Sociology
shiva parvaei
Abstract
Music consumption has a prominent role in women's everyday life experiences as an active audience. The question of this research was "how the musical taste of women is formed?". This question was answered by qualitative research method and study of women's musical experience. The data collection tool ...
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Music consumption has a prominent role in women's everyday life experiences as an active audience. The question of this research was "how the musical taste of women is formed?". This question was answered by qualitative research method and study of women's musical experience. The data collection tool is semi-structured interviews with 28 women with different educations, social statuses, and age groups in Tehran city, who were selected by purposeful sampling and theoretical sampling common in qualitative research. Data from qualitative interviews were coded with the thematic analysis method. The findings indicate that the audience's musical taste is not a predetermined matter, but rather a product of the interaction of the audience's individual background and social position. This means that musical taste is social. The lived experience of women shows cultural capital (family cultural background, education, musical knowledge, and skill), economic capital (individual economic situation and family economic background), multiple identity sources (network of reference groups, ethnic identity, religious identity, national identity, generational identity), and media sources (mass media consumption, social media consumption), shapes and differentiates their musical taste.
Art
Soheila Sadeghi Fasaei; Shiva Parvaei
Abstract
Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary ...
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Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary world are presented in Asghar Farhadi’s movies. This question has been raised within a representation approach. In terms of methodology, qualitative content analysis with an inductive approach has been applied to identify overt and covert themes in the selected movies. Findings suggest that three selected movies represent women in categories such as: modern woman entangled in tradition; conflict between liberation and dependence; deceit and secrecy; being subjected to violence in gender relations; oppression by the presence of male domination and psychological insecurity. Eventually, these categories create a core category called “Woman between Dialectics of Tradition and Modernity".
