narrative analysis

Japanese anime has achieved significant economic and cultural success and, in short, has become a global phenomenon. Except for the year 2020, when the COVID-19 pandemic affected all areas of life, including the production and distribution of cultural products, the anime industry has been growing steadily since 2010, setting new records each year. However, neither Westernization nor de-identification led to anime reaching such a status. Even today, anime is regarded as an important economic and cultural force. Japanese animation has been able to attract audiences from around the world through its hybrid cultural nature. Thus, this study aims to provide empirical support for this claim by examining how cultural elements are combined within anime texts. There are three main approaches regarding the globalization of anime:The first approach, based on homogenization, explains the globalization of anime as a process of Westernization or the Americanization of Japan.The second approach argues that anime has become global because it lacks distinct national and cultural characteristics.Finally, the third approach attributes the globalization of anime to hybridity-a blending of cultural elements. Hybridity refers to the construction of a cultural space that emerges from the integration of both local and global components. This paper seeks to answer the question: How is hybridity or cultural blending realized in anime narratives? Barthes identifies three levels in every narrative: functions, actions, and narration.

To answer the research question, Barthes’s structural narrative analysis has been employed. Works by Hayao Miyazaki and Makoto Shinkai-two of the most commercially successful anime directors-were selected. The narratives of four anime films, Spirited Away, The Boy and the Heron, Your Name, and Suzume, were analyzed.

The findings indicate that the combination of local and non-local elements appears across different narrative levels in these four anime films. From catalytic details such as food, to settings and characters, the creative integration of these elements has resulted in the formation of a “third space.” For example, hybrid architecture or mythological characters with familiar, ordinary, or Westernized appearances demonstrate this cultural blending. Such hybridization is evident in the characters of all four films. Creativity emerges when a mythological character-like Yubaba in Spirited Away or Suzume-is portrayed with features familiar to a global audience.

A comparison of these two directors-as animators who represent the Japanese anime style-reveals that Miyazaki’s narratives are hybridized even at the macro and structural levels in an intertwined way. In contrast, Shinkai employs a more traditional Eastern narrative format, using local themes as the foundation and main direction of his storytelling.

The current research is based on the narrative of female activists regarding the role and status of women in the transformation of the social structure of the Kurdistan region. The function and position of women in the Kurdistan Region's structural changes have been elucidated through the application of Sharabi and socialist feminist theories. Narrative analysis is implemented in this investigation, which adheres to the qualitative methodology. To achieve this objective, the semi-structured interview strategy and targeted and homogeneous sampling were implemented to interview eighteen individuals who are involved in the associations. The data were interpreted and analyzed in the form of 12 primary themes and 6 secondary themes. The results showed that the social structure underwent alteration subsequent to the establishment of the Kurdistan Region in 1991 AD, which consequently altered the role and status of women accordingly. From that time until now, political parties have influenced the demands and associations of women, and they have examined women’s issues within the context of party goals. Nevertheless, women have been able to secure their position within this structure by actively participating and occupying managerial and political positions. The influence of education, media, and associations has been significant. Women's associations, as one of the most significant structural changers and active women themselves as agents of change, have passed equitable laws, eradicated old social and cultural patterns, and raised awareness, support, and representation of women's problems and challenges.

