فصلنامه مطالعات فرهنگی و ارتباطات
پیاپی 71 (تابستان 1402)

he Iranian users’ conception of the discursive system of sanctions. The question that follows is how the Iranian users in virtual space responded to the Nike’s sanction on Iran football team in 2018 World Cup by the language of picture and gave an unbiased reading of sanction system order. The sanction system is a discourse-based hegemonic system whose scope and influence goes beyond the military, security, political spheres and related fields such as nuclear technology and spreads also to the social and cultural life of citizens, and also affects the social identity-maker and integrity-maker aspects such as sport and health through the politicization of the various parts of the citizens’ life. Using visual semiotics, prioritizing non-linguistic factors in portraying the ideology of sanctions, this research investigated the activity of users on Instagram, Twitter and other social networks, and through semiotic analysis of related pictures in virtual space achieved the result that the importation of sanctions into social and cultural life of citizens is a kind of new disciplinary discourse and ‘symbolic violence’ that seeks to make citizens’ life an object of power. In the course of sanctions, the power and resistance and hegemony and anti- hegemony act simultaneously, so that the Iranian users, resorting to semiotic excess and the path of ‘semiotic resistance’, attains the enjoy of political affair leisurization. 

According to Foucault, discourse works through the law of penal systems. The sanctions regime is also a discourse order that advances its mechanism in a hegemonic and ideological context. The sanction system is a discourse-based hegemonic system whose scope and influence goes beyond the military, security, political spheres and related fields such as nuclear technology and spreads also to the social and cultural life of citizens, and also affects the social identity-maker and integrity-maker aspects such as sport and health through the politicization of the various parts of the citizens’ life. This article emphasizes that the embargo regime serves the hegemony of the neo-emperor by using discursive tools. One of the signs of the inhumanity and immorality of this new system of domination is not excluding the fields of medicine and health, sports, passenger airlines and other "non-political parts of daily life" that are directly linked to the health and psychological security of citizens' lives. By studying the visual reaction of Iranian users to the boycott of the Iranian football team by Nike in the 2018 World Cup under the pretext of international sanctions against the Iranian government, the present study deals with the visual signs of users' resistance to the sanctions system. The visual reaction of the Iranian people to the boycott of their country's football team by Nike is studied as politics as a form of popular culture. 

In our project, we employed a qualitative research method , it uses semiotics as a "qualitative interpretive" method to reread the images of users against the preferred meaning of the sanctions system. This case study analyzes the visual language of users in virtual space against the boycott of the Iranian football team by Nike in the World Cup. By viewing Instagram pages, Telegram messenger channels and Twitter pages during the 2018 World Cup with online search tools and targeted sampling techniques, this article has extracted images related to the sanction of the Iranian football team in 100 pages in these three virtual platforms.

The results of this study show that the  most important Binary opposition in coded image texts are "Iranian team against Spanish team", "Amiri against Pique", "Nike shoes against Adidas shoes", "Nike shoes against national shoes". For example, Iranian users have shown a kind of humorous reaction in contrasting images, referring to Pique who used Nike products. Nike's slogan, "Just do it" has a meaningful connection with the scene of Nutmeg to Pique by one of the players of the Iranian football team. Iranian users have described Nike's products as not suitable for "success" but for "disgusting" in order to criticize Nike's actions regarding the sanctions of Iran's football team. With semiotic resistance against the sanctions regime, Iranian users are trying to remove themselves from being a subject against the sanctions regime and are resisting the "action of calling" ideology and accepting the status of subject. Users of virtual networks not only resist preferred meanings with the help of conflicting coding, but also produce new and different texts themselves. One of the ways of users' resistance is " Semiotic excess" proposed by Fisk.

This article, in the context of cultural and media studies and with a critical view, has dealt with the dimension of resistance of Iranian cyberspace users in confronting the spread of the sanctions structure from the political sphere to the public sphere. "Sanction Regime" is a type of modern repression system that uses the structure of symbolic and hegemonic violence in contrast to the modern and democratic image it presents and clearly does not separates the political from the civil spheres such as sports, health and education. Nike's announcement that the Iranian football team's players are prohibited from using the company's shoes and other sports equipment in the 2018 World Cup in Russia due to the implementation of US sanctions against Iran is a proof of the sanctions regime spreading to non-political sectors such as sports and other categories of daily life. The research came to the conclusion that Iranian users, with semiotic resistance against the sanctions of their country's football team, actively use the language of images to resist it. As sanctions the sanctions regime acts in a hegemonic way, the audience also engages in anti-hegemonic behavior against this discourse order with its own opportunities and methods, and from the power of resistance and the possibility of "opposite decoding" In the face of sanctions.

