Azam Ravadrad; Kobra Elahifar
Abstract
The feminist film theory has presented a new approach for breaking the narrative line of movie aiming at increasing the consciousness of female audience about her situation of being the object of camera vision and male gaze. The problem is that such an approach led the feminist movies to face economic ...
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The feminist film theory has presented a new approach for breaking the narrative line of movie aiming at increasing the consciousness of female audience about her situation of being the object of camera vision and male gaze. The problem is that such an approach led the feminist movies to face economic failure. In this study, using the creative idea of "feminine joy" in the feminist film theory, this paper tries to produce a kind of reading of two famous Hollywood and Iranian movies named "Thelma and Louise" and "Vaconeshe Panjom" (The fifth Reaction). Our aim is to present a kind of analysis based on active role of women in reading films and an explanation of visual possibilities in movies that have emancipatory effect in rescuing women from being an object of male gaze. This analysis uses the feminist psychoanalytic film theory with an emphasis on the theoretical concept of feminine joy. An active feminine reading of movies by women can inspire the friendship joy and empathic relations in them as active spectators. Therefore, despite the limited success of feminist film theory, applying such an active reading from the women characters of stories facing with masculine gaze and power in mainstream movies, can produce a kind of enjoyment for women spectators that is in contrast to the concepts of masculine joy and feminine objectivity. This is the kind of reading that can demonstrate the emancipatory dimension of some mainstream movies for women.
cultural
Yaser Rastgar; Ehsan Aqababaee
Abstract
Nowadays, the audience plays a key role in the interpretation of cultural products including movies. Thus, discovering how the audience make sense of and interpret things can lead us to the social world underlying such interpretations. Women are among audience who could have different readings based ...
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Nowadays, the audience plays a key role in the interpretation of cultural products including movies. Thus, discovering how the audience make sense of and interpret things can lead us to the social world underlying such interpretations. Women are among audience who could have different readings based on their cultural and generational experiences and background. Based on the interpretive paradigm, the present study aims to address the question: how would the female audience of two different generations interpret the movie Two Women? The study adopted an interpretive paradigm based on group interview as the research strategy. To this end, two groups of women from two different generations aged 20-30 and 45-55 years were selected purposively as the participants and were interviewed in two distinct groups. The interpretive analysis of the data revealed two different readings by the two different generations in terms of personality traits and the fate of the film characters at the textual level and in terms of such concepts as patriarchy and identifying with characters at the contextual level. However, the two groups converged in terms of their meaning making based on the conflict between tradition and modernity and the interpretation of events based on this dilemma.
Communications
Abdollah Bicharanlou; Seyedeh Razieh Yasini; Behnaz Jalalipour
Abstract
This research is based on this assumption that the ways people are represented in TV are different with the ways they are represented on social media such as Instagram because the nature of social media is different with the nature of mass media. Thus the users of social media when using these media ...
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This research is based on this assumption that the ways people are represented in TV are different with the ways they are represented on social media such as Instagram because the nature of social media is different with the nature of mass media. Thus the users of social media when using these media to represent their daily lives, actively use these media to show unofficial (informal) pictures of their lives while when they attend in a T.V program, they are represented very formally. The interaction on social media like Instagram is very intimate than in mass media like T.V. One of the issues to study is to find the differences between representing the people clothing in social media and Television. Some of Iranian Veiled TV presenters interacts to their audiences on Instagram; a considerable issue on the re-presentation of the mentioned women on Instagram is their dress. This study is to analyze the depiction of veiled Women TV presenters on their dress on Instagram through analyzing their shared pictures. In addition to analyzing the way of selected women dress re-presentation, the paper is to respond whether their dress in TV is different to unofficial space such as Instagram? To review the literature, Giddens approach on the identity & Goffman theory on the self- presentation in everyday life were reviewed. This research is qualitative in method applied, and to analyze the Instagram pages of women TV presenters, nethnography method has been applied. The sample selected to study by nethnography method consists of 7 pages of Iranian Veiled TV presenters. The analysis of veiled TV presenters shared pictures in Instagram shows that their clothing on Instagram is different in terms of diversity and color with their represented dress in Television programs and some TV presenters advertise some dress goods in their Instagram pages.