Identity and its associated issues rank among the most significant topics of the past century. Exploration of identity can be traced alongside the history of human existence (Ghaffari-Nasab, Pouya, Ghasemi-Nejad, and Mosavat, 2018: 60; Ghorbani, Zarghani, and Azami, 2022: 7). Over the last four decades, from the Saur Revolution in 1979 to the present day, Afghanistan has experienced profound political and social turmoil, which has deeply affected the psyche of its people, particularly women. One of the detrimental consequences of this instability has been the marginalization of women from social and political spheres, resulting in the denial of their rights and, ultimately, their victimization in various forms (Mehravaran and Hossein-Ansari, 2022: 245; Hossein-Ansari, 2019: 17). This has significantly influenced many writers in the country. The life stories of numerous Afghan authors reveal that most have spent periods of their lives in exile, often across two or three countries (Mousavi and Hosseini, 2020: 402). Their lived experiences of these realities are vividly reflected in their stories and novels, particularly among Afghan female writers, who, from a uniquely feminine perspective, have delved into the concepts of "homeland" and "identity" in their works (Rafizadeh, 2018: 3). Consequently, the portrayal and significance of homeland and identity from the viewpoint of Afghan women can be discerned in their narratives, enabling a critique of social traditions that shape the concept of homeland (Afghanistan) through a careful examination of contemporary Afghan women's fiction and their worldviews. An essay, as a modern form of narrative literature, is grounded in reality (Moradi and Jamshidi, 2022: 160). It can be described as a brief text, often artistically constructed to convey the author's voice, allowing readers to perceive it as a genuine experience (Nordquist, 2020: 8; Moradi and Jamshidi, 2022: 160). "The Meaninglessness of My Afghan Form Deeply Distressed Me" is an essay from the Koorsorkhi’s collection, a story of soul and war written by Aliyeh Ataei and published by Cheshmeh Publication in Iran in 2020. This study presented the main character as an Iranian-Afghan woman, representing the second and third generations, who, due to the circumstances and choices made by their fathers and ancestors, either migrated to or were born in Iran. Focusing primarily on the narrator's lived experiences, the essay explored her monologues, beliefs, and sensory interpretations of life and the prevailing conditions in both Iran and Afghanistan. The narrator sought to illustrate her identity as an Iranian-Afghan woman shaped by the migration process and convey the complexities of identity that arose in these contexts. This study aimed to construct the concept of identity in contemporary Afghan fiction, specifically reflecting the experiences of second and third-generation Iranian-Afghan female immigrants within the essay genre. It interpreted their identities in relation to the cultural context of the host country, thereby shedding light on their identities as a new dimension in the exploration of immigrant issues.

The essay “The Meaninglessness of My Afghan Form Deeply Distressed Me” was selected for analysis using Seymour Chatman's narrative analysis method, which encompassed 3 sections: story, discourse, and ideology. Additionally, the essay was examined through the theoretical frameworks of Homi Bhabha, Bill Ashcroft, Robert Young, and Edward Said. This approach aimed to uncover the narrative language and ideological positions associated with the identity of Iranian-Afghan immigrant women.

Based on the analysis of character, action, and discourse, the narrative structure of this essay embodied two ideologies: the rejection of identity and the return to a denied identity. At the onset, the Afghan female writer exhibited behaviors and discourse that reflected self-denial of her Afghan identity to the extent that she expressed no desire to return to Afghanistan. Instead, she embraced her Iranian identity as her primary identity, effectively abandoning her homeland and integrating into the host culture, which she came to view as her home. Consequently, the concepts of migration and being a migrant lost their significance becoming defined as a hollow experience. However, during a trip to Afghanistan, her Afghan identity was rekindled through memories of her relatives' and compatriots' perseverance for their homeland. This experience placed her in an interstitial space between Afghan and Iranian identities, compelling her to confront challenging questions about homeland, migration, and identity. In this liminal space influenced by the pressures of both her culture of origin and the culture of her host country, she struggled to reconstruct her identity. Throughout this confrontation, the female writer described herself as confused, unstable, and disconnected from her sense of self. However, by the end of the narrative, following an attack by Iranian thugs on her and her documentary filmmaker friend, her feelings of distrust, insecurity, attachment, and fear evolved into a deeper empathy for her Afghan identity, her fellow immigrants, and her motherland. During this period, she experienced a sense of uprootedness having severed ties with her original land while finding it increasingly difficult—if not impossible—to establish roots in Iran. As a result, she found herself in a state of displacement. In contrast, the character of the Afghan female documentary filmmaker was portrayed as aware, committed, resilient, and patriotic toward her Afghan identity, actively defending it and standing firm against the challenges it entailed.Aliyeh Ataei, in the selected essay, narrated the experiences of second and third-generation Afghan immigrant women. Through her collection of essays, she effectively addressed the rights of immigrants, challenged xenophobia, andillustrated Afghan immigrants' perceptions of social distance from Iranians, along with the cultural conflicts and identity crises they faced. The narrative structure of this essay embodied two ideologies: identity rejection and the return to a denied identity. At the outset, the behavior and discourse of the Afghan female writer as the main character reflected self-denial of her Afghan identity. This representation of the immigrant woman's identity aligned with the theoretical framework of pluralism, which viewed the concepts of culture and homeland as fluid in a globalized world, emphasizing the necessity of relinquishing a sense of belonging to the motherland (Bourbour, 2017: 256; Nazari, Habibi, and Simoni, 2022: 19).However, during the protagonist's journey to Afghanistan, her Afghan identity was awakened as she recalled the resilience of her relatives and compatriots toward their homeland. This experience placed her in an interstitial space between Afghan and Iranian identities, compelling her to confront challenging questions about homeland, migration, and identity. The portrayal of the immigrant woman's identity in this section of the essay aligned with the theoretical approach of resistance, which advocated for the settlement approach. This perspective argued that rather than accepting homelessness and a lack of belonging, it was essential to recreate conditions that fostered a sense of belonging to one's homeland and facilitated the search for a new home (Bourbour, 2017: 262).On the contrary, the character of the Afghan female documentary filmmaker was portrayed as someone, who viewed the dream of return and loyalty to Afghanistan as central to her identity. She embodied patriotism, deeply cherishing Afghan culture and traditions. This representation of the immigrant woman's identity in the middle section of the essay aligned with the theoretical framework of resistance, where the notion of “hybrid culture” was seen as a theoretical construct rooted in idealism. Clear examples of the hardships faced by migrants illustrated that the hegemony of the host country’s power and the resulting sense of non-belonging among migrants remained a serious and undeniable social reality (Kalra et al., 2005, quoted by Bourbour, 2017: 269). This theory emphasized the importance of maintaining the desire to feel at home, to return to one’s roots, and to forge new connections with a place.However, by the end of the story, following an attack by Iranian thugs on the female writer and her documentary filmmaker friend, a sense of distrust, insecurity, alienation, and fear emerged. This situation intensified the main character’s empathy and concern for her Afghan identity, her fellow migrants, and her homeland. In this part of the essay, the female writer experienced both regret and a profound sense of rootlessness due to her severance from her homeland. At the same time, she found it challenging—if not impossible—to establish roots in Iran, leading her to perceive herself as displaced and homeless. This representation of the immigrant woman's identity in the final section of the essay resonated with Edward Said's theoretical perspective. He emphasized the importance of recognizing differences and understanding the complexities of the situations and environments that shaped them—an aspect often overlooked in the works of post-structuralist writers like Homi Bhabha. Among the complexities faced by migrants in the host society, the initial focus had to be on the extent to which their human and civil rights were respected. Subsequent attention had to then shift to the quality of hybrid culture formation and the dynamics of cultural interactions and exchanges.

