Art
Tuba Mozafari nezhad; Esmaeil Najar
Abstract
The present research, with drawing from Gayatri Chakravarty Spivak's theories of "Subaltern Studies", conducts a comparative analysis of two plays: Nine Parts of Desire by Heather Raffo and Mastaneh, the History of the Forgotten by Naghmeh Samini. Spivak believes that comparative studies ...
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The present research, with drawing from Gayatri Chakravarty Spivak's theories of "Subaltern Studies", conducts a comparative analysis of two plays: Nine Parts of Desire by Heather Raffo and Mastaneh, the History of the Forgotten by Naghmeh Samini. Spivak believes that comparative studies in world literature, which today are mainly carried out in line with the logic of globalization in the capitalist era, under the domination of world powers, are not a true echo of the history and experiences of the people of that region. She believes that today, the field of literature, only is a tool to maintain the survival of Western powers, and when they intend to study others, they label them as "Third World" and look at them as an undeveloped "other". These criticisms increase when the western world deals with subordinate subjects, especially female gender, because they only present an appearance of the situation of women in the direction of their goals, which ultimately lead to a limited idealistic and essentialist policy. When representing subalterns, especially with the female gender, it only presents a shade of it, for the sake of its own goals, and reaches an idealistic and essentialist policy. But the subaltern subject, when she speaks and acts as a woman, knows that a growing and expanding gender is the best possible state for her. In the shadow of this game, it is unfortunate that another history of the oppressed, which has been neglected, should be revealed by the subjugated and marginalized people. In this research, by studying a selection of Spivak's theoretical works, namely Death of a Discipline (2003), "Can the Subaltern Speak?" (1985) and "Rethinking Comparativism” (2009), it will be illustrated that the Subaltern can express herself and her pure experiences through literature without help, correction, and global powers. . . . .
Art
Behrooz Mahmoodi Bakhtiari; Aniss Naseri
Abstract
Sexual identity, as a culture based issue, can be regarded as a founding stone for many social inequalities. People (no matter men or women) have to borrow some features of the opposite sex in order to get along with some imposed situations of its surroundings, and wear the mask of another sex in order ...
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Sexual identity, as a culture based issue, can be regarded as a founding stone for many social inequalities. People (no matter men or women) have to borrow some features of the opposite sex in order to get along with some imposed situations of its surroundings, and wear the mask of another sex in order to solve some of its problems. This, however, may establish those features in the mind of the person, and change its sex typing in the long run. Androgyny takes place when such masks represent the male and female essence at the same time. This article aims to find out when the (female) characters of films tend to make use of Androgyny as a mask, and how they turn to androgenic characters. This article has made use of the theoretical framework of Sandra Bem named Psychological Androgyny, together with Goffman's Dramaturgical Analysis. We have also attempted to study two films named "The Blue Scarf" (1994) and "Transit Cafe" (2004), to show the impacts of the society in forming a psychological androgyny in the sexuality of female characters in these films. The results show that these women have resorted making use of the androgenic mask in order to get their basic social rights, and have gradually turned to androgenic characters.
Art
Maryam Dadkhah Tehrani
Abstract
Harold Pinter is among the most famous playwrights of the world and won Nobel Prize in 2005. How he used female characters in his plays is one of the most challenging issues in his dramatic texts. Many of these texts don't have any female personage while the others with female characters show complicated ...
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Harold Pinter is among the most famous playwrights of the world and won Nobel Prize in 2005. How he used female characters in his plays is one of the most challenging issues in his dramatic texts. Many of these texts don't have any female personage while the others with female characters show complicated gendered and sexual functions. Many believe that these characters fit in common stereotypes of females in the world of theater. Among these challenging texts is The Homecoming which shows a unique character, Ruth, who has been controversial among critics. This essay tries to examine the representation of female character in Pinter's plays while focusing solely on The Homecoming. Given the representation of Ruth in this text, some of the critics read this text as a feminist one despite the others who believe Pinter is misogynist. In this essay, after studying the previous views on the play, I try to show how both perspectives can be seen in this text. In fact, just by this article, we cannot accuse Pinter of being misogynist neither acclaim him to be feminist. Pinter indeed wants to decentralize the patriarchal structure of family and the society, using his Pinteresque dialogues and devices.
Art
Alireza Sayyad; Sajad Sotoudeh; Milad Sotoudeh
Abstract
The perceptual experience of the male stroller (Flâneur), as the paradigm of the perceptual experience of modernity, is often regarded as a model to analyze the perceptual experience of the film's spectator. However, despite the fact that for many years flânerie was considered to be essentially ...