With the ever-increasing mediatization of social life areas, being seen and attracting attention has gained the highest value, and all tools have been used to represent the “self” (Marwick, 2012).  Celebrities have also found the possibility to live in front of their fans and share many events of their daily life with them on social media. According to Goffman, the "scene" of everyday life is ready for the performance (Goffman, 2019) and social media can expand this field even more. Among social media platforms, Instagram has been widely used by users, including celebrities, due to its special features, such as being image-oriented, easy to use, and available as a mobile application.
On Instagram, celebrities have the opportunity to share thanatologic subjects like death, loss, and bereavement as well as other aspects of their daily lives. Thus they share their experiences of joys, sorrows, achievements, positive and negative emotions, emotional attachments, and losses with their fans and present pieces of it on this stage. For this reason, it is important to study the online actions of celebrities and their interactions with the fans. 

To analyze the behavior of Iranian celebrities in the social networks, the authors of this paper chose "mourning" -which is one of the most sensitive and upsetting human experiences- as the subject of their study. That’s based on this fact that the mourning mediated through social networks has a visual and narrative character in which people carry out the ceremonies related to the deceased person completely in the media and through the media (Gibson, 2007).
This study seeks to find out from what angles celebrities express the experience of "lack" on their Instagram page. Mourning means a normal reaction to the loss of a loved one which sometimes involves grave departures from the normal attitude to life (Freud, 2012). This inevitably manifests in mourning rituals, speech, non-verbal communication, and all of the actions of the grieving person. The important questions are as follows: how celebrities bring their mourning to the stage on their Instagram page, what dimensions they give to their mourning, and how they interact with their followers about this loss?
 

The authors of this article first compiled a list of bereaved celebrities and reviewed their Instagram posts about their bereavement from April 2020 to the time the research began (January 2022). Finally, using targeted non-random sampling method, among the observed celebrities, three were chosen for deeper investigation. In addition to the high number and variety of audiences, the basis for selecting these three people was the variety of text and image posts and related hashtags, as well as greater narrative coherence of the posts. All of the related Instagram, from the beginning to the time of the research, were extracted and analyzed using the Van Dijk model. In this research, a bereaved celebrity is someone who has lost a close family member or close friend and a celebrity is a famous person in the real/non-virtual world, who has also a significant number of followers in the virtual world.
To ensure the reliability of this study, all its methodological details -including the sampling method and its selection logic- the data collection method, and the data analysis method were described. Both researchers participated in the data analysis and reviewed each other's views. Also to ensure the validity of this study, both authors were present and participated in the entire research process. In this study, in order to document the analysis, evidences from Instagram posts were brought many times and an attempt was made to analyze the findings with the presentation of evidences.

The main question of the study is as follows: how celebrities express the experience of "lack" on their Instagram page? In this study, three celebrities offer us three different narratives. Nasim Adabi's narrative is in sync with the natural pace of mourning: bewilderment, acceptance, and continuation of life and this psychological ups and downs can also be followed in the themes raised in the posts. In Rahnama's narrative, mourning does not go through its natural cycle; It turns into repeated small cycles. Father is not dead. He continues to live on the virtual stage, and the course of mourning for his death is interrupted before it is complete, returning to the starting point to serve the performance of a show that is supposed to be on the stage for a long time. In the narrative of Reza Sadeghi, the usual mourning process is not seen from the beginning to the end. What can be seen are repetitive, unvaried, and monotonous strategies, with an audience-friendly and populist language which is full of repetitive, passionate sad words and themes, with the label of mourning. The deceased is a mediator for the mourner's voice to be heard. In fact, the deceased cooperates with the mourner in promoting his music and reproducing his identity and helping him become more visible. 

The common point of this study and some other studies mentioned in this paper is the stage that mourning provides to celebrities to represent themselves. This allows the celebrity to turn this stage into a new arena to construct a new dimension of his identity as a bereaved person. Celebrities play an important role in the creation of new rituals in the online world, and the mourning of celebrities can become rituals of the online world - rituals with the presence of the deceased who continue to live in the virtual world and the ordinary users who want the continuation of the life of these deceased in the online world. In this way, ordinary users borrow online expressions of mourning from bereaved celebrities, and as a result, the online mourning experience of ordinary users may become even more dramatic than before. Of course, the mourning of celebrities is more glamorous, but this stage has provided an arena for the identification and mourning of ordinary users at a lower level.

