مجله مطالعات دینی رسانه
پیاپی 15-16 (پاییز و زمستان 1401)

 Undoubtedly, methodology in the field of jurisprudence is one of the topics of jurisprudential philosophy that is considered as a second-degree knowledge. On the other hand, the change in the scale of methodology is a change in the jurist's perspective from a subject-oriented approach to a system-oriented approach.One of the damages of the common methodology of jurisprudence is the lack of precise recognition of new subjects and issues and how to adapt jurisprudential and legal evidence for understanding the legal ruling in that subject. In media jurisprudence, a subject-oriented approach and a methodological system-oriented approach should be considered to solve its jurisprudential issues from legal sources. The central claim of this article is that there are differences between the common jurisprudential methodology and specialized jurisprudential methods such as media jurisprudence, which affect the recognition of the subject and the inference of the ruling. To achieve this goal, the concept of variable discussion and the traditional and additional jurisprudential methodology are explained, and finally, the differences between emerging subjects and common jurisprudential subjects are discussed. This research has concluded, using a descriptive-analytical method and library information gathering tools, that there is a new framework for media jurisprudential methodology, so that, based on its evidence and conditions, if a jurist looks at it with general jurisprudential inference methods, he will discover, infer, and issue a specific ruling, and if he looks at it with specialized and additional jurisprudential methods, he will have other discoveries and inferences. In this research, the triple method of jurisprudential discovery in media jurisprudence is explained and proposed.

The significance of "persuasion" and "attitude change" in the media in the mental domain for influencing humans is highly discussed. However, from the perspective of the Quran, humans, as "living beings," have different dimensions based on their nature, which also have different capacities for influence. The aim of this research is to examine attitude change from this perspective in the Holland persuasion model and to investigate the six stages and elements of attitude change based on this.

In this study, the Holland persuasion model was first considered. The data was collected through a documentary-library method and then explained using logical analysis.

Based on the research findings, since the source of the message in Islam is God and the existential dimensions of humans based on nature consist of four layers (Sadr, Shoghaaf, Qalb, and Fowad), an attitude change that leads to behavior occurs in the third existential layer of humans with the two powers of reason (in the sense of limitation) and thinking (for inference and argumentation) and in the cycle of monotheistic knowledge, piety provides the basis for creating a criterion (the power to distinguish truth from falsehood) and establishes insight.

The six stages and elements of Holland in the areas of message source, message understanding, message recipient, content, and the way of attitude change are distorted from the perspective of the Holy Quran. This means that when the source of the message is God, attention and understanding of the message also involve the natural sphere of humans based on Quranic foundations, and the process of persuasion and attitude change is defined in this path.

Although animation is considered to be less expressive than other art forms, its aesthetic and mimetic dimensions have not been adequately explored in comparison to live-action film and theater. This research aims to investigate the relationship between animation, theater, and live-action film within the framework of Aristotelian and Avicennian mimesis theory to provide a limited explanation of animation.

This study employs a "philosophical analysis" approach to examine the various dimensions of animation and extract its components. By using "qualitative directed content analysis," the study analyzes and examines quotes and texts from Aristotle and Avicenna to explore the different aspects of animation. Additionally, through "new hermeneutics" or the science of text interpretation, the thoughts of Aristotle and Avicenna are extracted and applied to the analysis of the various dimensions of animation.

By comparing and relating theater and live-action film, the relationship between animation and theater becomes apparent. Subsequently, the evaluation of the relationship between animation and live-action film sheds light on the differences between them and the potential mimetic interactions they can have. From this perspective, the structural truth of animation is expressed in a limited mimetic aspect, according to the views of Aristotle and Avicenna, in three probabilities.

This research demonstrates that mimetic theory has valuable capacities in the realm of arts in general and animation in particular. The hidden aesthetic dimensions of animation in the non-animated realm have become clear, and to some extent, the relationship between animation and live-action film and theater has been identified.

This research aims to explain the construction of complementary anti-heroine characters in the historical TV series "Mokhtarnameh" directed by Davood Mirbagheri.

The research first examines the three-level conflict through the collection of materials in a library-like manner. Then, it evaluates the characteristics of complementary anti-heroine characters through the observation and analysis of the series using qualitative content analysis.

The playwright, as the main creator of many conflicts and crises, has portrayed a woman as a vital element in the conflicts, which plays a significant role in the emergence of crises and suspensions. The playwright has created prominent and influential characters by assigning several features to the complementary anti-heroine characters, whose actions either provoke the hero's reaction or cause the anti-heroine character to act against the hero. The playwright, by creating internal conflicts in the mind of the complementary anti-heroine character and transferring this conflict to the anti-hero character, creates personal, interpersonal, and crisis conflicts that drive the story forward.

The creation of complementary anti-heroine characters in the "Mokhtarnameh" series has had significant results in advancing the drama. The roots of many events are influenced by complementary anti-heroine characters, and as a result, the story progresses. The complementary anti-heroine character makes the anti-hero character more resilient in confronting the hero, resulting in significant conflicts, actions, and reactions. It is worth mentioning that despite the very positive results of creating these characters in advancing the drama, they also have weaknesses. By expanding their strengths and reducing their weaknesses, characters can be created that are more dynamic, attractive, and unpredictable, with different visual attractions than previous characters, and be more effective in advancing the drama.

The aim of this research is to explore the character development style in the historical drama series "Roozegar-e Gharib", and more specifically, how historical figures are transformed into dramatic characters in this series.

The research method used in this study is descriptive analysis with a neo-formalist approach.

In this series, the hero character is placed in five age periods, and the character's journey in these five periods is narrated through the use of narration. In this series, the anti-hero is a disease in the general sense, and in different parts, aspects of this disease such as cancer, plague, and even the disease of people's ignorance are manifested depending on the situation. In addition, secondary characters (complementary and opposing) are used to show more dimensions of the hero character and his fate. The characters' speech is also shaped according to the culture and temporal situation.

Based on the research findings, it can be inferred that Kianoush Ayari has tried to approach external reality by using character development in various dimensions and has tried to prevent any superficiality in roles and games. Therefore, his character development style in transforming history into drama is documentary-like and similar to Italian surrealism.

The main objective of this research is to conduct a comparative study of BBC Persian's news reporting methods against the Islamic Republic of Iran and the psychological operations against the Prophet's government.

In this study, library research and referencing university and electronic sources were used to collect data. The research method used discourse analysis using library and documentary sources.

The Prophet of Islam (PBUH), through his invitation and the explicit establishment of his own school, rejected all aspects of idolatry and the manifestations of ignorant culture, both theoretically and practically, which was unacceptable to the leaders of Quraysh and polytheism. Therefore, they had no choice but to confront this new invitation and message, and they resorted to various methods of psychological warfare against the Prophet of Islam from the very beginning. In fact, the goal of the polytheists was to make efforts to launch a psychological attack and try to influence in this field in order to achieve their goals in the war against the Messenger of God (PBUH). According to the research findings, various accusations and slanders, mockery, substitution, and the display of arrogant behavior. Regarding BBC Persian, although the start of BBC Persian television's work with coverage of the three Persian-speaking regions of Iran, Tajikistan, and Afghanistan, there are some serious differences in content and method between this new media and other satellite televisions. The network that should be considered as a new wave of "soft media war" against Iran.

Based on the research findings, the cultural identity that BBC Persian represents for Iranians is based on Iranian and modern components. In fact, this network highlights these two components based on secular principles and marginalizes the Islamic component of the Iranian identity.