semiotics

The present research aims to examine how the dimensions and components of religious identity are represented in the content shared by teenagers about themselves and their media bodies on the social network Instagram.

This study employs Barthes' semiotic method to analyze selected content from 35 Instagram pages belonging to teenagers, sampling posts, highlights, and stories from each page. 

According to the findings, content related to the emotional aspect of religious identity has a direct relationship with Shia rituals. In the cognitive aspect of religious identity—related to the beliefs and convictions of teenage users—both trans-religious and intra-religious approaches coexist simultaneously, although deep understanding derived from reflection and reasoning is less frequently observed. However, the value aspect of religious identity is weakened due to the repetition of images and videos featuring non-Hijab or revealing attire, as well as unconventional poses, movements, and behaviors, particularly among teenage girls.

Based on the results, Instagram teenagers selectively adopt certain religious components while discarding others, indicating a form of selective religiosity among them. Furthermore, the connection between religious identity and self-presentation illustrates the "performative nature of religion" among teenage users on Instagram.

The medium of cinema, as a potent and influential art, consistently endeavors to present a more authentic representation of the narrative by intricately interweaving elements such as plot, characters, and scenes. This endeavor extends to the deliberate incorporation of explicit and implicit symbolism within the design and architecture of urban landscape. This research seeks to address: How does the description and placement of a location as a backdrop for narrative relate to the character development and thematic content in Marvel and DC cinematic productions? Specifically, this study aims to assess the alignment between prevalent architectural signifiers associated with superheroes and the thematic characterizations found in Marvel and DC films. This investigation aspires to decipher the underlying meanings and metaphors inherent in the concepts underpinning the design of residences and urban landscapes inhabited by superheroes. Production designers within the Marvel and DC film franchises deliberately craft diverse urban settings, with each showing emblematic of concepts such as gentrification and the physical and mental prowess of respective superheroes, often manifesting through variations in architectural styles, encompassing classical, high-tech, and bionic aesthetics. Notably, this architectural characteristic evolves in response to the narrative's temporal dimensions. Nevertheless, there remains a consistent thread of "mysterious architecture concealing hidden spaces and connections" and "precisely articulated juxtapositions beneath an ostensibly simplistic facade" recurring across the diverse residences featured in these cinematic worlds.

Novels, As cultural products, represent a society with various discourses. Each discourse, with its own configurations, is constantly trying to make its meanings hegemonic. The current research is an attempt to analyze the discourse semiotics of gender with an emphasis on the theory of Laclau and Mufehe in the two novels "This street has no speed bumps" and "Rahesh". The main issue in the current research is how "gender" is represented in these novels. Also, how gender thoughts are reflected through the author's mentality in writing the novel and what is the author's point of view towards them. In terms of methodology, it is a descriptive and qualitative research, which uses library method to collect data. According to this method, the analysis of the novel includes three levels: textual analysis, intertextual analysis, contextual analysis. Textual analysis is dedicated to the semiotics of the novel's characters and finding the discourse order of the novel; In intertextual analysis, each novel is compared with novels of the same period; in contextual analysis, the relationship between the novel and larger social space is examined. Finally, the analysis of the propositions revealed that the main concern and theme of the novels; The obvious conflict between tradition and modernity lies in the social construction of gender, which is implicitly included in the inner layers of the text and lexical reflection, and the main character of the novels at all stages are in the conflict between the biological construction of gender and its social construction.

The Marching of Arbaeen as one of the largest gatherings of Muslims can be examined from different social and cultural perspectives. One of the most important scientific and interdisciplinary methods for the interpretation of this traditional rule is the semiotic study of the codes contained in its quality. Charles Sanderson Peirce, in reviewing the signs, presents a three-dimensional model of code recognition that can be found in their aesthetic, analytic, and interpretive aspects. This template uses three types of signs, Symbolic Signs, portrait Signs, Indicators signs. These three types of signs are shown in separate texts or in the form of a set of symbols in dual confrontations. In this research, based on the typology of Pierce, the relations between qualitative elements of the Arbaeen marching ceremony for the production of meaning in the system of cultural and social signs are examined. Based on the results, the early signs in this spiritual tradition refer to implicit and secondary implications such as emotional and social values. In this paper, the code collection is represented to illustrate the levels of ideological implications and social codes from a travelogue called delay in Najaf. Subsequently, the signs of contradiction with its interpretation in six themes were revealed, including diversity of dedication, conscientiousness, mourning practices, arrogance, and heritage, the manner of mourning of the seclusion, the holy and the women

The most important collective identity is national and ethnic identity because it has an important role in culture, society, politics and even economy. Therefore, the purpose of this study was to represent the national and ethnic identity in the Noon Khe TV series and in its selected parts. The current research is qualitative and the research field of study is Noon Khe TV series. Regarding the subject of the research, only the parts of series that are somehow related to national and ethnic identity were analyzed. For this purpose, John Fiske’s Semiotic method was used and based on the unit of analysis, 16 parts were selected and analyzed purposefully.

