Literature
نرجس ghabeli; alireza asadi; ali soltani
Abstract
As a cultural product, the novel represents a society with various discourses. Each of these discourses, with their own configurations, are constantly trying to find their ideal to make their meanings hegemonic. The current research is an attempt to analyze the discourse semiotics of gender with an emphasis ...
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As a cultural product, the novel represents a society with various discourses. Each of these discourses, with their own configurations, are constantly trying to find their ideal to make their meanings hegemonic. The current research is an attempt to analyze the discourse semiotics of gender with an emphasis on the theory of "Laclau "and "Mouffe" in the two novels "This street has no speed bumps" and "Rahesh". Based on this, the main issue in the current research is how "gender" is represented in these novels.Also, how gender thoughts have been reflected through the author's mentality in writing the novel and what is the author's point of view towards them. In terms of methodology, the upcoming research is considered a descriptive and qualitative research, which data collection is done by library method. According to this method, the analysis of the novel includes three levels: textual analysis, intertextual analysis and contextual analysis. Textual analysis is dedicated to the semiotics of the novel's characters and finding the discourse order of the novel; In intertextual analysis, each novel is compared with novels of the same period, and in contextual analysis, the relationship of the novel with the larger social space is examined.Finally, the analysis of the propositions revealed that the main concern and theme of the novels; The obvious conflict between tradition and modernity lies in the social construction of gender, which is implicitly included in the inner layers of the text and lexical reflection, and the main characters and theme of the novels; The obvious conflict between tradition and modernity lies in the social construction of gender, which is implicitly included in the inner layers of the text and lexical reflection, and the main characters of the novels are in the conflict between the biological construction of gender and its social construction at all stages.
Literature
mahin hajizadeh; abdolahad gheibi; ghader ahmadi
Abstract
Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and ...
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Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and without specifying their names at times, as a result of the political and social conditions in the war-torn regions. At other times, the poet may do so explicitly. The character within the poem serves as an embodiment of the poet's thoughts and imagination. Through the portrayal of a living individual and the immersion of that persona into the realm of his imagination, the poet endeavors to establish a meaningful connection with the readership while also allowing the character to embody his own sentiments and behaviors. Philippe Hamon, a renowned and contemporary French theorist, is among the few authorities who has a precise and exhaustive theory of the context of character. A comprehensive understanding of the hidden meanings and concepts in characters can be attained by adhering to his perspective, which incorporates the views of earlier theorists.
By conceptualizing character as a symbolic context comprised of the signifier and the signified, Hamon broadens the fundamental semiotics of character. In doing so, he argues that character is not merely a psychological construct, but rather a real-world entity. Characters are processed in accordance with four principles, according to Hamon's theory: types, character dimensions, signifier, and signified. As a result of the shift in the political and social climate of the modern era, which compelled Nizar Qabbani to address women's issues and defend their violated rights, he devoted considerable poetic space to this segment of society and depicted the physical and spiritual beauty of women. Nizar's poetry exemplifies the exquisite unity of women and poetry; these two elements are so intertwined that they cannot be separated; this is the reason why she has earned the reputation of a woman poet within the realm of Arabic poetry. Hence, the poet's poems prominently feature the female context. The present study employs a descriptive-analytical approach and draws upon Philip Hamon's personality theory to analyze the diverse facets of the female persona in Nizar's poetry courts. While emphasizing the significance of this context in Qabani's poems, it also clarifies its function as a means of conveying the poet's intended message. In conclusion, the research findings indicate that Nizar Qabbani's poems comprehensively illustrate every facet of Philip Hamon's theory. By opting for a moderate approach rather than ambiguity and a direct tone when expressing ideas in his poems, he has effectively increased the value of his poetry. One could say that Nizar's poetry and thoughts have elevated and evolved the status of women; the majority of the female characters in his romances are figurative, which is consistent with the general tone of his poems concerning the corrupt Arab society of the time. It is compatible because the poet often had to suffocate and communicate his ideas in an invisible manner. Furthermore, since he does not believe in the central reader, he employs the method of application the pronoun of the audience to represent the female characters. Thus, the character in question disappeared from the reader's mind and submerged her poem in an aura of ambiguity, which is the consequence of the ominous phenomenon o Furthermore, one may observe an intermediary, a pointer, or a reference, in addition to virtual characters. Frequently, the external and psychological aspects of the description of the female character are conveyed, and the poet employs a variety of literary devices, particularly similes, to establish an intimate connection with the reader. The reader is able to readily envision the poet's depicted character. Furthermore, an examination of the meaning reveals that the majority of the information regarding the nature of women originates from the poet himself. This is evident on both quantitative and qualitative levels, with the poet's descriptions being melancholic in the quantitative sense. And to evoke empathy in the audience, he added melancholy; he utilized both direct and indirect methods in the qualitative dimension. However, upon closer examination of the evidence, the reader discerns a discrepancy between the characters' portrayals and their actual performances, leading to the conclusion that the nomenclature and origin of certain characters are not connected to Hamon's theory
Nasrin Mohamadpour; masoud taghiabadi; vahid shalchi
Abstract
AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. ...