Rashid Ahmadrash; Ahmad Gholami
Abstract
This study, sociological analysis of changes happened in modern individual identity and transformation of sexual identities in Iran during the 1990s, among urban middle classes. We have used qualitative method especially semiotic in order to study and analyzes these three film. The Kanaan by Mani Haghighi, ...
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This study, sociological analysis of changes happened in modern individual identity and transformation of sexual identities in Iran during the 1990s, among urban middle classes. We have used qualitative method especially semiotic in order to study and analyzes these three film. The Kanaan by Mani Haghighi, The famous by Iraj Ghaderi and The None Expected by Mohammad Hadi Karimi. The findings show that during the studied decade (1990s), a kind of transformation of in timidity among people particularly in relation to the formation of the SELF has been happened which can originate from changes of the improvement of the SEL, expanding of individuality in society and changes of gender and sexuality of middle class who looking for its gender and fluid personal identity. Changes also show some degree of democratic tendencies in giving central role to women and men in the process of decision making on their bodies but also have signs of some kinds of depressing and agitations in their lives. Studying of such changes through cinema will help us better understanding of modern individual life and his minding.
Art
sahel erfan manesh
Abstract
The pictures of women in pictorial carpets were mostly woven in the form of mythological figures or images of European women in the Qajar era. Among these carpets influenced by both of discourses there is a carpet with a woven image in a seating position, which is preserved in the ‘Ahadzadeh Gallery’. ...
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The pictures of women in pictorial carpets were mostly woven in the form of mythological figures or images of European women in the Qajar era. Among these carpets influenced by both of discourses there is a carpet with a woven image in a seating position, which is preserved in the ‘Ahadzadeh Gallery’. This work is highly similar to the carpet of the queen of Armenia. It is also influenced by the ‘world carpet’ in which world is placed on the back of the cow-fish.Considering that this carpet is inspired by carpets with a mythological concept and picture of a woman, therefore, in this study the relationship between different texts is being addressed. The research also aims to review and study the connections between the England's ‘Queen carpet’ and the ‘world carpet’ with the carpet preserved in the ‘Ahadzadeh Gallery’; the study targets the following question 1. how the relationship between these carpets could be justified, considering the European and mythological concepts behind those two carpets? 2. What changes have occurred in the process of establishing these relationships? This study is performed based on a descriptive-comparative research method and analyzes outcomes according to the hyper-textuality concept of Genet. The findings of the research indicate that there are two kind of relationship between the existing texts of hypotext and hypertext, 1. Imitative or homotextuaity relationships and 2. Changed relationship. The relationship between the first and third text is kind of ‘hypertextuality’ and the relationship between the second and third text is kind of ‘intertextuality’. Also there is a transtextuality between the first and the third texts as there has been a change in both the style and the content of the text, as the new text does not only addresses one discourse, but also interpret a connection between the two discourses of Archo-Eropean, and the target carpet has acquired a new identity.
Jahangir Safari; Masoud i Rahimi Domakan; Ebrahim Zaheri
Volume 1, Issue 1 , February 2010
Abstract
This article aims to explore the role of the gender bias in the choice of address terms in some Iranian contemporary stories. Some address terms due to their gender distinctive functions refer either to men or women; however, as it has been observed the variability in the choice of some address forms ...
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This article aims to explore the role of the gender bias in the choice of address terms in some Iranian contemporary stories. Some address terms due to their gender distinctive functions refer either to men or women; however, as it has been observed the variability in the choice of some address forms or references are more or less due to the social status and values of the interactants in the target stories. For example, male characters would address their counter parts with their first names and the pronoun /tou/, but the female characters would address their counter part more politely with their last names with the title or the pronoun /shoma/. This article thus tends to consider the socio-pragmatic functions of address terms such as the first name, the last name, the address pronouns, the special titles, and the kinship terms. The findings indicate that the major factor affecting the choice of the address terms is based on the gender bias of the interactants.
