نشریه جامعه شناسی فرهنگ و هنر
سال ششم شماره 3 (پیاپی 21، پاییز 1403)

The purpose of this study is to analyze the relationship between media consumption and identity changes. In other words, it tries to study the interaction of identity dimensions on each other and their relationship with the amount of media consumption. This applied research, which is of a descriptive-causal type, was conducted with a survey method (cross-sectional type) and used the standard questionnaire tool of Selgi et al. (2014) to collect data. The statistical population of four centers of Oramanat region in Kermanshah, which was obtained using multi-stage cluster sampling method and according to Cochran's formula, the sample size was 384 people. The findings show that in the correlation matrix of the four dimensions of identity, there is a direct and significant relationship between ethnic and national identity and religious identity. Also, this relationship between religious identity and global identity is inverse and significant. The relationship between national identity and consumption of national media (TV) is positive, and between this dimension of identity and consumption of Kurdish-language satellite channels is inverse. What is called ethnic identity has a direct and significant relationship with Kurdish-speaking satellites. Also, there is an inverse relationship between religious identity and the amount of use of Kurdish language satellites and a positive relationship with national television, and these two variables together explain about 7% of the changes in religious identity. Finally, modern identity has an inverse relationship with national television consumption and a positive and significant relationship with satellite, and these two variables predict about 5% of modern identity changes. Another result of this research is that in the hierarchy of identity, the ethnic identity of the respondents was the highest with an average of 4 and the modern identity was the lowest with an average of 3.88. In terms of identity preference, the respondents first of all considered themselves to be Muslim, then Kurdish and then Iranian. In terms of media consumption, the amount of use of official media such as television and provincial network by the respondents was very low and they heavily use virtual space and new social networks.

The function of language systems that convey a message through signs is to stabilize reality and naturalize it, which is not devoid of ideology and layers of meaning, and the people of a society learn signs in the form of cultural conventions in order to receive the message. Image representation through the visual language system throughout history has created ideas and beliefs about all matters, such as gender and identity, and society has embraced them. Postmodern artists, who are always looking for deconstruction and defamiliarization, in their works criticize the naturalized beliefs in society through unconventional and unconventional representation. In this research, the self-portraits of postmodern photographers, who challenged the predetermined conventions of identity and gender by visual signs, were taken into consideration and analyzed based on Umberto Eco's point of view. The purpose of this work is to discover the layers of meaning and commonalities of the works and to deconstruct the dominant images of identity and gender in the present era. The studied sample is the self-portraits of three female postmodern photographers, Cindy Sherman, Claude Caon and Jillian Waring. The results show that photo reading is often an intersubjective affair and the quality of reading depends on the circle of readers. In addition, understanding the text is always a form of its denaturalization. The results also show that the discussed works are not only self-referential and they use codes that emphasize the gendered nature of the way signs are used in the representation of women.

The main purpose of this article is to investigate why people resort to violence against their spouses using Agnew's general theory of crime (domains of life). The research method employed was descriptive-correlational. A sample of 450 married men and women, drawn from individuals referring to family courts, welfare centers, and the Imam Khomeini Relief Committee in Rasht city, was investigated using the available sampling method and assumptions based on the general theory of crime. The scales used in the research included violence against spouse, constrains against crime, motivation for crime, personal, family, family, and occupational problem-causing domains The summary of the indirect coefficients of the model shows that the problematic peer domain (beta coefficient: 0.073), the problematic personal domain (beta coefficient: 0.085), the problematic family domain (beta coefficient: 0.101) and the problematic occupational domain (Beta coefficient: 0.083) by affecting the constrains against crime and motivation for crime indirectly affect violence against spouse. The four problematic life domains, motivation for crime and constrains against crime, as well as demographic variables are able to 58 explain the percentage of the variance of violence against the spouse. Also, the problematic domains of life are able to explain 21% of the variance of the constrains against crime and 25% of the variance of the motivation for crime.