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AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. The research has been done via a semiotic method, using Fisk and Barthes model, combining it with Selby and Cowdory approach. By purposeful sampling, three films (The Blue-Veiled , Border Café (Cafe Transit), and The Corridor (Dehliz) from the 70s, the 80s, and the 90s have been selected for analysis. Results show that the power in these movies addresses family sanctity along with the need for woman management in it, also reproducing the discourse of housekeeping. But on the other hand, we see the construction of a faithful woman in return for a commitment to her husband or family and responsible for male roles. Here the desirable femininity portrayed in the films include: a) construction of a loyal housewife who supports the husband, b) the female-headed household who is committed to the family and is employed, and finally, c) the female-headed household who is chaste and a lover. The cultural meanings of the films are the lower social class of female-headed households, exposure of young female-headed households to judgment, their livelihood and economic problems, people's constructed look at them, the multiple roles they play, their strong sense of motherhood, cultural and value differences of varied ethnic groups, self-sacrifice and devotion, and drawing the old traditions of female widowhood. Also, all female-headed households try to change and start again, yet in the face of society, traditions, gender stereotypes, and the idea that men are superior, they are deprived of the opportunity to empower themselves.
Mahdi Akbari Golzar; qasem zaeri
Abstract
The image of women in Iranian cinema has always been represented in various genres. From the feminist discourses that seek to portray the existing discrimination against women in each period to the genres that refer to the role of women in the war years and beyond, each has addressed this issue in some ...
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The image of women in Iranian cinema has always been represented in various genres. From the feminist discourses that seek to portray the existing discrimination against women in each period to the genres that refer to the role of women in the war years and beyond, each has addressed this issue in some way. In the meantime, however, less payment has been made to women in a particular religious ideology. "when the Moon Was Full" is one of the few films that represention the image of a woman in a religious ideology (Taliban group) in the form of a love story. Therefore, in this article, by combining Bart's semiotic analysis method and his analysis narrative, we will seek to explain and represent the image of women in this film. The results of the analysis show that the director of the play, with the dramatic narrative of a senior member of the Taliban, seeks to show the ideological impact of thinking in which no obstacle can lead to the achievement of the sacred and lofty goal of the Taliban. This image is narrated from the Taliban ideology that a religious man must even go through his wife (mistress) and child in order to achieve his goals, and their preoccupations should not stop him from carrying out the missions that the Taliban group has planned for them. As a result, the image of women in this group is considered a worthless asset against the values and goals of the Taliban and even an additional obstacle to achieving them.
Parisa Shad Ghazvini; Moeine ossadat Hejazi
Abstract
Clothing and ornaments play an important role in shaping the collective identity of tribes. How the body is decorated is a kind of indicator of the structure of life and culture of a people. Adornment has always been an important part of the life tradition of people, especially women. In this regard, ...