Since the advent of periodicals, media have been recognized as one of the most influential tools in shaping public opinion. Considering the pivotal role of language in the construction of television programs, this research investigates the importance of literature in the production and execution of these programs. Therefore, relying on the element of language, the programs are considered semiotic, and the function of literature in these programs was studied by comparing the two talk shows "Mah Eshgh" and "Oprah Show".The research method used in this study is semiotic analysis. Based on the findings, it can be claimed that both programs have two axes of syntagmatic and paradigmatic. The length of "Mah Eshgh" allows new elements to be formed in the syntagmatic axis. While in "Oprah Show", due to the higher tempo of the program, we are less faced with the formation of new elements. In hermeneutical interpretation, according to Peirce's semiotics, both programs not only have semiotic elements but also non-linguistic components (filming, scenography, music, etc.). Based on these signs, the story is more important in the "Mah Eshgh" program and the topic in the "Oprah Show".

Elements of ideology and culture in animations are able to effect the way children are socialized, so that these viewers can embody an ideological character in line with it. The present study seeks to identify the ideological and cultural indicators in creating a fictional character named "The Dolphin Boy" in an animation for children. To achieve this goal, the study has drawn upon the theories of Stuart Hall and Louis Althusser. The research method employed is qualitative and, in terms of nature, it is descriptive-analytical, carried out using the semiotic approach of Jan Fiske at all three levels of reality, representation, and ideology. The findings of this study indicate that the studied animation, shows the ideology of Orientalism along with reviving native-local particularism and nationalism dimension, as well as the ideology of fighting against economic-cultural imperialism, along with the dimension of fighting against the influence and domination of the West. In other words, by using the two ideologies mentioned, the studied animation seeks to represent the values, identities and special culture of Iran and the actions of the people against global monoculturalism and the fight against the dominance, imposition and cultural-economic influence of countries representing global imperialism, which by using signs in the underlying and hidden layers of the film, it conveys these concepts to children.

Motherhood is a symbolic, objective, concise, attributed, and mythical role of females that dominates both their personal and social life and constructs gender identity. Media, such as television, can represent this role through various programs, including series. The main goal of this research is to find out what image of the mother is presented in the popular series of the first forty years of the Islamic Revolution. Accordingly, and based on the studies of the Islamic Republic of Iran Broadcasting (IRIB)’s Research center, the four most-watched series, “Paeez-e-Sahra” (The Fall of Sahra), “Pedar Salaar” (The Patriarch), “Motaham Gorikht” (The Suspect Ran Away) and “Delnavazan” (The Kind) were selected. In fact, from each decade, one of the most-watched series in which “Mother” plays a serious role was selected. Then, using the semiotic method and based on Selby and Cowdery’s model, the selected scenes from each series were examined. Based on the findings, the image of the mother presented in these series has neither remained completely stable nor has it constantly changed. In fact, on the one hand, some characteristics of the Iranian mother are emphasized, and on the other hand, it was tried to modify some characteristics and stereotypes of the mother. With the comparison of Kowaltzke and Stewart’s octet stereotypes, it was found that the stereotype of “housewife” has been portrayed in Paeez-e-Sahra, Pedar Salaar, and Motaham Gorikht, and the stereotypes of “the working woman” and “the perfect mother” has been depicted in Delnavazan. Also, the image of the mother in Delnavazan has undergone many changes compared with the other three series

Now and in the early years of the 15th solar century, due to various internal and external reasons, the position of Iran and the opportunities and threats facing it are considered a key issue in all affairs of the country. The key word "Strong Iran" which has been emphasized many times by the Leader of the Islamic Revolution in recent years and has enjoyed a high frequency in his speeches, in Iran's historical "now" in facing the said issue, it can be reread as a basic "strategy". Therefore, in the present article, I try to read this keyword and its semantic fields from a semiotic point of view, in the statements of Ayatollah Khamenei and based on his intellectual principles. In a semantic relationship, signs such as strong manager, strong nation, national spirit and self-confidence, endogenous authority, resistance economy, science, and ethics and faith can be received as key words around the semantic field of Strong Iran in Ayatollah Khamenei's speech.

