Research Paper
Literature
Ezzat Molla Ebrahimi; Setare Nobakht; Mohammad Reza Kohi
Abstract
As a contemporary French anthropologist, Pierre Bourdieu is particularly interested in the capabilities of literature. In his opinion, the capacity of an individual to participate in the management of the field of power in various capacities is not contingent upon a specific capital, but rather on the ...
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As a contemporary French anthropologist, Pierre Bourdieu is particularly interested in the capabilities of literature. In his opinion, the capacity of an individual to participate in the management of the field of power in various capacities is not contingent upon a specific capital, but rather on the volume and combination of capital categories. Bourdieu’s critical sociology, which in addition to the objective and structural dimension, also considers the subjective dimension of social life, can equip the authors with the requisite ability to identify the various forms of social capital in the novel City Carnival, thereby enabling their audience to comprehend the circumstances. The present investigation has assessed this novel using a descriptive-analytical approach, in accordance with Pierre Bourdieu’s theory, and has analyzed it in four distinct aspects: cultural, social, economic, and symbolic capital. The research results indicate that the social capital of the Palestinian people has significantly diminished, resulting in limitations and deficiencies in their economic and cultural capital. However, the story considers the strong presence of love in familial and national types to be a significant symbolic asset. Another saving and optimistic factor in this narrative is the struggle against the occupation and the aspiration to eliminate the underlying constraints. Indeed, the symbolic capital can be regarded as a potent tool for confronting the personal and social issues of the characters in the narrative and the Palestinian people as a whole, particularly in the context of challenging and tumultuous social conditions.
Research Paper
Literature
zahra mohagheghian
Abstract
The examination of the interplay between gender and colonialism is a crucial aspect of critical colonial discourse analysis. This exploration not only contributes to the growth of colonial studies but also enhances the understanding of gender's multifaceted nature, particularly the varied roles women ...
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The examination of the interplay between gender and colonialism is a crucial aspect of critical colonial discourse analysis. This exploration not only contributes to the growth of colonial studies but also enhances the understanding of gender's multifaceted nature, particularly the varied roles women have played. Colonialism itself serves as a lens through which these dynamics can be examined.
Sarah Mills, a prominent contemporary feminist literary scholar, offers a critical and feminine perspective on how women's writings have been instrumental in the spread and evolution of colonialism. She challenges the prevailing neglect of women's agency within colonial narratives, positioning them as active participants rather than passive subjects. Given the scarcity of Persian literature on this topic, this article delves into Mills' theory, evaluating its contributions and analyzing one of her examples to illustrate the theory's practical applications. The discussion also critiques the theory's strengths and weaknesses, aiming to spark conversations among Persian speakers and advocates for women's rights. Mills' work is interpreted as an effort to combat external colonialism by initiating a process of internal decolonization. Her approach moves beyond criticism; as a feminist, she champions the value of women's texts and their creative contributions to the arts. The article concludes by discussing the potential for new discussions and the implications of Mills' findings for the women's rights movement.
Research Paper
Art
sareh sayahi; reza afhami; farinaz farbod
Abstract
Conceptual fashion provides a platform for the display of diverse representations of the body by emphasizing intellectual exploration and presenting innovative functionalities of apparel. Mark Johnson contends that the body is intrinsically embodied; rather, meaning, thought, and perceptual patterns ...
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Conceptual fashion provides a platform for the display of diverse representations of the body by emphasizing intellectual exploration and presenting innovative functionalities of apparel. Mark Johnson contends that the body is intrinsically embodied; rather, meaning, thought, and perceptual patterns are not distinct from the mind. The dualism of mind and body has been rejected by subsequent phenomenologists, including Johnson. The objective of this investigation is to investigate the relationship between Johnson’s philosophy of the body and conceptual fashion through a case study of three prominent artists in this field: Alexander McQueen, Rei Kawakubo, and Hussein Chalayan. This study employs a descriptive-analytical research methodology to gather data through documentary (library) research. The fundamental inquiry of this article is: How does phenomenological embodiment manifest in conceptual fashion and the representation of women’s bodies from Mark Johnson's perspective?
The results indicate that the works under investigation facilitate the examination of four models of Johnson’s conceptualization of the body: ecological, phenomenological, social, and cultural. The primary focus of these fashion designers is the ecological body, which opposes the separation of mind and body to innovate discourses of thought, body, and clothing. The cultural and social bodies are among the most prominent concepts in the works of conceptual fashion artists, as they depict the social interactions of the body and cultural diversity, with a particular emphasis on women, through a variety of apparel. Thus, the concepts and meanings of the body, as interpreted by Mark Johnson, can be observed and analyzed within the context of conceptual fashion.
Research Paper
Literature
ali salimi; ali parvaneh; hadis darabi
Abstract
The women's movement in the Arab world was initially initiated by men; however, leadership ultimately transitioned to women. “Aisha Taymur,” a traditionalist Egyptian poet, and “May Ziadah,” a modernist Syrian writer advocated for this liberation from two distinct perspectives. ...
