they are symbol of variations and social changes. They are not object, they have become words. If at the beginning , they were "action", now in the city story are presented as symbol that not only appears as symbol but also, they refer to the concept of common people and are a reason of numerous reasons. With any reference to them, a series of other stories will be emerged and each time a concept is meant for meaning of other reasons and what is retold not just their physique that is the current framework in which they have appeared. In changing object into word we can speak about social presence and its update so, back to memory is not returning to the past but, it is updating the past and giving life to it. Even the demolition and removal of the object can also lead to the removal of the word. Thus, in the story of Tehran city, a narration called "city ditch" even after the destruction remains in a word form and in the subjective view of the city places naming "behind ditch" are defined. Other similar examples of changing objects to words in the story of Tehran are well- visible and that's a case of being and not being.
Individual and collective memories sign and symbol
Sadegh Hedayat in three drops of blood writes:"Siavash was my best friend. We were neighbors together. Every morning we went to Dar-Alfonoon together and returned. Behind ditch still in terms of the physique is meaningful, but in the later time are replaced with new streets that gradually changes into an element of the past. In the story of "similes" the guiding of the memoirs are defined in the new space.
Place and new location in the urban life
Their familiarity began in cinema. Every time the lights turned on, they looked at each other until at the time of living cinema talked together and what from the first hours fascinated Manoucher to khojasteh was his simplicity. There on admitted that on the Monday nights to comes to the movie and on the next two Mondays this meeting was repeated until the third night Manoucher got her to her home to street of Lakhtis.
The presence of new elements such as: cinema, cars and street signs are elements of renewing the city. So, the relation of Manoucher and Khojasteh is also a new kind of city relationship and for this sake the memoir of Manoucher and khojasteh are formed in the traditional society as the rest of their relationship happen in the other new parts of the city. In the recent month what was noticeable and argumentative for Khojasteh and Manoucher was Iran's Club Wing. Manoucher had made shipping cloths for himself, but Khojasteh did not tell her about his clothes because she wanted trap her on the same night. . It was ten o'clock that the automobile of Manoucher in the Garden Club of Iran stopped in front of the mansion and she got off dressed in white shipping cloths.
Pick up the name of this story (smiles) are influenced by these party and these cloths. The automobile of this story not as a vehicle but rather is a sign of modern space for memory formation. Wings Club of Iran is also a suitable bed that the author has chosen to narrate this regard. However, the intensity of these modern elements in the treatments and norms of modern individual is appeared. Especially when Manoucher doubts to the love of Khojasteh in regards to his own and even feels that Khojasteh is more than Manoucher thinks about his Fiat. Then, Manoucher to distance new position got on his beloved car and eventually drove her out from Tehran.
Did she express love for his money and his car? Especially car, because a couple of times that he tried to put it on sale, khojasteh severely disagreed. So, both of them got on the car, the Car blare the horn and droved away. When it passed the deserted streets drove faster and without hesitation passed Shamiran gate.
Shamiran gate is sign for the range Tehran city. The presence of gates in the stories is another example of city elements to symbol and the sign of new city. The Modernist city, from its own sites, makes signs and placed them in its memory and its inhabitants.
The author personally in the Republic incident of Monday March 2th and in solar 1303 closely observed Baharestan Square. To gain the approval of the Representatives in the opposition to the presidency, nearly forty thousand residents of Tehran in the floor of the Dar al-Shura, occupied the Parliament and streets had ended to the area Parliament Square. The tumult and screams became more sever when Ayatollah Agha Jamal Esfahani facing the marketers, entered the atrium Parliament. The military guardians prevented from entering into the meeting and throw a spear to the horseman. The Lawyer advocates of the high rank commander terrified commotion of people and by Mohammad Sardar Sepah (high military rank) sought help. With several military battalions of soldiers, the Sardar Sepah also comes to Parliament. However, As a result of fanfare and bricks thrown at them, he ordered disperse the people and Soldiers with bayonets and cavalry with swords stormed the crowd and dispersed from every direction. Mushir Salimi describes modernist city's other and adds a new story from earlier story during the Constitutional Movement. , A story that later and later continued and changes Parliament Square to a more meaningful the concept in city of Tehran so; the memory behind the memory and following the memory is formed and sits in the city mind. Mirzadeh Eshgi also in the article titling,"in this article we describe the Treatment to some extent." (Feb 1301) refers to examples of urban elements that at the same time have founded symbolic sign. Each pious cabinet comes to the rule despite of a number of politic businessmen, will have some difficulties. Every day to an excuse there will be controversy in the corner of this city. Especially by the presence of Gavam in Tehran any justice Cabin will not have stability and durability. If Gavam stays in Tehran two or three months later he will become a minister so, every night they begin a Commission at home of Gavam Al Saltaneh and also a controversy against Sale's cabin in the central mosque, the square holes and "coffeehouses of Qanbar". In this article, as far as we can we will begin to discuss the solution. Each place in the modern city, in the midst of struggles and social protests are changing into a reason that the meant are replaced by the word, place and space.
Converting objects to words
Gavam Al Saltaneh has been maintained until now by Poulakis so, the same few days ago it stopped the meeting of Gavam-Al-Saltaneh of the liberalists. So, it should have its own advocates until it lives and out of the square hole pulled out all the fishers and Scaler so that we can not speak of our right and put an end to the scoundrel period of his life. The Square holes, "the old place of Tehran in the modernist city also plays the role and becomes a concept for behavior and social norms associated with the new life of the city and the meaning of "the hole" since then does not refers to a specific location of "square hole" but also it refers to a kind of urban behaviors and norms that tries the political and social struggles with any belief at odds with the dominant opinions. Later on we can not only readout the form of an object not only in the form of an object but also a word.
Eshgi in the article "five days of Blood Feast," that proposes the Revolutionary announcement of traitor politicians and treasury looters if the treasury by the people aiming to call such politicians as non-Muslim writes " they will buried him in the Waterwheel near the hole of Sulaimaniyah. " so, calling this cemetery is not an evidence to its physic , but the reason that this place is the Armenian cemetery, mentioning this element in the symbolic concept, on implies on calling irreligious of those like "a supreme authority and Nosrat-Al Douleh. So, here the Waterwheel is away form foreign object and has changed into a concept with its conceptual meaning.
By refreshing the modernist city from the view point of the modern person (writers of that era) we can say that Iranian modernist city gains a colorful presence in the story of the city. However, city, spaces, places and its picture, whether in physical dimensions or meaning presented in the story and defines a new urban culture as if this culture may be this culture combines the reality, imaginary, tangibility and imaginary, but the fact that this is the theme of each story that refers to specific place or not mainly in the true sense, but an specific concept that is in the city dreams and a meaning that sometimes have a look at modern city and the future world and sometimes to superstitious and world of pre-modern. The job of Sayyed Jafar was to debate in the mosque of the king so; he collected the unemployed people around himself and explained for them in the form of question and response legal issues and assignment frankly and blatantly .
The modernist outlook that forms the plot of the story of Tehran, in most cases opposes the cultural beliefs and storytellers of this new era, in many cases criticize the Urban Culture and therefore, in many literary works of that day the authors and poets denounce and reject traditional beliefs.