Maryam Hoseini; Fahime zarezadeh
Volume 1, Issue 2 , February 2010
Abstract
The book “One Thousand and One Nights” has always been considered as a relatively major source in cultural studies about women. This book comprises many female characters who play various moral and operative roles. It seems that this book does not merely reflect the common perspectives of ...
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The book “One Thousand and One Nights” has always been considered as a relatively major source in cultural studies about women. This book comprises many female characters who play various moral and operative roles. It seems that this book does not merely reflect the common perspectives of one era or the personal experiences of its authors in relation with women; yet it is an intricate result of the society views toward this issue and different experiences of the authors. Throughout the years, it has developed the opportunities for expressing an idea, or the ways for opposing a belief and has also established the ground for its survival or demise. The investigated domain in this article is the Persian translation of the book “One Thousand and One nights” and some of the paintings of Sani’-ol-Molk. In the present study, the stories in which women play the primary role have been selected. The purpose of the current research is to explore the image of woman in these stories and to compare it with the paintings of Sani’-ol-Molk. Shahrzad is a key female character in the One Thousand and One Nights book who creates a general convergence in the stories by illustrating the conditions of women and introducing them as prudent, courageous, lover, artist and writer; and this results in the fact that not only is woman no longer disgraced but also the readers consider her as a complement, a collaborator and a comrade for man and therefore try to resolve her problems. Consistent with the language of the narrator of the stories and the story principles, Sani’-ol-Molk also creates a democratic atmosphere about women which demonstrates the profound impacts of Shahrzad and other women of the story on him.
zaenab Mohammad Ebrahimi Jahromi; tahereh zakery
Volume 2, Issue 1 , June 2010
Abstract
This research, relying on Critical Discourse Analysis(CDA), has proceed to analyze ten novels of modern Iranian men and women writers.In the field of lexicon, using marked lexicon and metaphor, and in the section of syntax, using syntactic non – norm in the texts, it has compared active vs. passive ...
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This research, relying on Critical Discourse Analysis(CDA), has proceed to analyze ten novels of modern Iranian men and women writers.In the field of lexicon, using marked lexicon and metaphor, and in the section of syntax, using syntactic non – norm in the texts, it has compared active vs. passive sentences, long vs. short sentences, and direct vs. indirect speech with regard to gender of the writers. In this comparison, the statistics show that the women writers use more than men writers marked lexicon, and metaphor; in the part of lexicon; and passive sentences, long sentences and indirect speech, in part of syntax. Therefore, the gender of writers plays an important role in type of producing the texts, like ideological factors.
Safieh Moradkhani; maryam Talebi
Volume 2, Issue 2 , July 2010
maryak hosseini
Volume 2, Issue 3 , January 2011
Abstract
The beginning of the feminist movement in Iran coincided with the Constitutional Revolution and the reign of the first Pahlavi monarch. Liberal minded women took the initiative into their own hands and founded the first schools for girls, they organized societies and published journals dealing specifically ...
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The beginning of the feminist movement in Iran coincided with the Constitutional Revolution and the reign of the first Pahlavi monarch. Liberal minded women took the initiative into their own hands and founded the first schools for girls, they organized societies and published journals dealing specifically with women's issues. Some pioneer women demanded legal rights for women. Parvin E`tesami was foremost among these women. She supported women's rights through her poetry, she consistently demanded that women should be respected and criticised and objected to the condition of women. She disparaged the patriarchal attitude of the government and her poems are full of her insistence that women and girls should be protected by society. The present article attempts to prove that a poem published in 1300/1921 in the journal Alam-e Nesvan, was by written by her. This short Qasideh, elegy has not attracted the attention of those who specialize in her work. The author of the present article attempts to establish the authenticity of this work as written by Parvin E`tesami by examining her style, and feminist stance of this famous poet.