This research examines the representation of women's faces and clothing components in the wall paintings of Tehran, considering the importance of women's social status and their roles in different fields of society.

The method of this research is included in the category of studies with qualitative approach and semiotic method. The data of this research includes 80 murals in the city of Tehran, which were selected with a purposeful method from among the custom murals in the main squares of the city of Tehran and to represent the face and clothing components of women. The period of choosing wall paintings is June and July of 1402. The number of data selections was determined by reaching the saturation stage.

Findings of the research: 

In the images used in the wall paintings of Tehran, the clothing components represented in these images were fully veiled and fully covered, which did not match the variety of women's clothing in the society. The faces represented in these pictures are devoid of any cheerfulness and beauty and are mostly represented as sullen and sad faces.

The representation of women's faces and clothing in wall paintings is an inconsistent representation and does not match the realities of women in society. This mismatch in the field of clothing and makeup, appearance, is clearly comparable. The images represented in the wall paintings are women without any vitality.

This research investigates the semiotic analysis of the structure of religiosity in the two films "Range Khoda" and "Gadamgah".  Cinema, as a powerful medium, plays a key role in the representation and reproduction of religious discourses. The aim of this study is to examine the rules, structures and religious patterns in these two films. A qualitative research method with a semiotics approach has been chosen and the visual signs present in the films have been analyzed. This research examines the role of religion in Iranian society and how it is represented in these two works. The findings show that both films contain a rich set of technical, social and ideological codes. The semiotic analysis of the films reveals that both works have extensively used religious signs to convey their messages. For example, these films present an image of religion as a source of peace, hope and meaning in life in a traditional society. Religious characters in these films are portrayed as spiritual and moral leaders of the community and the identity and meaning of the film characters are shaped through religion. In contrast, wealthy and powerful characters are less inclined to religion, while poor and marginalized characters are more likely to seek refuge in religion. Additionally, women in these films are often portrayed in traditional and obedient roles.

This article deals with the topic of Representation of the social movements of women since (1920-2016) in movies (Suffragette, The northern land , Iron javelin angels, The Rosa Parks Story ) . The women's movement is an organized movement to achieve women's rights and an ideology for the transformation of society, whose goal is the dream of eliminating all types of racial discrimination and oppression .In this article, the author examines four movies by qualitative and Charles Sanders Peirce's semiotic method and the theory of Charles Tilly’s collective action and fundamental theories of feminism wants to show that how effective movies are in representing social movements of women. Movies seem to play a significant role in representing the social movements of women in society. Research findings indicated that the meanings represented in the films have been: Negotiating the existing situation and oriented identity, having a plan and organized collective behavior, determine the goals, having ideology, obligation and commitment, opposition to violent acts, radical movement, worthiness , commitment and unity.

One of the ways to know and understand the norms of any society is to refer to their reflection in the media. Of course, stereotypes presented by the media about individuals, groups, social roles, communities and cultures, also affect the way the audience treats these individuals and groups in real and face-to-face situations. In this research, based on the Selby & Cowdery model and using the semiotic method to represent one of the mother roles, namely "Mother-in-Law" in two popular family series broadcast in the first two decades of the revolution, namely "Paeiz-e Sahra" and "Pedar Salar", Which were purposefully selected. In the first series, despite of the mother-in-law is a civilized and urban person with a high social status, but completely stereotypical and with negative traits such as authoritarian, selfish, seditionist, violent, nervous, grumpy and gloomy, slanderous and abusive, theologian, divisive, excuses, full Expectations, oppressors, domineering, annoying and hated are represented. While in the second series, by adopting an anti-stereotype approach, a different image was presented from what is in the minds. In this series, the mother-in-law is portrayed as a humble person, optimistic, calm and kind, smiling and open-minded, satisfied and low-expectation, Godly, polite and eloquent, with emotion and with compassion, realism and love.

