mehrzad bahmani; seyed mohammad Mahdizadeh; seyed jamaldin jahromi akbarzade
Abstract
The media play a central role in the cultural formations of the society, and they play this game not only by reflecting the culture, but also by participating in culture-building. In this article, by focusing on the texts produced for the elite audience, it has been tried to analyze the content specific ...
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The media play a central role in the cultural formations of the society, and they play this game not only by reflecting the culture, but also by participating in culture-building. In this article, by focusing on the texts produced for the elite audience, it has been tried to analyze the content specific to this type of audience and the way of representing the epistemological and intellectual ideas that are among the intellectual concerns of the elite audience; be analyzed. We are also looking for it; Let's show how the mechanism of formation of knowledge for the elite audience is in the TV talk show and how the multiple subjects and their intellectual order are represented in discourse. In other words, are different voices reflected in the texts broadcasted by IRIB - and finally it will be examined how the contemporary discourses of Iran are in conflict with each other on the TV of the Islamic Republic of Iran. For this purpose, Zavya's video magazine was selected as a case study and 43 episodes of this program have been studied by the method of critical discourse analysis (Laclau and Mouffe approach) for a period from 1397 to September 1400. The most important results of the research show that the dominant discourse of the examined texts is the discourse of political Islam,and this discourse is articulated with signs such as the revival of Islamic civilization, Islamization and localization of humanities, Islamic rationality, inseparability of religion from politics. confrontation with the West, Islamic-Iranian model of progress, and in this way, by hegemonic intervention in rival discourses, legitimizes the discourse of the Islamic Revolution.
Mohammad Mahdi Vahidi; Seyed Mohammad Mahdizadeh
Abstract
September 11, 2001 was an important historical turning point for the United States. On this day, the contentment of the peace among people of the world, which began with the end of the Cold War and the destruction of communism, ended symbolically with the appearance of a new enemy. After that event, ...
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September 11, 2001 was an important historical turning point for the United States. On this day, the contentment of the peace among people of the world, which began with the end of the Cold War and the destruction of communism, ended symbolically with the appearance of a new enemy. After that event, we have witnessed a discursive shift in the US mainstream media about the "Other" and the "East". In this article, by referring to the "Bildungsroman" idea and by using analytical tools of social semiotic of images, we will analyze the construction of the "Self" and, in contrast, the Other in US television. In our opinion, television is a suitable place for the production of what social semiotic theorists refer to as "Semiotic Resource". In this article, we have focused on an exceptional sequence from the Homeland television series, and after a thorough review of this sequence, we have found that the Self has found a specific definition in this TV-Series. She is a white woman of European descent (Authentic American). On the other hand, we have a male character with authentic American appearance which has turned into an enemy of the United States and he is planning an attack on US land. We have pointed out that the producers of this TV-Series have emphasized on the danger of apparently Americans who serve the enemies and can threat and attack USA from inside. In our article, we have also examined representational frameworks of post-racial and multicultural identity in this TV-series.
kamal khalil beigi; hamid azizy; seyed mohammad Mahdizadeh
Abstract
T The purpose of the present study is effect of film type (artistic and non-artistic) on the intelligence and academic performance of the social sciences class of high school students. The statistical population of this study was all male high school students in Sanandaj who were selected using available ...
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T The purpose of the present study is effect of film type (artistic and non-artistic) on the intelligence and academic performance of the social sciences class of high school students. The statistical population of this study was all male high school students in Sanandaj who were selected using available sampling from three classes of 20 - member social science course. Thus, that three groups of students assigned randomly to three groups: Experiment 1, Experiment 2 and Control group. The Research design is a quasi-experimental design with a pre-test post-test design with a control group. Thus, Students were randomly assigned to three experiments and control groups. Artistic films showed to the experimental group of 1, non-artistic showed to the experimental group 2, and the witness group did not see any films. Data was collected through standardized questionnaires; multiple Gardner intelligence and academic performance. For analyzing data, descriptive statistics; mean, standard deviation and inferential statistics; multivariate covariance analysis model with SPSS software have been used. The results showed that the type of film has a significant effect on interpersonal intelligence, introspection intelligence and academic performance of students'. In this way, the students in the experimental group 1 who had observed the artwork along with the teaching. , have a better performance in interpersonal intelligence, interpersonal and academic performance compared to the control group students who did not see any movies and the experimental group 2 who saw non-art films along with teaching.
Seyyed Mohammad Mehdizadeh
Volume 16, Issue 31 , December 2016, , Pages 105-130
Abstract
This article studies four episodes of BBC Persian’s “Pargar” on the relation between religion and modernism, and specifically Islam and politics using discourse analysis. It concludes that the dominant discourse of Pargar is philosophical-ideological and political secularism. These ...
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This article studies four episodes of BBC Persian’s “Pargar” on the relation between religion and modernism, and specifically Islam and politics using discourse analysis. It concludes that the dominant discourse of Pargar is philosophical-ideological and political secularism. These two discourses reject and deny the combination of religion and politics and reject the idea of religious governance and also indicate symbolic violence against political Islam and try to eliminate it. Since they have power and access to public tribunes, they express their understanding of the world in the form of a discourse and give all affairs and phenomena a meaning congruent to their core signifier. Secular discourse works towards defining and empowering and also suppressing and omitting. Secularism is formed against Islamic tradition and faith and also becomes a legitimizing principle to suppress political activities in the region.
Seyyed Mohammad Mehdizadeh; Abdorahman Alizadeh
Volume 15, Issue 25 , June 2014, , Pages 217-242
Abstract
The media narrative of events is not an objective narrative, but its representation is in the discursive and ideological frameworks. This paper tries to find out how one of the most important events in the Middle East (dismissal of Morsi) is represented by media having different discursive frameworks ...
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The media narrative of events is not an objective narrative, but its representation is in the discursive and ideological frameworks. This paper tries to find out how one of the most important events in the Middle East (dismissal of Morsi) is represented by media having different discursive frameworks (Channel 1 of IRIB and BBC Persian). Critical discourse analysis is used to evaluate this paper. The results indicate that BBC Persian television used a liberal democracy discourse within the framework of components such as legitimacy of majority, the rule of law and equality for the representation of this Egyptian event. In contrast, Channel 1 of IRIB applied components of Islamic Revolution discourse such as support for Islamists, support for resistance movement and conspiracy of western countries for the media construction of this Egyptian event. In addition, Channel 1 served other discourses, such as democracy and the will of the majority for the expression of its purposes.