This ethnographic study using semi-structured interview and non-participatory observation and with the help of combined targeted sampling (acute cases and snowball) with 15 women abandoned in the cultural context of one of the suburbs of Isfahan city with a methodological framework inspired by Gerard's theory It is Genet. The findings show that these women used the negative acceleration technique in creating their life stories. Paying attention to the element of time in the narration of these women's lives made us understand the cultural reasons and the role of culture in the passage of time of these women in the narration of their lives. The reason for this is that these women were from the Bakhtiari ethnic group, and in the past history of the Bakhtiari people, the respect, attention, authority and high status of the ancestors and elders of the people, commitment and adherence to traditions and ethnic and cultural values are clearly alive and lasting. and people always build a bridge to their past and remember it. Finally, it can be said that time is a cultural thing that is constructed in the narrative of these women's lives in a new way and according to the cultural context

Identifying the lifestyle harms of the help-seekers and providing solutions for their mitigation is one of the most important goals of the present study, which was conducted using a qualitative method and narrative analysis. To achieve this goal, first, all staff and female heads of households of help seekers supported by the Welfare Organization of Damghan were selected as the statistical population. Then, the purposive sampling method was adopted to select the samples. The sample included 20 female heads of households of help seekers and 10 staff of the Welfare Organization. Data collection was conducted using a semi-structured interview and the findings suggest that physical harms, as a ground for risks, have affected the lives and lifestyles of the help seekers. They face serious psychological injuries including psychological pressure, stress, depression, loneliness, suicide, and low self-confidence, which have overshadowed their lifestyles. In parallel, harms and a lack of skills to deal with them, as well as cultural issues and cultural impoverishment of the families have intensified their social and cultural instability. Inadequate welfare pension and unemployment were the main economic factors identified. The help-seekers acknowledged the institutional and functional weakness of the Welfare Organization. The results reveal an unsustainable lifestyle at the social, economic, and cultural levels. In this regard, solutions are presented to improve lifestyle and alleviate harms, including counseling and education, coordination and cooperation of institutions, employment creation, increasing pensions, and positive representation of the lifestyle of the help-seekers.