Generational relation has been always a theme to narrate different stories; Some war films in the seventies, eighties and nineties have symbolically addressed the relationship between the protagonist of war generation and the next generation and the challenges arising from changing circumstances. cinema choosing and representing social realities and constructing the realities in its own ways, on the other – one may ask why war filmmakers pay attention to generational relation? How is this phenomenon represented and what are its characteristics? War genre inevitably requires a protagonist to address its audiences’ needs. Many war films are based on a protagonist and his adventures and are in fact protagonist-centered stories. Thus, to review the evolution of generational relation representation in Iranian war cinema it is necessary to study the objectification of the protagonist, which reflects the characteristics of the war generation. To discuss about the subject a combined semiotics was used. In conclusion, we first present the differences within generational objects as well as different objects in each films and then, propose interpretative models based on the gathered data and applying Weber’s ideal type. Thus, the evolution of generational relation representation in Iranian war cinema proceeds from “cultural productivity; generational crisis and identity crisis” and “ambiguity in collective interpretation; Transcultural symbolism” in seventies and eighties to “generational dialectic; creation of an inter-

The present article tries to focus on the concept of the threshold body in the movie "Avaze Ghoo" from a discourse point of view by using the opinions of Michel Foucault and Giorgio Agamben and relying on John Fisk's semiotic method. In this film, which was produced in the late 70s, the body is used as a tool to create a work of art, a work that can be considered as a representation of the social conditions of its time. In order to portray the conflict between power and the subject around the concept of the threshold body, the film Avaze Ghoo creates scenes in which the two sides of a power relationship are constantly engaged in bargaining over the definition of the body. Disciplinary committee meeting, checkpoints and police social department are among the spaces that, from Foucault's point of view, evoke the constant and omnipresent presence of power, and the "body" is often the place of discursive conflict. The findings show that in this film, two levels of discourse conflict around the body are most evident: one, intra-discourse conflict (between reformist discourse and fundamentalist discourse) and second, inter-discourse conflict (between subject-centered discourse and fundamentalism discourse). At the level of conflict between discourses, the subject with his active activism tries to realize his subjectivity by resorting to his body against the discourse of fundamentalism, a struggle that ultimately ends with his death, but the open ending of the film sets the atmosphere in a way says that it implies the continuation of the subject-oriented discourse that the female character of the film represents.

This article analyzes the nature of women in Western serialization based on the works of Bruce Miller. The purpose of this research is to explore semiotics and how to use it based on the analysis of this series. The semiotic method of this paper is based on John Fisk theory and in three levels of descriptive (social codes), representation (technical codes) and ideological (ideological codes). To achieve the goal, we first give a brief definition of semiotics and after presenting John Fisk's point of view, we examined the main themes of his theory in the form of social, technical and ideological codes in the context of selected scenes of the series made by Bruce Miller. The research method of this research is qualitative-semiotic analysis; And data collection tools include taking notes from books and articles. According to the study, it can be said that this series has presented the concept of life and survival in depth using the laws of semiotics; The semiotic process reveals its internal semantic capacities to the audience; Semiotics also reflects the fact that images, after decoding and interpretation, lead us to new results and allow us to go beyond mere appearances of reality and delve into the subject from another.

This study seeks to understand the ways of constructing and representing the divorced female subject in Iranian cinema of the last decade. The research has been done by using the method of semiotics and combining the approaches of Barthes, Fisk, Selby & Cowdory and the theoretical framework based on Subjectivity from Althusser's point of view and Hall's representation. Using Purposeful sampling, three films (nahid, rage khab and inja bedoone man) were selected for analysis. The results indicate that the lower social class, being exposed to be judged, people's biased view of divorced single women, society's indifference and society's suspicion of independent and divorced women, the reproduction of a cycle of violence by them and society, Behavioral, living, economic, and unhealthy behaviors and showing the recovery of femininity in environments such as the kitchen are among the most important ideological codes that have found meaning in these films. Adherence to ideology (patriarchy) is also so blind that women, as subordinates, internalize and reproduce it themselves, like the landlady in rage khab. Also, the patriarchal ideology is so ingrained in the people of society and in the daily relations of people, tradition and family that the divorced woman becomes the obedient subject of ideology and acting against it leads to questioning by individuals that becomes fascinated by ideology.

Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and without specifying their names at times, as a result of the political and social conditions in the war-torn regions. At other times, the poet may do so explicitly. The character within the poem serves as an embodiment of the poet's thoughts and imagination. Through the portrayal of a living individual and the immersion of that persona into the realm of his imagination, the poet endeavors to establish a meaningful connection with the readership while also allowing the character to embody his own sentiments and behaviors. Philippe Hamon, a renowned and contemporary French theorist, is among the few authorities who has a precise and exhaustive theory of the context of character. A comprehensive understanding of the hidden meanings and concepts in characters can be attained by adhering to his perspective, which incorporates the views of earlier theorists.By conceptualizing character as a symbolic context comprised of the signifier and the signified, Hamon broadens the fundamental semiotics of character. In doing so, he argues that character is not merely a psychological construct, but rather a real-world entity. Characters are processed in accordance with four principles, according to Hamon's theory: types, character dimensions, signifier, and signified. As a result of the shift in the political and social climate of the modern era, which compelled Nizar Qabbani to address women's issues and defend their violated rights, he devoted considerable poetic space to this segment of society and depicted the physical and spiritual beauty of women. Nizar's poetry exemplifies the exquisite unity of women and poetry; these two elements are so intertwined that they cannot be separated; this is the reason why she has earned the reputation of a woman poet within the realm of Arabic poetry. Hence, the poet's poems prominently feature the female context. The present study employs a descriptive-analytical approach and draws upon Philip Hamon's personality theory to analyze the diverse facets of the female persona in Nizar's poetry courts. While emphasizing the significance of this context in Qabani's poems, it also clarifies its function as a means of conveying the poet's intended message. In conclusion, the research findings indicate that Nizar Qabbani's poems comprehensively illustrate every facet of Philip Hamon's theory. By opting for a moderate approach rather than ambiguity and a direct tone when expressing ideas in his poems, he has effectively increased the value of his poetry. One could say that Nizar's poetry and thoughts have elevated and evolved the status of women; the majority of the female characters in his romances are figurative, which is consistent with the general tone of his poems concerning the corrupt Arab society of the time. It is compatible because the poet often had to suffocate and communicate his ideas in an invisible manner. Furthermore, since he does not believe in the central reader, he employs the method of application the pronoun of the audience to represent the female characters. Thus, the character in question disappeared from the reader's mind and submerged her poem in an aura of ambiguity, which is the consequence of the ominous phenomenon o Furthermore, one may observe an intermediary, a pointer, or a reference, in addition to virtual characters. Frequently, the external and psychological aspects of the description of the female character are conveyed, and the poet employs a variety of literary devices, particularly similes, to establish an intimate connection with the reader. The reader is able to readily envision the poet's depicted character. Furthermore, an examination of the meaning reveals that the majority of the information regarding the nature of women originates from the poet himself. This is evident on both quantitative and qualitative levels, with the poet's descriptions being melancholic in the quantitative sense. And to evoke empathy in the audience, he added melancholy; he utilized both direct and indirect methods in the qualitative dimension. However, upon closer examination of the evidence, the reader discerns a discrepancy between the characters' portrayals and their actual performances, leading to the conclusion that the nomenclature and origin of certain characters are not connected to Hamon's theory

today's world, media has become the most important tool in creating and conveying meaning. As one of the most important agents of socialization, television is a conduit for representing the cultural, social and political values of societies. Behind the simple scenes shown in movies and TV series, there is a system of signs and codes that creates and conveys meaning, and based on this, the audience is faced with the representation of reality by the media. The aim of the current research is to investigate the role of women in the contemporary political history of Iran by analyzing several popular TV series after the Islamic Revolution. Using John Fiske's method of semiotics, four television series have been investigated in the 4 decades after the Islamic Revolution to study television's meaning making of women's social and political activism in contemporary history. The findings of the research show, 1- The television media has shown the base and social class and the level of literacy as the most important factors affecting women's political activism. 2- Awareness, awareness, resistance and standing of women and even rebellions Internal and external factors, even if it is their spouses, when the homeland is in danger, has been well portrayed in the television media. 3- The dominance and dominance of the authoritarian structures of men and the traditional fabric of Iranian society, which is one of the most important challenges for The entry of women into different fields of politics is also discussed in the national media.​

The current research aimed to investigate the ways of constructing and representing women's substance addiction in TV series of "Maderaneh".

This research was a qualitative study of Barthes's semiotic type, including hermeneutic, minimal semantic units, symbolic, action, and cultural codes, and the analysis method was based on these codes. The statistical population of this research included the "Madaraneh" series, and the sampling method was purposeful.

The results demonstrated that this series tried to depict women's substance addiction using various types of codes to introduce a form of reasons for women's entrapment as a role model. Some of the most important images presented of women's addiction in this series denote that the family is an important factor in individuals’ tendency to addiction and family problems, including divorce, play a significant role in this issue. Addiction can be seen in both wealthy and poor families, and in this series, it is shown that the substance-dependent character is a patient and has a weak will and motivation. According to the results, the personality of a substance-dependent person is faced with stigma and labels in the family and society, and addiction is a prelude to other social harms.

According to the results, the causes of addiction refer to various individual, familial, and social factors, of which the familial factor has been shown to be the most important reason. Therefore, it is necessary to pay more attention to series with the theme of addiction, and in them, in addition to exploring the reasons for addiction and how to deal with it, its preventive strategies should also be considered.