Art
Ghufran Brimo; Effatolsadat Afzaltousi
Abstract
Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural ...
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Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural identity of girls and women is represented in the cover illustrations of children's stories in Arabic-speaking countries. To gain insight into cultural identity, particularly Arab identity among Arabic-speaking girls and women, it analyzes the statistical population. In this context, 249 cover designs from six Arab countries including Egypt, Iraq, Lebanon, Syria, Saudi Arabia, and the UAE were examined for the age group (B). Results show that the UAE is the most wealthy nation in terms of cultural visual representations, while Syria is the least prosperous in this regard. Arab girls' and women's faces are prominent in most images, and the palm tree, a symbol of natural geography, plays a significant role in Arab identity, especially in Iraq publications. Older women on the cover illustrations are often veiled, and the veil is one of the most prominent visual symbols. Nevertheless, in Lebanon and Syria, this symbol is less prominent across all age categories. It appears that a general conclusion can be derived regarding the identity of Arab girls and women on the covers of children's books in Arabic-speaking countries in the present study. This identity is a combination of Arab and Islamic identity, with a particular emphasis on geographical and natural symbols.
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.
cultural
Malihe Shariloo; Abdolhosein Farzad
Abstract
One of the important implications of contemporary literature is reflection of people and the culture of human life showing human as an integral part of the story; therefore, attachment of human culture to people has entered this literary form. Some parts of this culture include traditions and superstitions ...
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One of the important implications of contemporary literature is reflection of people and the culture of human life showing human as an integral part of the story; therefore, attachment of human culture to people has entered this literary form. Some parts of this culture include traditions and superstitions as well as social, religious, and medical customs and another part includes language and local dialects and songs, poems, proverbs and games. Modern woman writers are those who pay special attention to their culture, their works portray human relations with culture showing that appropriate or inappropriate use of this culture in education and human life in the story is rooted partly in real society; on the other hand, it becomes apparent that sometimes the content is a mask on hidden thoughts and intentions of the author helping her create a more artistic and sometimes more complex work. Of course, given the sex and insight of the author, as well as context and setting of the story, the way these contents are presented mat vary, an issue which can be examined.
cultural
Mohammad Reza Taghavipoor; Mohsen Esmaeili; Siavosh Salavatian
Abstract
Family is the most important pivot of a society that paves the way of its prosperity or causes its misery; an institution which has currently and unfortunately lost its stability, with its referring to Islamic life style being its panacea. Therefore, it is useful to present a suitable pattern of Islamic ...
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Family is the most important pivot of a society that paves the way of its prosperity or causes its misery; an institution which has currently and unfortunately lost its stability, with its referring to Islamic life style being its panacea. Therefore, it is useful to present a suitable pattern of Islamic family through showing productions. To this end, the present study seeks examine the content policies of the desired representation of Islamic life style of family within show productions. This study has been carried out in two stages. In the first stage, the content of 7 books (including 21 volumes) on Islamic family was examined, through qualitative content analysis. The analysis in this stage resulted in 725 codes classified in 93 concepts and 12 categories, and finally presented as the comprehensive pattern of Islamic family with 3 axes: theoretical perspectives of Islam on family, practical solutions for strengthening family, and family instability factors. In the second stage, with the questions designed based on the pattern obtained in the first stage, the experts and professors in 4 areas, namely management and policy making, family and Islamic life style, TV production, and communication science were interviewed. The interviewees were selected through purposeful sampling and the interview itself was conducted in a semi-structured form. The results obtained from the interviews were codified and categorized. Finally, the results of the study were presented in two parts. The first part titled as “objectives, axes, and priorities” included 7 categories namely, “marriage and making family”, “outlining the position of family members”, “the economy of family”, “the desired environment ruling on family”, “visiting relatives”, “the duty of family members”, and “dealing with family instability factors”. The second part also titled as “content policies and rules” included 35 content propositions concerning the desired representation of family in show products under Islamic life style.
cultural
Emad Afrough; Hossein Mehrabanifar
Abstract
Fashion as one of the most popular cultural industries, while enjoying economic profit, plays a significant role in the transfer of creative ideas and cultural growth of communities based on their cultural heritage. The fashion industry like other industries includes a cycle of creation and design to ...