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The perceptual experience of the male stroller (Flâneur), as the paradigm of the perceptual experience of modernity, is often regarded as a model to analyze the perceptual experience of the film's spectator. However, despite the fact that for many years flânerie was considered to be essentially a masculine act, in the late nineteenth century women tried to gain their place as a spectator moving through urban spaces. By referring and rereading texts and artworks of this period, it is possible to retrace the presence of female stroller (Flâneuse) in the modern city. Demonstrating the existence of a type of female flânerie, these rereadings reveal the contrast of perceiving the essence of the modern city by female flânerie with that of masculine flânerie. Exploring the manner of the emergence of women in the modern city and the consequent process of female flânerie, the present study attempts to establish the characteristics of Flâneuse and illustrate its differences with male flânerie. By focusing on Cleo from 5 to 7, a film directed by Agnès Varda, this article tries to recognize the qualitative features of female flânerie and investigate female subjective interaction with urban spaces during the process of flânerie. In Cleo from 5 to 7, this process leads to removal of the Cleo’s gender-oriented image, aids her to achieve a new understanding of her identity, and prepares the ground for her to play a crucial role in reconstruction and reconfiguration of the perceptual experience of urban modernity. This research proposes that the focus on the Flâneuse's perceptual characteristics could be helpful in challenging the dominant attitudes that consider cinematic perception and cinematic look essentially as a masculine act.
Art
Ali Sheikh Mahdi; Nazanin Honarkhah
Abstract
Jacques Lacan, influenced by Freidrich Hegel, registered dialectic of Master and Slave into psychoanalytic discourses. Sigmund Freud's psychoanalysis, commonly known, is considered the science that examines the impact of unconscious actions, searching for signs of disease. Over time, psychoanalysis has ...
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Jacques Lacan, influenced by Freidrich Hegel, registered dialectic of Master and Slave into psychoanalytic discourses. Sigmund Freud's psychoanalysis, commonly known, is considered the science that examines the impact of unconscious actions, searching for signs of disease. Over time, psychoanalysis has been concerned with various sciences such as philosophy. One subject of dialectic of master and slave is linked with the analyst raised earlier by Hegel. The current paper aims to examine this theory through analysis of the relationships between four pair characters presented in Asghar Farhadi's film, About Elly (2009), using a qualitative research method. The data were collected by the film's observation and library sources, then its content was analyzed based on interpretive phenomenological analysis with a psychoanalytical approach mainly inspired by Freudian school. The first mode of such master-slavery contradictory is formed by Sepideh-Amir relationship, in which both of them are in struggle for power. The second mode is formed by Nazi-Manouchehr relationship, in which Nazi (female) is Master and Manouchehr (male) is in Slave status. The third mode is formed by Shohreh-Peyman relationship, in which the female figure confirms power of the other, as she is a slave, but at the same time she pretends to be the master herself. Finally, the last mode is formed by Elly-Ahmad relationship, in which both sides have tendency to be slave. The findings show that the master-slave dialectic, present in Iranian patriarchic society, is represented in defensive psychological processes of characters in Farhadi's film.
Art
Behrouz Mahmoodi Bakhtiari; Kourosh Ghaniyoun
Abstract
"Cross-dressing" defined as the concept of wearing female dresses by men, and male dresses by women, entered the plots of movies from the early ages of the emergence of cinema, and has still survived. The reason for cross-dressing, according to what has already been witnessed, is to gain the merits of ...
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"Cross-dressing" defined as the concept of wearing female dresses by men, and male dresses by women, entered the plots of movies from the early ages of the emergence of cinema, and has still survived. The reason for cross-dressing, according to what has already been witnessed, is to gain the merits of the opposite sex, as well as the progress of the drama by the cross-dressed person. In the current article, the function of cross-dressing has been studied in 18 films of the Iranian cinema, within the poststructuralist framework of Foucault, and the post-feminist approach of Judith Butler. The movies analysis shows that there are themes in which a man dresses like a woman, or a woman dresses like a man in order to prove something to other people, or to get rid of a miserable situation. Most of the considered films are comedies, and in most cases, the films have happy endings. Based on the research findings, cross-dressing of women in the Iranian films are done out of their frustration and despair, and their secret is revealed only when a disgrace takes place, whereas cross-dressing of men is usually carried out for their personal profits.
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".
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.
Art
Hadi Khaniki; Mozhagan Farahani
Abstract
Regarding to the theories of power, a number of scientists believe that power is general exercised across the society through the “contextual” mechanisms. The present study aims to identify the contextual mechanisms which allow gendered power. The present study addresses the issue of how ...
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Regarding to the theories of power, a number of scientists believe that power is general exercised across the society through the “contextual” mechanisms. The present study aims to identify the contextual mechanisms which allow gendered power. The present study addresses the issue of how movies toward the subjugation of women and the strengthening of the masculism discourse. Also, this study examines how women’s’ counter discourse disrupts the pattern of power enacting. For responding to studies question gendered power is evaluated and interpreted using critical discourse analysis and Pelgi and Wodak combination approach as well as the theories of Bakhtin, Althusser, Žižek and Julia Kristeva and their most important concept such as discourse struggle, subjectivization through interpellation, fantasization, and contamination in two films of Tahmineh Milani and Rakhshan Banietemad. Findings show that the films of Tahmineh Milani are Texts of monophonic and power exerting is unilateral and it is from masculism discourse. The mechanisms of power exerting is used by masculism discourse for acts of domination. The films of Rakhshan Banietemad are texts of polyphonic and all discourses can speak. Also, Power is distributed among them. All the discourses use mechanisms of power exerting and women have resisted opportunities.