The people of Isfahan have consistently faced the challenge of economic sanctions while living in post-revolutionary Iran. Since 2011, sanctions have intensified and have seriously impacted the everyday lives of Iranians with the goal of causing paralysis. This article aims to interpret the everyday lives of young people in Isfahan during the period of economic sanctions. The conceptual framework of the paper is inspired by Berger and Luckmann's social constructionism theory. The method used is narrative analysis. Episodic interviews were conducted with 16 young men aged 20 to 35, and the data were analyzed using thematic narrative analysis. The findings indicate that the main feature of everyday life during this period is a loss of agency. Although economic sanctions have disrupted the axiomatic aspects of everyday life, other axiomatic routines have been constructed through the struggles and experiences of the actors in this situation.

The current research aims to evaluate and examine the role of rural itinerants in the integration of rural society into the market economy. The approach of this research is based on the views raised in economic sociology and inspired by the theories of Polanyi, Granwater, Smelser, Swedberg, Slater and Tonkis.The narratives of 15 itinerants in the villages of the Hawraman region of Kurdistan and Kermanshah provinces were analyzed due to a paucity of information. Utilizing the principles of Clandinin and Conley’s narrative research, data from semi-structured interviews were acquired through the snowball method and analyzed using thematic analysis. The results were obtained in the form of five secondary categories: Nomadism as a network of social relationships, rural nomadism and local development, urban-rural links and the role of rural nomads in them, the expansion of communication and transportation and the reduction of the presence of nomads, and the expansion of the role of capital and money in villages and the role of nomads.The elimination of itinerants and, as a result, the emergence of border trade and market practices in the region was the result of the separation of economic relations from social relations and the expansion of communication and transportation. Therefore, the role and position of itinerants in the rural integration and development acted as a reverse mechanism, leading to a decline in their role and position as the market economy progressed.

Today the static concept of the family has turned into a dynamic concept in light of social and cultural changes in Iranian society. Therefore, the method of solving marital conflicts in the family has also changed from consulting the elders to focusing on  social institutions. Counseling center is one of these institutions that women refer to address marital problems. The purpose of this research is to study the women’s experience of visiting a counseling center in Isfahan using a qualitative method based on narrative analysis technique. The research population consisted of all the women with marital conflict in Isfahan who had referred to the counseling center for their conflict problem in 2021. A sample of n=17 people was selected and data was collected through in-depth interview. Data analysis was conducted using problem solving method. In this study, 5 main themes and 22 sub-themes were identified. The main themes were characters, location, problem, action and solution. According to the findings of this research, women's experience of counseling is a problem-oriented experience suggesting that they, rather than looking for pain, are trying to address their problems rationally. As such, when their problems are solved, they continue the counseling; otherwise, they change their counselor or stop it altogether. Therefore, this counseling is meant to reach a desirable solution for life, for most of the women referring to the centers, the counseling process has resulted in a solution.