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Fashion as one of the most popular cultural industries, while enjoying economic profit, plays a significant role in the transfer of creative ideas and cultural growth of communities based on their cultural heritage. The fashion industry like other industries includes a cycle of creation and design to production, distribution and eventually consumption. Given the ambiguity in the situation of the fashion process in Iranian society, this study seeks to describe and analyze the current situation of the fashion cycle of clothing in different stages of its development in Iran. The fashion cycle has been investigated through the interview method (in-depth interview in the design, production and distribution stages and semi-structured interview in the consumption stage), documentary studies for collecting data, thematic analysis (in the analysis of the design, production and distribution situation), and qualitative content analysis (in the analysis of the consumption situation). The results of this research have indicated that with significant problems in the knowledge structure, socio-cultural structure and political economic structure, domestic and pioneer brands cannot be created in Iran. The lack of Islamic-Iranian brands has consequences including the separation among the process stages and increase in existing problems in each of these stages. Finally, the endogenous fashion process can never be formed. The imported patterns cannot overcome the Iran clothing market.
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.
Aigin Mardani; Sadreddin Taheri
Abstract
Since folk poems are outside the realm of official literature, they have received less attention in the field of literary studies. Also, women are often overlooked as creators of literary works; and this has made it difficult to search for female individuality in the context of literary discourses. Thus, ...
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Since folk poems are outside the realm of official literature, they have received less attention in the field of literary studies. Also, women are often overlooked as creators of literary works; and this has made it difficult to search for female individuality in the context of literary discourses. Thus, the role of women in shaping Kurmanj literature has not yet been addressed. This research as a case study in the field of feminist literary criticism has attempted to reveal the significance of female voice in the collection of Kurmanj Sechischtis with an interpretive analytical approach, by discovering the signs of ecriture feminine. Sechischti lyrics are an important part of the literature and folklore of the Iranian Kurmanj nomads. A Sechischti has three hemistiches, each with eight to ten syllables, with words derived from nature and everyday life based on individual experiences and ethnic memories of anonymous poets. In search for these signs, the authors have examined 1386 poems; of these, 269 poems (a quarter of poems with gender identity) have obvious features of feminine expression. Sechischties written by women can be divided into five categories, in terms of subject matter: 1) love; 2) marriage; 3) immigration and war; 4) social role-playing; 5) advice, cursing, self-introduction etc. Signs of feminine expression in these poems are either denotative or connotative; each has been used in four different methods. In these short and simple folk poems, the woman’s soul is revealed without veil and mask and talks to the audience. She is no longer a woman described by male writers, whether praiseworthy as a lover or a mother, or disgusting as a tempter or a witch. With the help of ecriture feminine, poetess describes the world around her through her own eyes for the audience, with all its amazing events and phenomena.
Azam Ravadrad; Zahra Majdizadeh
Abstract
The way working women are portrayed in Iranian media is one of the social and cultural factors that influence traditional gender stereotypes about women and their occupation. This can contribute to changing cultural perceptions about women’s employment. The main objective of this research is to ...