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The women's movement in the Arab world was initially initiated by men; however, leadership ultimately transitioned to women. “Aisha Taymur,” a traditionalist Egyptian poet, and “May Ziadah,” a modernist Syrian writer advocated for this liberation from two distinct perspectives. The present study employs a descriptive and analytical methodology to investigate this movement within the Arab world, reflecting on the perspectives of these two authors. It endeavors to address the question of the fluctuations experienced by this movement. The findings of the study indicate that within the Arab world, two intellectual currents have engaged with the challenges surrounding this issue. One perspective is characterized by extreme traditionalism, opposing any involvement of women in society. In contrast, another viewpoint advocates for women’s advancement solely through unconditional liberation from historical traditions and emulation of Western ideals. Meanwhile, a more moderate approach has been articulated by “Aisha Taymur” and “May Ziyadah,” who propose that the ideal resolution for this movement lies in a harmonious integration of tradition and modernity, while simultaneously honoring the various dimensions of social life. Despite their distinct intellectual origins—one grounded in Islamic tradition and the other a Christian influenced by Western thought and oriented towards modernity—both shared a conviction that transforming the perception and treatment of women was deemed a historical imperative. Therefore, whenever the discourse surrounding the infringed rights of women arose, the two would articulate their perspectives in unison.
Research Paper
Art
nadia maghuly; Shaghayegh Yaghoubi
Abstract
In this society dominated by men, the definition of womanhood is associated with specific standards that have been naturalized through signs. Human civilization is built on patriarchy, and one method used to control and limit women has been the promotion of gender-biased beliefs and values. Gender-biased ...
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In this society dominated by men, the definition of womanhood is associated with specific standards that have been naturalized through signs. Human civilization is built on patriarchy, and one method used to control and limit women has been the promotion of gender-biased beliefs and values. Gender-biased beliefs persist, despite the fact that numerous gender-based restrictions have been eliminated. Media and consumption are notably influential in the development of individual identity. This research focuses on television commercials, as television is an influential medium in shaping lifestyle and consumption patterns, with ads designed to steer the audience in a particular direction.
Signs and layers of meaning are present in advertisements, as is the case with any other form of text. To uncover these meanings and their impact on promoting patriarchy in society, a semiotic analysis was implemented in accordance with Julia Kristeva’s theories. Representation is a process that leads to cultural formation, and in a culture where representations are shaped by patriarchy, this becomes widespread and naturalized. The aim of this research is to analyze gender-biased indicators in the representation of women in advertisements, specifically TV commercials for cleaning products. These commercials frequently portray women as the primary consumers of these products at home. The study examines and documents cleaning product commercials from 2011 to 2021 in order to emphasize the naturalized gender-biased meanings that perpetuate patriarchal beliefs.
Research Paper
Art
Fatemeh Motesadei; Fathollah Zare Khalili
Abstract
As public consciousness regarding gender issues continues to expand and efforts to promote gender equality intensify, the concept of constructive discrimination within the realm of cinema—particularly at the Oscars, which is regarded as the preeminent accolade in the global film industry—has ...
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As public consciousness regarding gender issues continues to expand and efforts to promote gender equality intensify, the concept of constructive discrimination within the realm of cinema—particularly at the Oscars, which is regarded as the preeminent accolade in the global film industry—has emerged as an approach to further highlight women’s concerns and their representation. As a result, movies surrounding women have made significant appearances in different Oscar categories in recent years. This research seeks to answer this question “Do women-led films serve as an opportunity to enhance the visibility of women, or do they merely function as a façade for the perpetuation of patriarchal hegemony?” Feminist film theory conceptualizes cinema as a gendered medium that possesses the capacity to either challenge gender stereotypes or reinforce them. According to this theory, one should transcend the superficial content of movies and engage in a thorough analysis of the characterization, as well as the visual and auditory frameworks, in addition to the narrative structure. Therefore, four women-centric movies (Blonde, Women Talking, Poor Things, and Anatomy of a Fall) have been selected from the 2023 and 2024 Oscars, coinciding with the period during which this research is being undertaken. These films will be examined through the lens of three significant criteria of feminist film theory. The results of this research demonstrate that, notwithstanding the recent advancements in gender awareness, there exist films that, while ostensibly aiming to depict women as social subjects, simultaneously perpetuate patriarchal hegemony through subtle mechanisms. This internalization is often obscured by superficial narratives that purport to critique traditional gender roles.
Research Paper
Art
Mohsen Badreh; Zahra Sattarian; Mehrangiz Shoa Kazemi
Abstract
The infidelity of a wife has been a frequent topic in Iranian cinema in recent years. Due to the sensitivity of Iranian society toward this anomaly and its discordance with the cultural and religious tradition, it can be considered as an important subject of study. The producers have frequently attempted ...
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The infidelity of a wife has been a frequent topic in Iranian cinema in recent years. Due to the sensitivity of Iranian society toward this anomaly and its discordance with the cultural and religious tradition, it can be considered as an important subject of study. The producers have frequently attempted to avoid directly addressing this theme, preferring to juxtapose it with other concepts in order to make it more palatable to the audience, as production licenses for scenarios featuring wife infidelity are not readily granted due to ethics-based regulations. The framework of values that defines wife infidelity was established years ago and now encompasses this theme. The discourse is shaped by these values and ideological frameworks. Therefore, this investigation examines the discourse to which the film pertains and the concepts that are espoused in the film’s concealed layers.
The discourse of the films Bone Marrow, Wooden Bridge, African Violet, Yalda Night, Razor and Cashmere, Snow on the Pines, and Grassland is analyzed in this study using Fairclough's critical discourse analysis method. The findings indicate that the reviewed films do not condemn wife infidelity; rather, it is justified in accordance with other pre-established values. In this discourse, non-religious and anti-religious, feminist, liberal, and modernist approaches are defined in opposition to religious, family-oriented, moralistic, traditionalist, and to have native identity and authenticity approaches.
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