The first Iranian journalist was Mirza Saleh Shirazi, who published Kagaz Akhbar newspaper after traveling to England and imitating the London newspapers. The only remaining document of this journalist is his travelogue. This research was done with the aim of analyzing the narrative of Mirza Saleh Shirazi's travelogue to London. For this purpose, the narrative analysis of the travel report was carried out in the "Franz Karl Stanzel" method.In this research, the theory of "other" has been used to understand the presence of Mirza Saleh Shirazi in Europe. In no other period in the history of human thought has another role in the field of knowledge been as important as today. This concept is very important today in the fields of politics (immigration), sociology (multicultural societies), linguistics and philosophy of language (Weingenstein and Heidegger), philosophy (Levinas), psychology (Lacan), and literary criticism (Derrida). According to Derrida: "Any system or structure (language, identity, etc.) is meaningless without putting another within itself. "In short, the self is different from another point of view." In this research, Franz Karl Stanzel's narrative analysis method has been used. The reason for using the method of narrative analysis is to find a key event in Mirza Saleh Shirazi's travelogue as a narration from a first-person perspective. According to Woods, "a key event is when it has the right ingredients at the right time and place." Mirza Saleh's travelogue is written from the perspective of "the first wise person" or "I am the narrator". The angle of view in Stanzel's model is the first element in the narrative, an important element that forms the form and method of narration in the travelogue. The information of the travel story is provided to the reader of the travelogue through the mediator and the author's point of view.In the first part of the journey, when Mirza Saleh arrives in Moscow, he refers to Napoleon's campaign against Moscow and his defeat. This story is in fact in the scenario of Mirza Saleh's journey and the effect it has on him in London, and the only narrator is his withdrawal from the first person to enter the world of "Danny Kol", which changes the image of the story and actually shows zero degrees of narration. Reflects from  anythings.Mirza Saleh's character is his monologue in his experience of printing-house (Basmeh Khaneh).In all these narrations, Mirza Saleh, as a reflective character, mentions "presenting a pleasant landscape" from the rules and laws of England, the entertainment of London men and women, the urban planning situation in London, schools, and education, clothes, and make-up of the people that surprised him. In this narrative, he is immersed in self-destruction "without the identity of his realm of existence."He writes about the fun of men and women: "A group of your daughters and sons sang well, lost their instruments and instruments, and were there until two o'clock before midnight, after which they rode in a cart and went home.".Mirza Saleh in "My Narrative in the World of Characters" and his position as the narrator of the first-person position in the lab, like fasting in Moscow.Mirza Saleh, as a "reflective person" through the eyes of the camera, criticizes the brothel in London: "And it is another house just like here. He is said to have brought a group of fugitives and kept them repenting in the same way. "From the day he founded the McDonnell Hospital, he repented to 4,000 prostitutes and returned to his house and tribe."It is interesting that Sargoravazli's attempt to bring Mirza Saleh into the Freemasonry (Freemasonry), which was a secret organization of the British: "Ozli contacted every Iranian. In order to use him politically, he released him into the group of brothers and the building block. Engineer Mirza Saleh Shirazi also entered this organization according to his travelogue on the twentieth of Rajab (AH) equal to 1817 (AD). He says that because he had been asking to enter the Forgetful Assembly for some time, he gave me the opportunity to enter their circle, and they made an appointment. "I came back and it is not permissible to write too much about it." The inner view of Mirza Saleh's prayers and fasting and the outer view of his astonishment in London and finally his entry into Freemasonry In this research, the theory of "other" has been used to understand the presence of Mirza Saleh Shirazi in Europe. In no other period in the history of human thought has another role in the fields of knowledge been as important as today. The analysis of the narration revealed that Mirza Saleh, after arriving in London, despite his adherence to religious beliefs and criticism of some phenomena such as prostitution, under the influence of law, order, material welfare, entertainment, urban planning, hospital, industry (blacksmithing, glassmaking, museum and especially Basme Khaneh) to accept London as another and distance himself from his own Iranian identity. In this narrative, the change of his clothes should be considered as the change of his thought. These changes can be clearly seen from the narrator's point of view in Stanzel's typological circle.The research results showed that he used my narration as a witness. In the world of characters and narration, Mirza Saleh talks about his learning experience with a monologue that is the narrator of the change of his personal identity. He narrates the internal and external styles of journalism, which shows the influence of London journalism on him and the acceptance of this ruling model of imitative journalism and its spread in Iran. In the analysis of the narrative, it was found that Mirza Saleh, after entering London, despite his adherence to religious beliefs and criticism of some phenomena such as prostitution, was influenced by order, law, material well-being, entertainment, urban planning, hospital, industry (metallurgy, glass making, museum, Basme Khaneh) is set to accept London as the "other" and distance himself from his Iranian identity.

Every geographical location where a person finds a “social presence” becomes a social space and over time, it acquires structural complexities. In the modern world, cities, and especially the “street,” have emerged as a focal point for the emergence of intricate social relationships, leveraging their historical significance and weight. From Dostoevsky to Baudelaire, the street has served as a socio-historical stage in the contemporary world, inspiring numerous authors and poets. The street has been regarded by social scientists, particularly sociologists, as a stage where history and society intersect. The analysis of specific streets has resulted in significant experimental and theoretical advancements in the understanding of social life. In this article, inspired by the achievements of Lefour, Rozhek, and Benjamin, and relying on the concepts of “space production”, “leisure relationships”, and “leisure behavior,” a sociological understanding of the oldest and most important center of wandering, and perhaps the most intensive manifestation of the social history of the city of Kermanshah (Dabir Azam), has been investigated. In this way, relying on foundations that distance from the positivist perception of social realities, the categories of “binding structure,” “structure reproduction,” and “interpretive procedures” have been considered in interaction with each other. Narrative analysis has been implemented as an approach. The spatial representation of Dabir Azam will encompass the wandering of women, the histories and daily life that have been established within it, as well as an examination of the social norms that have influenced this space. The findings show that activists have established three distinct spaces beneath the visible surface of Dabir Azam street: historical, modern, and ideological. Each space is distinct from the others. This entirety is steeped in history and ideology. Overall, the ideological space of Dabir Azam Street is jeopardized by the historical and contemporary representations of the street, and the modern representations even undermine the historical ones.