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The way working women are portrayed in Iranian media is one of the social and cultural factors that influence traditional gender stereotypes about women and their occupation. This can contribute to changing cultural perceptions about women’s employment. The main objective of this research is to examine the portrayal of working women in Iranian cinema after the revolution (1979) and present a comparison in different political periods of post-revolution. In order to achieve this goal, prominent films produced in each period (focusing on women’s employment) were selected and analyzed. In the theoretical part of this study, the representation theory of Stuart Hall is used. The research methodology is the semiotics of John Fiske. The results of the study presented that the modern working women, contrary to traditional female stereotypes, had the power and were more independent from their husbands. In most of the films dealing with professional women, the directors have tried to criticize the patriarchal ideology while defending the ideology of egalitarianism and meritocracy in the profession; although the social conditions of each political period were effective in the way working women were portrayed and the ideology of the film. Despite the attempt to avoid patriarchal ideology, the naturalization of domestic work for women can also be seen in these works.
Mahbood Fazeli; Mehrnaz Asgari
Abstract
AbstractThis research attempts to have a critical discourse analysis of the works of the post-Islamic Revolution Period by four female satirists based on Van Leeuwen model. The study is conducted based on the poems of Robab Tamadon in "Ahangar" magazine, the book "Scrap Iron, Crispbread, Old Slippers!" ...
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AbstractThis research attempts to have a critical discourse analysis of the works of the post-Islamic Revolution Period by four female satirists based on Van Leeuwen model. The study is conducted based on the poems of Robab Tamadon in "Ahangar" magazine, the book "Scrap Iron, Crispbread, Old Slippers!" by Azardokht Bahrami, "H, Like Understanding” by Roya Sadr, and "Letter to the Thief" by Nasim Arab Amiri. The main issue in this research is to find out what effect the political and social currents, powers, and ideologies of the last four decades have had on the discourse of female satire as well the degree of explicitness and implicitness of the words of female satirists. It also deals with how "male" actors are represented in these work. The works of female satirists have often been neglected in the field of research, thus this article intends to compensate this shortcoming by examining the works of female satirists. The research explains and analyzes the relationship between the representation methods of actors in satirical works and ideologies and power relations, using the components of Van Leeuwen's model. These include categorization, impersonalization, nomination, etc. The results of the study show that female satirists tend towards implicitness with conservatism in the field of political satire. In many instances of the categorization component, "Sadr" represents actors based on gender, and negative appraisement aggressive men; Bahrami criticizes the masculinity system by using the components of categorization, specification, association, and differentiation; "Arab Amiri" uses a subset of inversion to humiliate the beloved; and "Tamadon", unlike the other three satirists, pays less attention to women's concerns.
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.
Abolfazl Zolfaghari; Moslem Mirzaei
Volume 2, Issue 4 , March 2011, , Pages 19-35
Abstract
Parvin Etesami is a poet who artistically used Persian poetry in order to criticize the status quo of the society and express its deficiencies. Her Divan (collection of poems), which is her only heritage for us, is teeming with debates, allegories, sarcasms with social themes. This article deals with ...
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Parvin Etesami is a poet who artistically used Persian poetry in order to criticize the status quo of the society and express its deficiencies. Her Divan (collection of poems), which is her only heritage for us, is teeming with debates, allegories, sarcasms with social themes. This article deals with sociological investigation of the social and class discrimination from her point of view. In addition, the social and political conditions of her time are discussed. Also, her ideas about women and her theory on women’s emancipation and fighting against oppression are explained through her works.
Art
الهه Panjehbashi; motahareh seifi
Abstract
Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of ...
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Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of significance to the interpretation of the work of art, in which the researcher seeks the symbolic values of a society that the artist unconsciously reflects in his work. Panofsky’s research questions include: What institutionalized belief about women is reflected in the painting of the expulsion of Adam and Eve in Tahmasbi’s Falnama? The objective of the investigation is to identify the origins of Tahmasb’s convictions regarding the status of women and their manifestation in this painting. The research is fundamental in nature and is conducted in a qualitative and comparative-analytical manner. The materials were collected in a library manner and with an iconological approach. The painting is influenced by the Qur’an; however, it contains elements that are not present in the Qur’an. So, the artist was motivated by additional texts that were extracted from ancient sources. The painting is a document that reflects the extreme beliefs about women in the patriarchal society of Tahmasab’s era, which originated from ancient metamorphoses such as the war between the male and female gender, Eve’s committing the first sin, and the blaming of the female gender. This is the root of women’s restrictions during this period.