As the most important type of building, the house has always had a special place in the eyes of architects and experts, and it has been discussed from different perspectives. From a long time ago, in the design of traditional houses in Iran, attention to the issue of climate and social and economic developments have been considered important factors in architecture. Residential architecture in the contemporary era has inevitably changed its shape under the influence of several factors, including the change of traditional to modern construction methods, and has moved from traditional introversion to modernist extroversion. In the historical neighborhoods of Mashhad, there are valuable houses that have been destroyed due to lifestyle changes, central tissue development plans, multiple owners, and migration of residents. Since the purpose of this article is to revive the lost patterns of residential architecture, the architecture of the houses of Mashhad during the Qajar period were investigated and evaluated and analyzed. Returning to the native housing patterns of Mashhad, examining the application of Iranian values ​​in the spatial arrangement, and reviving and re-creating this forgotten tradition, is the ultimate goal of the present project. The first step in achieving this goal is documenting the houses and collecting the necessary information in the form of photos, maps, and using written and oral sources. The research method in this study is a combination of interpretive-historical methods and case study, which was based on field observation, library studies and oral interviews to collect and analyze information about the houses of Mashhad. The current research focuses on the architecture of the historical houses of the Qajar period in Mashhad city, to recognize and typology of these houses and seeks to answer the main question, how was the spatial system of the traditional houses of Mashhad in the Qajar period formed? The findings of the research indicate that the houses of Mashhad are built with the architectural characteristics of cold and semi-arid climate, mainly introverted, and they can be classified based on the characteristics of the architectural space and the way the space is arranged around the yard. Many features of Mashhad's houses have somehow been coordinated with cultural, religious, economic and climatic variables. However, physical and spatial changes were made in the residential architecture of Mashhad during the Qajar period.

In the present study, an attempt has been made to investigate and study the semantic implications of girls' clothing after media consumption based on the explanatory data base. The purpose of this research is to explain the semantic model of clothing for girls in Tehran. The findings of this qualitative study were collected through in-depth and semi-structured interviews with 21 young girls in Tehran because this young part of the society plays an important role in giving meaning to the models of clothing in the society. The average age of these girls was 19 to 33 years old, and the findings were analyzed using the database procedure and related coding procedures. Exploratory findings showed that various factors are effective in the formation of the central category i.e., "body as symbolic capital" and background factors such as "aestheticism and perfectionism, body and clothes as aesthetic objects, ideal self-expression" are also among the factors influencing the choice of style. It is women's clothing; On the other hand, causal and interventional factors such as "fashion prominence in identity giving, popularization of fashion, production of modernity and continuous birth of culture, model and consumer culture" influence this process. Analytical findings also indicated that women's strategy and strategies in this field are placed in two categories: "disobedience and civil disobedience by choosing abnormal clothing patterns and religious conformity by choosing cultural and ideological patterns". Finally, the sum of these strategies brings results such as "reducing the meaning of hijab, increasing social challenges and weakening the social requirements of covering".

Cultural power is a combination of power as a transdiscursive and productive thing and culture as a discursive and dynamic thing. Instagram social network has created a powerful visual culture due to its visual-auditory appeals, which has become a platform for the formation of new discourses. In this research, the components of diversity, the extent of sharing, and the clarity of priorities have been investigated in order to analyze the place of cultural power in Instagram. This research has been done by relying on qualitative methodology and using the text analysis method, and the data are visual and text data. The field of study of pages of users with the top ten ranks on Instagram (in terms of the number of followers) whose content, posts, captions, and comments of their followers have been analyzed. The main question in this research is what is the position of cultural power in Instagram? The results of the research show that Instagram is useful for its low cost, ability to play images, availability, flexibility to people with different moods (introvert and extrovert), interactive and multipurpose, ability to share content, multi-person communication in the form of live broadcasting, having artificial intelligence and finally functioning in accordance with the interests of users and being up-to-date, by solving human needs, has caused the presence of different actors in the field of cultural power, and therefore has created a different type of cultural power.