This research aimed to explore the role of emotional and sexual betrayal within marital and emotional relationships on people’s trust. It is evident that betrayal in marital and emotional relationships can lead to significant personal and societal damages for both parties. Given the noticeable gap in studying this phenomenon in Zahedan County, which is influenced by specific cultural and ethnic conditions, this research tried to explore the role of betrayal on trust through semi-structured interviews with 32 young individuals in the city. This research was carried out using narrative analysis and according to Braun and Clarke’s method, keeping in mind the simultaneous data collection and analysis. The findings highlighted that betrayal may occur in relationships built on unstable and temporary emotions, with one partner experiencing personal and psychological weaknesses. Moreover, the occurrence of abnormal behaviors that arouse suspicion in the emotional partner, prompts self-control regarding betrayal. Ultimately, individuals who had experienced betrayal have their trust significantly compromised, leading to skepticism and distrust towards others. Moreover, emotional relationships involving betrayal may face serious disruptions, including separation and divorce.

During their lifetime, early humans reacted to their surroundings, that is, the terrifying and wonderful world that surrounded them; And based on the fear and fascination with the secret hidden in the universe, they created the first mythological stories. This chain of thought expanded over time until cinema encompassed myths to create storylines in structure, characters and style, and by embedding myths in human life, made it as a most practical form. In this article, using the method of structural analysis of narrative and communicative anthropology, the state of cinema during the construction period (1989-1997) is studied, and along with the analysis of the social, political and cultural situation, the structural analysis of the narrative of one of the outstanding works of this period (film Aagenseh Shisheai) has been discussed using the method of narrative analysis. The results showed that during the construction period, revolutionary values such as sacrifice and martyrdom, spirituality, contentment and simplicity, which were the achievements of the first period of the revolution, gradually faded in the characteristics of the heroes of the movies, and factors such as welfare seeking, competition for wealth and rising expectations and possibilities As one of the main necessities of the hero, welfare and materialism stood up against the revolutionary values; On the other hand, it seems that the political discourse governing the Iranian cinema during this period worked as a tool in the service of the government and in the way of persuading the people to watch works with heroes with a moral and value burden, while the general public did not accept this and they seek the heros with the characteristics of the world of that day.

Nonfiction is a new type of narrative literature influenced by the praxis of cultural-political discourses in the representation of reality. The dominant discourse seeks to display its desired patterns of action and life, with fictional literature being one of its channels. This study was conducted with the aim to highlight the semantic construction of Afghan immigrant women in the contemporary fictional literature in Afghanistan through the theoretical perspective of Homi K. Bhabha and Theodor W. Adorno. It also aims to identify the representations of these women in the nonfiction literary genre and interpret them according to the cultural context of the destination. To achieve this goal, "Border" from Why Shouldn’t Make Darkness My God? A collection of short stories by Masoumeh Jafari, a contemporary Afghan writer, was selected as the case study. It was analyzed using Seymour Chatman's narrative method in three sections of story, discourse, and ideology to illustrate the concept of Afghan immigrant women from lingual and ideological perspectives. The findings show that the identity of Afghan immigrant women was changed according to the cultural discourse governing the society, leading to identity diffusion (confusion) and their re-immigration to new land rather than their homeland to deal with this crisis. The interruption and cultural interference of the host society with the Afghan immigrant women is represented through the marginal and protesting voice of the author of "Border" to the existing situation and the context of the dominant realities, reflecting the "critical" function and "emancipation" of art in the analysis and criticism of the structures of domination and oppression. 

Cross-dressing has become a filmmaking strategy for the representation of women. The increasing trend of the use of cross-dressing in Iranian cinema has raised the question of what is the purpose of cross-dressing in Iranian cinema and how is it represented. To achieve this goal, by adapting theories in the field of women's studies and representation, the method of narrative analysis has been used and 18 films which were made in Iran's post-revolutionary cinema between 1978 and 2022 have been selected by purposeful sampling. The findings show that, unlike the optimism of previous researches which have considered this characterization as a deficiency of the ruling discourse, the female character is represented in two ways: a gentle woman and a coquettish one. With the way they walk, use hand gestures, sweet laughs, and repeatedly touch their face and make-up, these women exaggerate flirtatiousness to achieve their deceptive goals. Men's incentive for cross-dressing compromise hiding their identity for escaping from trouble, provoking other men, revenge, utilitarianism, and deviance. Cinematic arrangements also reduce these women to a sexual objects. Films turn to cross-dressing to arouse the emotions of the audience to escape the family and social reality. Finally, this representation has led to the reproduction of gender stereotypes in the Iranian society, i.e. the duality of modern-traditional women.