Mohammad Taghi Ghiassi; Shaghaiegh Naderi Magham
Volume 3, دوره 1، شماره 3 , November 2011, , Pages 25-38
Abstract
In this article, Louis Aragon is introduced as a contemporary feminist poet and writer; A poet who engaged simultaneously and identically in the two phenomena, Feminism and Resistance, during the World War II. He, unlike those who consider women as limits to the power of the battlers, praises women in ...
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In this article, Louis Aragon is introduced as a contemporary feminist poet and writer; A poet who engaged simultaneously and identically in the two phenomena, Feminism and Resistance, during the World War II. He, unlike those who consider women as limits to the power of the battlers, praises women in all his works. He explicitly declares that it has been his beloved who has granted him the spirit and vigor to resist and continue living within the war. His themes, styles and examples and, in fact, the major parts of his works are full of Elsa’s feminine presence; and he does so, so exaggeratedly in some eras of his life, that nearly puts all his commitments to his country and nationality in doubt. But these panoramas are not able to mislead the reader who is aware of the depression and censorship atmosphere of the same era; an era which affects the structure and superposes the common contents of all his works.
There commences and continues a movement, from Elsa to France, traversing the evocation of other feminine figures, images of beauty and magnificence of culture. Aragon has attributed to France too, all the values he had primarily dedicated to his beloved, as an adorable and lively feminine character. This image is greatly developed in “More beautiful than the Tears”, in which the admiration of one’s homeland is being manifested through the exaltation of a feminine body.
Love, herein, finds a dual aspect. It is, at the same time, a human love and the love for one’s homeland; a homeland, of which the flag is defined through the very feminine images.
This is the manner of a French poet-writer, who, initiating the Poetry of the Resistance through adopting an implied style so as to seem legal against its contemporary censorship ambiance plays a brilliant role within the war. He impliedly praises France, which is frustrated by the war and summons up his compatriots to save their common love, their homeland, France; which is, per se, well realized in the emblematic eyes of Elsa, his beloved woman
Alireza Baharloo; Sedigheh Aghaee; Abolghasem Dadvar
Volume 3, Issue 2 , January 2012, , Pages 25-38
Abstract
Feminist art is one of the main branches of art and is a substantial artistic movement in the west during the 20th century whose artists move toward challenging art and its identification in connection to gender.
Feminist art considers the whole effective elements on the artwork and subjects as emotional ...
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Feminist art is one of the main branches of art and is a substantial artistic movement in the west during the 20th century whose artists move toward challenging art and its identification in connection to gender.
Feminist art considers the whole effective elements on the artwork and subjects as emotional conditions of women, women’s rights, violence and discrimination against women, politics and natural environment. It highlights the point that the whole art world is devoted and dedicated to men. Art history confirms this fact. So from this viewpoint, presenting and answering a series of questions, is inevitable. Questions such as these: Why doesn’t the art history include prominent women? Why is a woman’s dignity and position underestimated in art? In what ways can we promote feminist tendencies in art? Should women’s art be different from the one that is produced by the opposite sex?
In such a condition, a group of artists appear in art world with the aim of removing and solving ambiguities and on the other hand challenge the present situation by using their ideas and artistic media. Barbara Kruger, the American photographer, is one of the most prominent examples of this case. Kruger, in fact, moved toward criticizing the current condition by using photos and applying its techniques in favor of expanding women’s tendencies. Her photos hold a hidden reality in the subject that what we see is no longer believable and what is seen is not what that is perceived.
This article aims to represent such subject matters by considering women’s attitudes in the present age and by taking a look and analyzing Kruger’s photos, works and beliefs.