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Clothing and ornaments play an important role in shaping the collective identity of tribes. How the body is decorated is a kind of indicator of the structure of life and culture of a people. Adornment has always been an important part of the life tradition of people, especially women. In this regard, Turkmen ethnic groups that are considered subcultures of Islamic civilization and live in parts of Central Asia and Iran, they are divided into different tribes one of which is the Tekke tribe. The ornaments of the Turkmen tribes have special identity features while preserving the collective identity of the Turkmen people, it also differentiates the identity of its tribe. The women of the Tekke tribe have an ornament called Tumar, which, as a protective frame for prayer paper, adorns women, especially the young bride of the tribe. This article intends to study the identity, belief and ritual signs of " Tumar". These are the basic questions of this article: What semiotic layers have been used in the design of this ornament (Tumar)? And apart from its basic uses (prayer frame and decorative cover), what other semantic implications does it have in the semantic discourse of the Turkmen people? In the article, visual signs in 7 sample Tumar have been qualitatively read semiotically. Data were collected from written, oral and field documents. The method of descriptive-analytical study is layered semiotic approach. In the semiotic analysis of the Tumar ornament into six perceptual layers, it was concluded that the description, analysis and interpretation of the signs make significant use of its initial use. The semantic implications of the signs refer to deep and rooted concepts in ethnic beliefs and shamanic and Islamic faith.
Masomeh Mirzakhani; Bagher Saroukhani; Hasan Khojasteh Bagherzadeh
Abstract
Advertising is one of the inseparable elements of modern human life. In the meantime, the media as a tool to introduce products is of particular importance. The main purpose of this article is to examine the position of the body in the media discourse (commercial advertising of Jam Network). From Fisk ...
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Advertising is one of the inseparable elements of modern human life. In the meantime, the media as a tool to introduce products is of particular importance. The main purpose of this article is to examine the position of the body in the media discourse (commercial advertising of Jam Network). From Fisk and Bart's point of view, commercials have been analyzed and evaluated at three levels including reality, representation, and ideology. They were selected by purposeful and non-random sampling method for semiotic analysis. After collecting advertisements, 33 commercial messages were studied in depth. The theoretical basis of the discussion is the opinions of some experts in body sociology. There are two discourses, "sexual" and "gender" in the field of female body in advertising. Of course, "sexual discourse" dominates the Jam network's propaganda, and the body, especially the female body, as the only creature that has gender and sexuality, has become a tool in the service of capitalism.
Communications
Samaneh Foroughi; Yaser Foroughi
Abstract
What is important in cultural and media studies is the way of representing roles, petty groups, groups, relatives, gender, and so on. Nowadays, when the child's audience reaches the point, the importance of these teachings is doubled, as children watch their favorite genre of "animation" in-school curricula ...
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What is important in cultural and media studies is the way of representing roles, petty groups, groups, relatives, gender, and so on. Nowadays, when the child's audience reaches the point, the importance of these teachings is doubled, as children watch their favorite genre of "animation" in-school curricula on roles, stereotypes and gender identity. The purpose of this article is to compare the animations of "life skills for children" and "children of Flowers Building" from the perspective of gender. The present paper focuses on the qualitative analysis and the cognitive approach based on John Fisk's array to examine and review the common gender stereotypes in the two sets. For this purpose, all parts of the two animations have been studied. The results of the research show that in both programs, women and men are represented in terms of the number of characters almost equally. In a series of life skills for men, men are often represented with superior and more relevant attributes such as the power of high-thinking and decision-making, knowledge and aptitude, high self-esteem, wide social communication, and cheerfulness. The women's representations are often blurred with traditional gender stereotypes such as groaning, rumors, intercourse, personal independence, abstention, lack of control over anger and aggression, crying during troubles, and disorientation. In contrast to animation, golfers have a more positive and egalitarian approach to gender. Men are depicted in this collection with characteristics such as family-friendliness, appreciation, the principles of rituals and sociality, and their esteem and support. In representing women, it represents such attributes as beauty and adornment, futurism, attention to detail, equipping with multiple skills, self-control and rationality, and motivation.
Archeology
Habib Shahbizi Shiran; Esmaiel Maroufi Aghdam; Saeid Sattar Nejad; Fariborz Tahmasebi
Abstract
Iranian artworks such as metal, during the historical periods, reflect the ideas and viewpoints mainly in political, economic, and religious ritual aspects. The metal works of Sasanian period, due to frequency and variety of designs, are considered representative of the belief and thoughts of this era. ...