The conflict between husband and wife seems an inseparable component and an inevitable thing in married life, which usually occurs after passing the first passionate period of joint life. Unlike in the past, women as active members of society refer to  counseling centers when conflicts arise to find effective solutions to resolve conflicts, live with less worries, learn how to face problems correctly, strive for family cohesion, and find a way out of it. The purpose of this study is to analyze the genre of experience of women with marital conflict from visiting a family counseling center. This research was carried out using Rogers' person-centered therapy, Chesler's feminist family therapy approach, White and Epstein's narrative therapy, and the typological narrative analysis method in 2021 in a counseling center in Isfahan. The participants in the research were 17 married women with marital conflict who had visited the counseling center. They were were selected using maximum variety method and subjected to narrative interviews. The findings showed that most women's experience of consulting a counselor is narrated in the genre of romance. Based on the issue that women rely on their abilities as heroes of life, they are looking for a solution to resolve marital conflicts and consider going to the counseling center as a part of this inner motivation, whether their efforts lead to solving the problem or not. A group of women who have problems, take the common life lightly and make it possible to continue the common life with skill training. On the other hand, another group who perceive marital conflicts as chronic and do not consider their efforts to continue life fruitful, also experience the divorce. It can be concluded that women's experience of visiting counseling centers is a step towards solving conflicts.

The purpose of this research was to achieve the position of the hero and anti-hero and the role of each of them in the narrative created from the TV series “Kuochak-e Jangali” with an in-depth and methodical approach. A hero is a person who can overcome his personal and native limitations, cross them and reach a point beyond what he is. Every day, in the labyrinth of stories, all the heroes find themselves facing tests and stages that many eager eyes, sympathizers and companions, wish to pass through and reach their destination. The hero dies as a modern human being, but is reborn as a complete human being belonging to the whole world. Those Iranian TV series that are based on historical facts are few in comparison to Iran’s historical scope. TV series “Kuochak-e Jangali” has been chosen as an example of the narrative of a great historical figure in the framework of the content and structural coordinates of a hero. The research method was narrative analysis. The characters of this series have been analyzed using the analytical model of Roland Barthes, including three levels of functional, Action and Narrative, and the five Signifier, Symbol, Action, Hermeneutic, and Culture codes have been extracted. The most important results of this research show that the hero in the mentioned TV series was created with a rational approach and in accordance with the general needs and expectations of the society.

Border dwellers are more affected by the state of borders than others are. Any change in international relations or within the borders of the country affects their daily life and living environment. In the current situation, an organized border can provide challenges and opportunities for the people living in it. These challenges and opportunities are either intrinsic to the border regions or have arisen because of the policies applied in these regions. Therefore, dealing with the lived experience of the border dwellers has a strategic importance in terms of policymaking. In this research, the living experience of the residents of the border areas of the hardships of the social life of Hani Garmeleh village located in the border strip of Paveh city was investigated. Our conceptual system is derived from Elrich Beck's Borderlands, Social Sufferings and Risk Society. The current research method is qualitative and based on narrative analysis. The purposeful sampling method and data collection tool is in-depth and semi-structured interview. The results of the research showed that there is a big difference between the narration of the border dwellers about their life and the life situation in the central areas, and in explaining the reason for this situation, they mostly emphasize on their economic and cultural characteristics and status. Interviewees with themes such as "differentiation of the life of border residents with other regions", "intertwining of social life and life of border residents", "dangers of border relations", "imprinting of Kolberi economy", "being on the margins", "weakness of border facilities, services and infrastructures" ", "the marginalization of environmental issues in border areas" and... they experience the feeling of being different from others. In this research, the study subjects (residents of the border village) look for strategies and ways out of these problems in cases such as changing the view of development agents towards the border, urgent development measures and creating facilities and expanding services.

One of the main axes of the Islamic Revolution’s discourse, is the achievement of justice, and Ibrahim HatamiKia, as a film maker emerging from this discourse, has always presented social justice as his main concern. This research has also been done to interpret HatamiKia's movies on the issue of justice relying on the concepts arising from the theory of John Rawls, Jasso and Wagner. In this way, this research is in line with Rawls's belief that a just society is considered to have just institutions and the people of that society also think that the institutions act justly; Also, the people of that society have the same perception of justice. The second point is that all people have an equal right to achieve the basic goods that society has provided for them. Good things such as income, wealth, prosperity, health, political positions.