Intercultural schemata are abstract mental representations that people make of other people and make them understandable. This study explores intercultural schemata Russian students at Jame’atol Mustafa have of Iranians, both before and after their stay in Iran. We have employed cultural schema theory as our conceptual framework. Among Intercultural schemata, two schemata -namely, self and personal schemata- were used. This is a qualitative study, and we employed semi-structured interviews to gather our data. Overall, 12 Russian students at Jame’atol Mustafa were interviewed based on the theoretical saturation model. We used theme analysis to categorize and analyze our responses. Overall, the students have more flat and positive views towards Iranians: “religious,” “accompanying the political system of Iran,” and “ethical and moral.” But, after coming to Iran, these intercultural schemata went through some changes, and sometimes these schemata have been shattered. Russian students in Iran created positive ideas such as " powerful representation ", " beneficence" and "ritualism". Also, the behavior of the Iranian people about the education of Russian students in Iran has created a negative Self Schemas(Negative schemas of others about themselves) Such as “richly life in Russia” and “creator of poverty” in the interviewees. In other words, these students have gone through cognitive prototype and mega-prototype.

The rise of identity based movements, pan-nationalism, and immigration along with the expansion of the communicative power of mass media and social networks, has increasingly called the validity of identity forms recognized as nation-states into question. New identity claims arouse doubt on whether are eighteenth-century European frameworks still sufficient to define collective identity as "nation"? The Taliban claim for representing the Afghan people - which has been accompanied by rapid seizures of power since August 2021 - when the primitive group use of modern media to represent its identity and performance is one of the most contemporary examples of this idea. Benedict Anderson believes that nations are "imaginary communities" that are formed around common imagination. In this regard, Dr. Nancy Rivenburg considers the content of the media to be largely a form of collective identity and public perception of the country. This article tries to examine the issue of considering the two mentioned approach, in the conditions of weakening the connection between the borders of the Nation-States with the collective identifications within a country, as a nation, how can the media Occupying by groups such as the Taliban will be effective in creating and spreading new forms of political identity. For this purpose, an interdisciplinary approach in political sciences and communication sciences has been used.

This study aims to analyze adolescent’ social media presumption in order to figure out the role of social media in the process of adolescent’ identification with it and, also, in order to explain this process in the age of global network.
For this purpose, qualitative method and narrative-episodic interview technique have been used. 12 interviews were conducted with adolescent girls, who are social media users and students at selected schools of Mashhad, aged 15 to 18. The gathered data was processed with thematic analysis method.
The findings indicate a shift from “living with social media” to “living in social media”. Despite the high agency of online search, adolescent girls have “extensive and shallow identity exploration”. They also benefit from “the agency power in online identity execution” which has led to arbitrary formation of social media and the “self”. The agency power and the possibility of user’s control identity execution have caused “objective perspective on the social media user”. Unrestricted content and access lead to “self-centered and media-centered norms’ emergence”. “The planned or unwanted collision with online and offline fields” has eliminated the border between these fields. Therefore, the adolescent girls always experience “anxiety caused by unwanted visibility”.
Adolescent girls’ explanations about social media functions covers all identification process elements. But adolescent girls control or avoid any awkward or unfavorable situation due to social media capacities and agency power. Therefore, identification process shrinks to a lower order.

In every society, women make up half of the population. Half of the active population and half of the population that can have a significant impact on the growth and development of the next generation and the national development of a country. Political and social factors are among the most important factors that provide the ground for women's participation in political participation or are obstacles to their presence. ،The role of women in the political participation, especially the current society of Afghanistan, which requires the presence and participation of more experts in the society and that a significant percentage of it is women. The purpose of this article is to identify and rank important political and social factors affecting women's political participation. Afghanistan uses structural equation analysis. The present study is one of the descriptive-field researches that has been used to collect data using the distribution of a researcher-made questionnaire. The statistical population of the study includes all adult citizens of Kabul, which using a random sampling method with Cochran's formula, the sample is estimated at 375 people. The obtained data were analyzed using structural equation modeling method with partial least squares approach with Smart-PLS software and Friedman test in SPSS software was used to rank. The results of data analysis show that political factors are approved with a coefficient of 3.06 and are ranked first with a coefficient of 1.27 and social factors are approved with a coefficient of 4.76 and are ranked second with a coefficient of 1.28.

The expansion of the recruitment of non-Iranian students in recent years has led to an increase in foreign interactions with Iranians. Research on the experiences and perceptions of non-Iranian students can lead to more self-awareness of Iranians. As a preliminary step, this article aims to report the experience and perception of some non-Iranian students studying in Iran. The method of current research is ethnography and the interview technique was used in data collection and the step-by-step coding technique was used in data analysis. The data is mainly the result of interviews with 28 non-Iranian students of Ferdowsi University of Mashhad in the summer of 2015. The result of extracting the messages in the interviews and assigning basic concepts to them is about 200 basic concepts and 7 major categories. Inspired by Gurvitch, major categories, ecology and morphology, clothing and appearance, interaction, social norms, morals and social values, and "deficiencies" were determined. Students made observations and made inferences, and the more observable a topic was, or the simpler and more accessible the inference was, the more it was reported.