In The Streetwalker (1969) by Abbas Shabaviz, Shahin, a commanding figure who holds authority over a chain of cabarets, becomes enamored with a gypsy singer named Atash. Shahin endeavors to elevate Atash into the central attraction of his chain of cabarets. Through Shahin's instrumental patronage and power, Atash attains the status of a celebrated star. During the process, she becomes romantically involved with Afshin, her music instructor, thereby arousing discord with Shahin. Subsequent to this juncture, Shahin channels his influence in an opposite trajectory—toward impeding the duo's artistic trajectory. This research, drawing inspiration from the works of Laura Mulvey and Mary Ann Doane regarding the construction of the female star as a commodity, endeavors to analyze the dynamics of the star formation and her objectification as a commodified entity within The Streetwalker. Throughout the narrative, Shahin, orchestrates Atash’s construction as a popular star, and following the dissolution of their relationship, Shahin employs his powers of surveillance and manipulation to dismantle Atash's image as a star, just like a product that no longer serves its purpose. The article proceeds to underscore that this depiction, can be interpreted as a critique of the Pahlavi regime's enforced modernization agenda, its seductive allure for the masses, and the shallowness underlying the changes it advocates. In conclusion, the analysis posits that The Streetwalker efficaciously presents the process of star formation within the realm of show business of its era, simultaneously offering a critique of the Pahlavi modernization initiative.

In the historical books, Tabarstan was considered one of the three main areas of Iran's exquisite carpet production, and the art of weaving continues in the highlands of this region. But there is little information about the famous hand-woven patterns of Tabri. The geographical location of Tabarestan and its distance from the central government have preserved the cultural characteristics of this region in different historical eras, therefore, identifying the woven motifs of Tabarestan can be a platform for knowing the visual elements and cultural identity of the region. The aim of the current research is to identify the traditional motifs of the native handwovens of Tabaristan region. This research is of a qualitative type and has studied the data in a descriptive-analytical way. Pattern information was obtained by sampling traditional handwoven fabrics in the historical areas of Tabarestan. Documentary sources were used for analysis. The research findings show 150 valuable roles. These motifs can be divided into vegetable, animal, geometric and abstract motifs in terms of shapes and themes. Many traces of ancient motifs can be seen among these motifs. Such as: bergamot-like shapes, four-feathered flowers, mutual birds, symmetrical tree and swastika pattern. The presence of ancient motifs in Tabari handwovens and their comparison with the motifs of early Islamic art crafts in Tabaristan shows that these motifs were used in Tabarestan textiles before Islam and during the Sassanid period. Their use has continued until today in the handwoven fabrics of the Alborz highlands in Tabarestan.

The purpose of the present study is to analyze the social processes of the formation of single life in Ahvaz city. The research method is based on a qualitative method with a grounded theory approach, which was conducted in order to identify and understand the formation processes of single life through interviews with men who have this type of life in order to achieve a systematic understanding. In this study, 14 men who lived unmarried in Ahvaz city were selected by theoretical and purposeful sampling method. The data were collected and analyzed based on in-depth interviews. The analysis of the interviews based on of Strauss and Corbin coding system resulted in the formation of 18 sub-categories, 7 main categories including 1) single life as a continuum from situation requirements to lifestyle choices, 2) single life inspired by personal history, 3) single life, permanent process of legitimization, 4) single life, living against cultural prescription, 5) celibate life, living in the shadow of celibacy, 6) single life, an opportunity for personal and professional development and fulfillment, and 7) single life, a possibility to escape from pervasive surveillance, and finally led to the discovery of a core category under the title "single life; deconstruction of lifeworld of youth.

Lifestyle as spectrum of behaviors governed by unifying principle covers an area of life that is observable among a group of people in society. It is not necessarily recognizable to everyone, except for the social researcher who differentiates between it and the rest of spectrum of behaviors in a given society. The method of qualitative research is based on thematic analysis of data according to principles of phenomenological approach. The required data is result of a semi-structured interview with 21 young women living in Tehran who were part of Y generation. The method of selecting the participants is purposeful, available and determining their number upon reaching saturation stage has been determined.The findings show that Individualistic lifestyle as one of three styles (individualistic, Consumerist and religious), a style based on freely choosing type of clothing and hijab, having different and independent times without family, drinking or recreational use of alcoholic beverages and focusing on It is on individual progress and self-actualization. It can be concluded that this lifestyle which sometimes contradicts religious and legal patterns in country, the participants try to follow their taste and choice, despite restrictions and structures governing society. In their individualistic lifestyle, these women are searching fun with friends and traveling without family.