جستجوی مقالات مرتبط با کلیدواژه « کارگزاران اجتماعی » در نشریات گروه « ادبیات و زبان ها »

Van Leeuwen’s (2008) critical discourse analysis approach is one of the analytical approaches of text. It has two main components including exclusion and inclusion, each one having different sub-components. The purpose of this research is to study and analyze the way the components of exclusion including suppression and backgrounding and some components of inclusion comprising impersonalization, categorization, personalization, passivation, generalization, and their subcomponents are manifested in representing social actors in “Bijan and Manijeh” story from Ferdowsi's Shahnameh. In this regard, different types of sentences in this work were identified and counted. Then the usage frequency, percentage, and significance level of each component and the relevant sub-components were assessed via statistical analysis and Chi-square test. The research results show that the poet has used all sub-components of exclusion and the given components of inclusion under investigation in this story. Besides, Chi-square test results designate there is a comparatively significant relationship between the application frequencies of major intended components compared with each other and also their sub-components. The analysis of exclusion results reveals the poet does not have a tendency to secretly represent the social actors. Also, the results of the inclusion components under study demonstrate the poet has used positive appraisement and subjection sub-components and has tried to characterize the social actors more effectively with a positive value. Moreover, in most sentences, the social actors are represented by giving reference to their utterances, physical features, and using similes and metaphors.

One of the topics that many linguists have considered in recent years is discourse analysis. Different researchers have presented and developed various points of view about critical discourse analysis such as Hodge and Kress (1976), Foucault (1980), Fairclough (1996 and 2002), Penny Cook (2001), Wodak and Meyer (2001), Mouffe (2001), Van Dijk (2004) and Van Leeuwen (1996, 2008) among others. In this regard, Van Leeuwen's (2008) critical discourse analysis model is a socio-semantic model, which rests on interactions, actions, and reactions between individuals. In fact, the present study has exclusively been carried out based on this model in order to understand how social actors are represented and also to see whether the application frequency of various discourse components related to inclusion in the story of "Bijan and Manijeh" from Ferdowsi's Shahnameh is significant or not.    The components of inclusion under discussion having been analyzed in accordance with this model are as follows: 1) Association, the way to represent the social actors in a group and bring them together in an action. 2) Activation, the component that is used when social actors are active and are dynamically represented. 3) Differentiation, which refers to a situation in which social actors are differentiated from other actors because of their identities. 4) Nomination, which is divided into types of sub-components of formal nomination, informal nomination, semi formal nomination, and titulation. In formal nomination, social actors are introduced by referring to their last names and in informal nomination they are represented only by their first names. In semi-formal nomination, social actors are represented by their first and last names and in titulation they are referred to by titles. 5) Specification, which is divided into three sub-components: Individualism, Aggregation, and Collectivization. Individualism is a device to represent social actors by referring to a specific and unique name, collectivization means representing social actors by referring to general classes and groups, and aggregation denotes representing actors by referring to numerical sets (Van Leeuwen, 2008).   The text under study in this research is the story of "Bijan and Manijeh" taken from Ferdowsi's Shahnameh. This poem comprises a total of 1312 verses out of the entire Shahnameh book. This story is made of a series of events that are perfectly connected. In the first verses of the story, the poet speaks about a female storyteller who has narrated the whole story to him, and the poet tells this story to readers again. By considering the importance of the Shahnameh book and using the discourse-oriented components related to inclusion as developed in Van Leeuwen's (2008) model, we can deal with how social actors are represented in the text of this story and then the way it is possible to describe, compare and analyze the application frequency of each component and the relevant sub-components. Correspondingly, the questions of the present study are as follow:How are the types of discourse components of inclusion in Van Leeuwen's (2008) model under investigation represented in the "Bijan and Manijeh" story?What kind of relationship exists between the application frequency of the various inclusion components analyzed following Van Leeuwen's (2008) model in "Bijan and Manijeh" story?According to these questions, the hypotheses of this study are as the following:Different types of discourse components of inclusion under investigation are represented in accordance with the discourse components of Van Leeuwen's (2008) model in "Bijan and Manijeh" story.There is a significant relationship between the application frequency of different inclusion components analyzed following Van Leeuwen's (2008) model in "Bijan and Manijeh" story.

The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

From the perspective of critical discourse analysis, this study examined the ways children are represented in the adult narrative literature. The novels of “Su va shun”,Simin Daneshvar (1348), “Turn off the Lights”, Zoya Pirzad (2001) and “My Bird”, Fariba Vafi (2002), were selected as data for this study. The paradigm used as the concept of representation of social actors by Van Leuven (1996). In order to analyze the data, discursive structures and interpretations were separated and counted as non- discursive structures. Then the frequency and percentage of discursive components and the amount of discord were determined. The results showed that the children were actively, dynamically and explicitly represented. They have become more individualized in these texts, and among the individual components a part of the naming component has been used more to represent them, reflecting the personal and individual identity of the children. Also, children were not subjected to gender discrimination in these works, and there was no significant difference between boys and girls.

Critical discourse analysis deals with power and ideology. This approach makes connection between ideology and the manner of expression by the use of discursive features. This article was carried out in discreptive-analytic method to study discursive features in the expressions, sentences and texts of the narration “Miyan-e diruz va farad” from “Azar Mah-e Akhar-e Payiz” (Azar, The Last Month of Autumn) written by Ebrahim Golestan. Therefore, the present article studies socio-semantic features on the basis of Van Leeuwen (1996) in the story of “Miyan-e diruz va farad” for clarifying the ideology beyond the text. This article aims to answer these questions: 1- How are socio-semantic features used in this story? 2- Have social situations been affected in the style of narration? and 3-What kind of functions has the author considered for ideology? The results indicated that this story has used all kinds of socio-semantic features with the exception of symbolization. The author has used implicit features due to political and social situations, and explicit features have been used because of the importance of actors and their actions. The author has also used ideology for transferring group believes. This article makes an attempt to express why the author has used these features and expressed them implicity.

The main aim of this research is finding the similarities and differences between the representations of social actors in the two different versions of Bahman’s vengeance seeking. Accordingly, the author tried to find the ideological background behind the two texts and show the difference in impression by studying socio-semantic elements that Theo Van Leeuwen offered in his suggested pattern and comparing them with the corresponding parts in Shahnama and Bahmannama. The results showed that some branches of the two main methods are exclusion, and inclusion is to some extent visible in both texts. Also association, dissociation, nomination and categorization along with their subsets are the techniques used to represent the social actors. Analysis of the two texts clearly shows that Bahman in Shahnama is seeking legitimacy for his goal while he has the authority and individuality in Bahmannama while he does not need to use persuasive and approval seeking techniques; so representations of social actors in Shahnama are more than in Bahmannama and they were used deliberately.