Iranian Workers' efforts to organize their syndicate have not become an important topic in academic social research. As a result, workers’ lives and efforts, as leading social actors of the society, has been underestimated by social studies. The question of this research is designed to be against the mainstream studies. In this research, we want to study the discursive and Pragmatic practice of drivers in the Syndicate of Tehran Bus Company.
In this article, we rely on a discursive theoretical/methodological approach and critically examine the texts were produced in 2004 in the discursive field of the syndicate. These texts included documents on the activities of workers, and also in-depth interviews with labor activists at the Syndicate of Tehran Bus Company. This study sheds some light on the way workers construct and articulate discourses in the discursive order dominating this syndicate and analyzes discourse contexts and its implications for workers' organizing activities.

In the country's media space, the IRIB is the main media that provides the official narrative of the events. But confronting the audience with these narratives or reading them can be a serious concern. This research has been done with the aim of knowing the audience's readings of news and news policies of radio and television. To achieve this goal, the focused qualitative interview method was used and 24 semi-structured individual and group interviews were conducted with 32 people from Tehran audience over 18. The data obtained were analyzed using thematic analysis method.The results of the research showed that the interviewees' reading of international news representation policies contains two main components: exaggeration of the problems of other countries and bipolar representation of good and bad international news. Participants read domestic political news under three main components: unbalanced representation of social groups, partisan bias, and restrictive policies (censorship and bias). From the point of view of the interviewees, the television news policy for representing the economy can be summarized in the following components: representation of economic peace; The inconsistency of the representation of economic indicators with the experience of everyday life; Dual representation of the country's economic situation. Also, the views of the interviewees about the representation of culture in TV news programs can be categorized into three categories: contradictory policies in the representation of cultural components; Demarcation in the representation of social and cultural issues and the harms of representation of cultural news programs on television.

Iranian animation cinema has to grow in both content and technology in order to succeed. One of the problems of today's animated commercial cinema in Iran is the lack of good stories that are appropriate to both animation cinema’s features and the Iranian audience’s interests. Because in today's world, popular culture is closely linked to the mass media, many commercial producers use fairy-tales with romantic themes for commercial success and impact on audiences. Therefore, this hypothesis has been raised that fairy-tales are considered one of the best sources of inspiration for producing content for animation cinema. Regarding to this hypothesis, it appears that Azeri romantic folk-tales have the enough potential to inspire. The main question is why and how can romantic tales in Azeri folklore literature, which run in the tradition of Aşıqliğ, be considered as valuable sources of inspiration according to the characteristics of animation cinema to produce works, both in terms of content and structure? To answer this question, first, the characteristics of suitable stories for animation are investigated and four indicators are obtained, and then, nine Azeri folk-tales have been analyzed by Vladimir Prop’s morphology. Finally, we compare the tales with four indicators. The collection tool is bibliographic and a descriptive-analytical method is used to explain the research results. Consequently, it can be said that these nine tales have all the characteristics of fantasy, romance, musicality, and adventure and can be valuable sources of inspiration for Iranian animation cinema, especially for commercial purposes.

The emergence of technocrats following the 1953 coup d'état signified a transition from political nationalism centered around the nationalization of oil to a new form of economic nationalism. This shift was primarily driven by the global economic and political transformations after World War II, which introduced a new understanding of the concept of "the economy" and positioned technocrats as key actors in governance. Iran's move towards development began in the context of its economic and social backwardness left by the war. Prime Minister Mossadegh's nationalist government sought to regain national sovereignty and secure increased oil revenues to overcome these conditions, leading to a political confrontation with the British government. This confrontation eventually culminated in the U.S.-British-backed coup d'état against Mossadegh's government. In parallel to Mossadegh's political movement, a group of technocrats led by Abolhasan Ebtehaj entered the government with a different vision. They believed that oil revenues should be based on economic growth and development planning, requiring financial and technical assistance from international development organizations. Consolidating this approach marked the beginning of economic nationalism in Iran, with the Plan Organization becoming the guiding force for Iran's economic and infrastructure development since 1953. This historical analysis focuses on the concentrated interplay of technical and political factors that shaped the ascendance of technocrats and the role of state planning in Iran's extensive socio-economic transformation from the 1950s onwards, providing a deeper understanding of the process.

This article deals with the formulation of the thematic model of factors and communication and strategic components of customer satisfaction with the after-sales services of Isaco company . The approach of qualitative research and its main strategy is exploratory interview with experts, and the data was obtained through in-depth interviews with 17 experts using purposeful and snowball sampling . Etrid-Sterling theme analysis model was used for data analysis, and based on the interview process and three rounds of coding, the final model of the research was presented. The findings indicate that advertising factors, strategic factors, distribution chain factors, company social capital factors, components and services factors are communication and strategic components . Finally, the components of strategic and communication factors effective in the formation of customer satisfaction with the after-sale services of Isaco cars were identified and categorized into 145 basic themes, 26 organizing themes and 5 comprehensive themes.