Farideh Afarin; Sajedeh Nikian
Abstract
The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political ...
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The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political discourses. The differences of emblems as a part of the discourse or the visual effect of a discourse may return to the specific way of that visual effect or be interpreted as a certain political tendency. Discourses consistent with the symbol of the lion and sun are patrimonial, royal, and national identity discourses based on historical past and religious identity. This emblem is indicative of the ideals of ideological traditionalists, as an attractive visual aspect of religious discourse. In this way, any emblem that represents the visual dimension of the discourse of Sunnis or other religious minorities is removed, or rejected by displaying this symbol in the ministries, press, publications, etc. The discourse of the Islamic Revolution is a reaction to the absolute modernism of the Pahlavi period. The discourses that arose in the Islamic revolution included strategies and conflicts such as class struggle, exploitation, and struggle against imperialism and colonialism. This discourse resists the field of power that the Orientalist and Middle Eastern discourse that Westerners create. The comparison of the Qajar and Islamic Republic emblems shows the difference in their attitude in choosing the type of governance. The Qajar rule wants to dominate the empire and the other wants to spread Islamic rule all over the world.
هادی خانیکی; Seyede Soraya Mousavi
Abstract
The following article seeks to understand the power relations participating in the discourse formation of Iran's water problem in “Shargh” and “Iran” newspapers. To this end, critical discourse analysis has been applied and 14 samples “Shargh” and “Iran” ...
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The following article seeks to understand the power relations participating in the discourse formation of Iran's water problem in “Shargh” and “Iran” newspapers. To this end, critical discourse analysis has been applied and 14 samples “Shargh” and “Iran” newspapers from 2013/8/3 to 2020/3/19 have been reviewed. According to the findings, some texts of the “Shargh” newspaper were published with the aim of laying the groundwork for implementation of the plans and policies of the 11th and 12th governments programs. In “Iran” newspaper, the role of officials and policy makers in creating the crisis and their responsibility in solving it is invisible. Furthermore, some of the “Iran” newspaper texts indirectly serve to vindicate government’s failure in solving the water crisis and reduce the expectations from the government. In “Iran” newspaper, people are blamed for not participating in solving the problem. In this way, the structures that prevent people's participation are become invisible and people's participation is reduced to saving. “Iran” newspaper portrays the society as a savior and discourages them from changing government policies. Based on the results, the effect of political powers on the formation of the water problem discourse in these newspapers is evident. Furthermore, water issue has become an excuse to make the opposition party appear ineffective, reduce expectations from the 11th and 12th governments, and eliminate responsibility from the governments and parliamentarians.
Aref Danyali; Khadijeh Aghaei
Abstract
The present study is a Critical Discourse Analysis on twenty four episodes of a BBC Persian T.V programme entitled “Pargar”. The main purpose of this study is to represent how the dominant hegemonic discourse in this special program i.e. secularism discourse wittingly manipulates audience ...
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The present study is a Critical Discourse Analysis on twenty four episodes of a BBC Persian T.V programme entitled “Pargar”. The main purpose of this study is to represent how the dominant hegemonic discourse in this special program i.e. secularism discourse wittingly manipulates audience minds so that they acknowledge religion’s survival and existence only in the forms of neo-emerging theosophies (Erfans) or individual spiritualties. Indeed, religion is imagined as a missing one in public domain. Articulating discourse of religion in dichotomies such as modern expert/Marja sonati, Erfan/ Fiqh, Religion Essence /Religion rituals, individualism /Marjaism tends to deessentialize all essences presupposed among the traditional believers. Indeed, religious reformation and dereligionism are two strategic approaches which secularism applies to deessentialize religion. As a result of this deessentialism, religion has been transformed into something so-called shallow and neutral so that it cannot be easily recognized as a concrete phenomenon in social life.
jalal nasiri hanis; nader shayganfar; ahmad alasti
Abstract
Metafilms are kind of films which their subject matters are the nature of cinema and film-making. Film-makers of this Sub-Genre have a critical view to the production of meaning and highlight the fictional and artificiality of the film. They confront the current illusion in the conventional and ...
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Metafilms are kind of films which their subject matters are the nature of cinema and film-making. Film-makers of this Sub-Genre have a critical view to the production of meaning and highlight the fictional and artificiality of the film. They confront the current illusion in the conventional and realistic films. Conflict between characters in cinematic works, as a principle, reflects the importance of study, regarding "self" and "the other" in these works. The relationship between "self" and "the other" has been characterized as the "subject" and the "object" in most part of the philosophy's history. In Sartre's viewpoint, human turns into an "object" in the "gaze" of "the other" and loses his freedom. Unlike him, Levinas thinks that assuming "the other" as an "object" is applying violence against "the other. By analyzing characters' relationship in Kiarostami's works, we can answer the question that how is the relationship between "self "and "the other" in his films and metafilms? In considering the films of “Where is the friend’s home”, “Taste of Cherry" and meta-films of "Close-up","The wind will carry us" and “Through the olive trees", descriptive-analytic with Critical discourse analysis of Fairclough were used. By doing so, we can represent structural differences of metafilms in “the other" reflectivity in the works of this director. The result of the study suggests that despite the same director, and the same social, political and cultural background of these works, due to the characteristics of self-reflectivity and self-criticism in kiarostami's metafilms, unlike his films, the relationship between "self" and "the other" is based on Levinas and the other-oriented. This is a sign of the reorganization of the discursive order of society in the relationship between "self" and the other.