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Iranian artworks such as metal, during the historical periods, reflect the ideas and viewpoints mainly in political, economic, and religious ritual aspects. The metal works of Sasanian period, due to frequency and variety of designs, are considered representative of the belief and thoughts of this era. The figures of women and shrewdly pointed out the figures of the goddess Anahita are one of the greatest groups of the motifs depicted on the golden and silver vessels of the Sassanid period. In the containers of this period, arәdvīsūra Anahita is depicted as a beautiful woman, half naked, in the middle or in the different directions, with minor painting such as lotus, dogs, fish, eagle, pomegranate, baby, grapes, the jug water and etc. In this research, we considered 23 vessels containing Anahita legend. This demonstrated that the objects in the hands of this goddess and plant, human and animal motifs in her scene, may represent descriptions, manifestations and functions that entirely have been speaking about in Avesta. Thus, we can say that Sassanid artists wisely choosed this designs with full knowledge about mythical and religious beliefs in same time. This research is based on descriptive and historical methods and data collection and –library survey.
cultural
Mehran Sohrab Zadeh; Tahereh Yoosefifar; Reza Abbasi
Abstract
Living in modern societies is full of advertising messages. These messages in diverse and numerous forms affect every day and working life of people. One of the most challenging subjects in advertising is representation of women in advertising and commercial promotions. A large part of representations ...
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Living in modern societies is full of advertising messages. These messages in diverse and numerous forms affect every day and working life of people. One of the most challenging subjects in advertising is representation of women in advertising and commercial promotions. A large part of representations in advertisements depicts women in their role as cultural stereotypes. The purpose of this study is to evaluate the image of gender that Iran ads show to audience. The current articles use Roland Barthes theory of semiotics. Semiotic is a method of representation that seeks to reveal hidden meanings and themes in the text. In this paper, we study the advertisements that unlike the others show women having new roles. However, in this form of representation, we face illustration of women in such a way leading to cultural reproduction of symbolic annihilation. The research results show that advertising process in Iran, like Western countries, has been sexist. Women in new roles as modern Iranian women have been used as a tool in the service of capitalism. Also in our country, which follows Islamic rules, appearance of women with makeup is in contrast to the laws of Constitutions of Islamic Republic of Iran.
Art
Maryam Rafatjah; Niloofar Hooman
Abstract
This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and ...
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This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and John Fiske’s semiotic analysis in three levels of reality codes, representation and ideology, Esterahate Motlagh and Nahid movies have been analyzed and evaluated. The results showed that: 1. Both films have the three- part narrative structure, 2. The story take places in an urban space, 3. the crises that divorced woman face 4. Tactful woman is the most important type in both movies 5. Showing patriarchy, wise woman versus irrational man and the predominance of evil over goodness, are the most important ideological issues which have been mentioned and portrayed in the movies.
Communications
Sorayya Ahmadi; Seyyed vahid Aqili; Seyyed Mohammad Mahdizadeh
Abstract
The main objective of this study was to analyze television series with an emphasis on gender identity to decode the main elements of representation mechanisms. Television, as the most popular medium, plays a significant role in representing and sharing attitudes. Therefore, TV series has an important ...
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The main objective of this study was to analyze television series with an emphasis on gender identity to decode the main elements of representation mechanisms. Television, as the most popular medium, plays a significant role in representing and sharing attitudes. Therefore, TV series has an important role in the representation of gender in a society. The current study aims to answer: What are the factors and components of the implications of gender identity? Poststructuralist approach to identity (postmodernism identity) and Representation theory of Stuart Hall are used as a theoretical framework for examining this issue. "Zamaneh" was analyzed using semiotic analysis codes of Fisk at three levels of reality, representation and ideology. Components such as individualism, materialism, independence of women, the power to make decisions and choices, interpersonal relationships, patterns, styles and consumption patterns covering professional are representations of women in the modern search for identity and the identity of the dominant component. Two forms of women's identity represented in this serial include: the traditional identity factors like caste, religion, gender identity and coherent contributions in creating a fictitious or modern identity. It seems that this serial presents a negative representation of the formation of modern identity.
