Seyed Kamaleddin Mousavi; Hadise Shams Ravandi
Abstract
This study aims to identify the intensity and types of online love in cyberspace in the shadow of social characteristics of users. Ideas of Sternberg, Lee, Bawman, Illuze, Giddens and Ben Zeev about Love are consiers as the theoretical base of the research. Statistical population contains all citizens ...
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This study aims to identify the intensity and types of online love in cyberspace in the shadow of social characteristics of users. Ideas of Sternberg, Lee, Bawman, Illuze, Giddens and Ben Zeev about Love are consiers as the theoretical base of the research. Statistical population contains all citizens of Kashan city in 2020, out of which 384 persons were selected via a non-probability sampling method. Findings showed that different types of online love have been formed in cyberspace, although the amount and intensity of love in these species are different from each other. The most common and widespread type of online love among the respondents was the love of fun and entertainment (Ludus), and it followed by pragmatic and matchmaking loves respectively.At the same time, the widespresd types of online love differ according to the age of respondants, their marital status, level of education, friendship duration and their jobs. Interestingly, the infidelity love contains only 4% of the total amount of online romantic relationships. Moreover, there is a relationship between the types of online love with the attitudes toward the Internet and the Internet environments.
Seyed Jamal Akbarzadeh Jahromi; Avin Ahmadi
Abstract
The emergence and expansion of virtual social networks, especially image-based social networks, has provided a relatively open space for representing identity and even identity building to ethnic and marginalized groups in society that have historically been deprived of it. This article seeks to identify ...
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The emergence and expansion of virtual social networks, especially image-based social networks, has provided a relatively open space for representing identity and even identity building to ethnic and marginalized groups in society that have historically been deprived of it. This article seeks to identify the types of identity species that represented by Kurdish women on the Instagram social network; It is also identify the strategies and techniques that these women use to represent their collective identities. The research method used is a qualitative Netographic in which the Sadbak model consists of three interview techniques, collaborative observation and virtual content reading. According to the findings, although users have become more involved in representing their identities, but their activity is influenced by predetermined social network architecture structures such as liking, commenting, and sharing images. The findings also showed that there are three identity types of Kurdish women in this network: “cosmopolitanism”, “Iranian-National” and “ethnical”. The elements of each of them were divided into three categories: “belonging to the desired community”, “culture”, and “politics” and each of these subsets was represented by its own strategies and techniques. Identities represented on Instagram are more diverse than mass media. Also, these identities are fluid and polymeric and occur more radically at certain times, such as social crises.
mahmoud torabi aghdam; Abdullah Bichranloo
Abstract
The representation of ethnic and racial topics is one of the categories that focus on cultural studies. This paper aims to explain Hollywood’s approaches to the representation of the black minority during Obama’s presidency. To this end, purposive sampling was employed to select 21 prominent ...
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The representation of ethnic and racial topics is one of the categories that focus on cultural studies. This paper aims to explain Hollywood’s approaches to the representation of the black minority during Obama’s presidency. To this end, purposive sampling was employed to select 21 prominent movies about black people from 2009 to 2017 in two stages. They were then studied using a combination of two semiotics models. According to the findings, the illustration of black people in that period included the following categories: 1) critical surveying of history (14 movies); 2) advancing black people’s demands assisted by the white people (10 movies); 3) defeat of black people without any help from the white people (2 movies); 4) black people’s revenge of the white people (2 movies); 5) social realism (7 movies); 6) analysis of problems in the contemporary black community (5 movies); and 7) normalization of black lives besides white lives (2 movies). Overall, the redefinition of black-and-white relations and conflicts in the foregoing categories reflects the consistency between Hollywood and black people’s egalitarian process inspired by the new political opportunity. Although we now witness the denaturalization of traditional stereotypes in the illustration of black people, the semiotics systems of most movies refer to the presence of other views and modern stereotypes.