This research was analyzed through the method of narrative analysis with a structuralist approach. In this approach, we are faced with the question of how to organize the events and actions of the story. The theories of Chatman and Labov were combined together to analyze the story and the discourse of chosen movies. The theory of Labov was used to extract narrative transfer structure in Chatman model. Three movies of The Glass Agency (1996), Low Heights (2001), and Exodus (2019) were selected by purposive sampling method.

In the three reviewed movies, three common characteristics are considered for rewardees. The first feature is that in all three movies, the class from which the justice seekers came from is the lower class of society and belongs to small towns and non-metropolitan cities. The second characteristic is the strong influence and leadership of these characters in the story process. The third and most important feature is that the rewardees of each story are somehow connected to the issue of the Iran-Iraq war. Therefore, the justice seekers in these three films belong to the lower class, have the personality of leaders and war fighters. In all three movies, the rewardees are clearly looking for economic justice. In the film "Glass Agency" the rewardee needs money to cover the cost of travel and treatment, in the film "The Low Height", the rewardee cannot support his living expenses due to the lack of jobs and facilities, and in the film "Exodus", the farmers' agricultural products is gone and they are looking for compensation to compensate for their loss; But as soon as the act of justice takes place and the rewardees tries to regain his lost right, economic justice takes a turn to political justice from the point of view of the Allocators.

The findings suggest that the discourse of these three movies is represent the Iranian society as an unjust society in which all the economic demands of the justice seekers are viewed with a political-security lens. Therefore, the relevant institutions have been used to re-establish security. Allocating institutions interpret the process of seeking justice with the fear of the foreign enemy and the internal enemy. From this point of view, justice-seeking action does not bring an end to the downfall for justice-seekers. The death of the rewardee and the failure of the realization of justice, the fall of the actors and the ambiguity in the realization of justice and the failure of the journey are examples of this downfall.

The forward research focuses on the impact of the COVID-19 pandemic on the representation of daily life in the Instagram pages of married women lifestyle influencers during the first four months of the pandemic in Iran. The research question explores how the quarantine period is represented in the pages of these influencers, and researchers have attempted to analyze the discursive nature of the COVID-19 virus in these pages. Lifestyle influencers on Instagram are among the most popular narrators of daily life and, due to their access to authoritative resources, have a significant capacity for signification of phenomena. In this research, the narrative methods of virtual daily life during the COVID-19 pandemic, based on Riessman's narrative analysis theory, have been studied, and the research methodology is qualitative and based on virtual ethnography. Using narrative analysis techniques, the data, consisting of posts from lifestyle influencers, have been processed, and various strategies for narrating family life during the quarantine period have been analyzed at two thematic and structural levels. In the first section, "Cyborg Women as Quarantine Narrators," the findings have been thematically analyzed, and four genres have been identified: "Fantasy Construction of Corona," "Multiplicative Discourse of Motivation," "Pre-Corona Nostalgia," and "Medicalizing Everyday Life." In the second section, the findings have been structurally analyzed in relation to the interplay between images and text in the posts and the mechanisms of influencers' impact. Two genres have been identified: "Platform Rotation" and "Strategies for Mitigating Influential Challenges."

The wide range of childhood and experiences from “the transition to childhood” are reproduced in child stories as one of the forms of cultural texts that have evolved along with the evolution of the concept of childhood. The main purpose of this article is to explore how to narrate the transition to childhood in the novel “Call Me Ziba”. The main premise of this research is that the novel is formed as a media content to the understanding audience from values and norms of society. In the present article, an attempt is made to answer the main question, how to narrate “the transition to childhood” descriptive-analytical manner. In this research, this novel is analyzed for its structural and content features with a narrative approach and a combination of two patterns, Génette and Barthes. In addition to exploring the narrative structure, connotation in this novel. results show; The transition from childhood in this novel is narrated in such a way that the child must quickly go through the stage of childhood and become an active member of society within the framework of social structures, but the child Looking for deconstruct. Various aspects of self-reflection, which are prominent features of individualism, are recounted in this novel. The narrative of the independent world of childhood in the form of hidden languages, special environments for children, creates a different image of childhood as a special group.