نشریه رسانه و فرهنگ
پیاپی 2 (پاییز و زمستان 1390)

Now، in the age of communication and in the light of phenomena such as weblogs، man is able to produce and extend his own ideas and views to the interior and exterior horizons in the hyperspace of internet freely and far from limitations of the previous media. In the contemporary world، weblogs are considered as media which are not fully supervised and controlled by the governmental institutions and، because of their characteristics، have managed to transcend the limitations of and obstacles to the previous media، and enjoy more capability and freedom in presentation of information and exchange of opinions. Though weblogging has drawn scientific attention، not so much quantitative works have been done concerning it; and، some of such works have suffered certain limitations. In the present article، to gather data and study the place of ethics in weblogging، library methodology has been employed. Finally، ethical codes of weblogging have been recognized in four fields: truth telling، accountability، minimizing harm، and attribution.

Providing norms and patterns، media create theoretical and practical coordination، harmony، and similarity among individuals of the society. In other words، it should be noted that since، today، individuals of the society are widely in relation to the media، think through them، know the world by them، and organize their conducts on the basis of patterns taken from media، apart from media role which has been already noted، TV enjoys a particular and main place in the Iranian society. And this has been taken as a basis to focus on it as a context in which the subject matter of the article has become operational; since، today، TV is powerfully present in all homes، and this is due to its attractiveness. One of the issues concerning the functional nature of TV concerns the field of critique. Critique may be presented in various forms in TV. One of the manifestations of crystallization of critique in TV is sessions of debate. In this regard، it should be noted that to attain a goal، knowledge of its nature is of overriding importance. Concerning debate in TV as well، understanding of critique at the first step and knowledge of TV capability and capacity in the field of its methods، including debate، is of paramount importance. In this article، based on accumulative and cognitive theoretical models on the basis of the framework، the role played by TV while explaining the concept of critique، issues concerning it، and methods of debate as an informing instrument have been discussed. Findings based on specialized and documentary study made through an inferential and analytic approach shows at first necessity of knowledge of critique. In other words، a «critique» may be considered as critique which relates to the foundations and results of an issue; otherwise، it is not a critique. On the other hand and in the next step، debate as a channel and origin to operationalize the critique should be directed to a certain and particular issue while taking into account characteristics and components of the theory of critique based in the role played by TV as an informing instrument in the public field and to preserve public interests.

«Philosophy of media» is a term with a history almost more than ten years. Hansen، Hartman، and Sandbothe are among those who have employed and discussed the term positively or critically. Some others such as Debray، Mark Taylor، and Walter Benjamin have spoken of mediology instead of the philosophy of media and maintained that the latter is a wrong way to knowledge which is doomed to commit errors concerning media. As a very new branch of the contemporary philosophy، the philosophy of media is still the subject matter of deep discussions about media; and، in spite of its severe critiques of philosophy of media، mediology has not managed to stop it. What is of importance concerning philosophical discussion about media may be introduced in the form of such questions as «what is the philosophy of media and how is it defined?»، «is philosophizing concerning media some sort of ontology، epistemology، or phenomenology of the media?»، «may one speak of and philosophize about the media and their functions in the way that the analytic philosophers do?» While reviewing the history of emergence of the philosophy of media in brief، the present article tries to provide a definition for it; and to reply the above questions it discusses the kind of philosophizing about media. According to the authors، philosophy of media، in spite of claims made by the adherents of mediology، is possible; and it is the same as philosophical knowledge of the media. In other words، the philosopher is able to philosophically discuss the media like phenomena such as mind، knowledge، and arts. Though، independent from its relation to man (the addressee) and، somehow، independent from the nature of awareness، the media have no independent existence; they are of influence on man''s awareness and perception. To speak about the kind of impacts exerted by media on perception concerns ontological، epistemological، phenomenological، and analytic views to the media.

There have been many studies about the importance of culture on the way to develop entrepreneurship and economic growth so that entrepreneurial culture has become a new concept. At the individual level، it has specific dimensions such as willingness to take risk، need to achievement، internal locus of control، creativity، independency، self-confidence، hardworking، management and marketing skills. There are factors that play an important role in creating entrepreneurial culture in the society like Family، educational institutions، government، social networks، industry and mass media. So we suggest that mass media can influence entrepreneurship development by acting through values embedded in different cultures. Despite the importance of the subject، there have been few investigations about the role media plays to promote entrepreneurial culture. There is no investigation that covers all dimensions of entrepreneurial culture; on the other hand researches have just mentioned the word «media» without explaining the exact kind of media. Each media has different functions and all of this is disregarded in the literature. Since television affects the audiences'' knowledge، values and socialization، this paper aims at exploring the Cognitive، Normative and Regulative roles (based on institutional theory) Television can play in order to promote entrepreneurial culture. The data is gathered by performing 24 deep interviews with experts of both media and entrepreneurship including university professors، TV managers and economic program makers. The roles are also prioritized by Friedman test. Results will help us to perform a roadmap of entrepreneurial culture development. Results show that informing function of television is very appropriate for recognition role and the entertainment function suits best to transfer entrepreneurial values rather than direct education. Also the regulative roles can be played via different programs like developing social networks among audiences.

In the modern governance، to media، as a central point in the issues such as good governance، paramount importance is attached by experts of governmental management and media management. On the other hand، researchers in the fields of political sciences and international studies have pointed، while discussing issues such as diplomacy of media، propaganda، and soft war، to the role played by media in formation of the soft power of nations and schools. A study of the literature in this field، however، reveals absence of a comprehensive and operational explanation of the role played by media in intelligent management of domestic affairs of countries on the one hand and their international relations on the other. In the era of globalization and for a country like Iran، which has faced for long years soft and hard attacks made by domestic and foreign enemies، this is of much more importance. The present study begins with a systematic review of the literature in the field of media، culture، governance، and soft power. Then and after discussing requirements and functions of media in an atmosphere of soft war، results are presented in the form of an operational model for policy-making in the field of media. In conclusion، executive and applied findings and requirements have been summed up. In the era of globalization، to attain transcendence، it seems that media with morality-centered and national-based concerns should have four functions: attraction، repulsion، invasion، and policy in relation to domestic and international interests of those involved. As defined in the present article، the transcendent media are media which، relying on fundamental cultures and values of the society، accompany people and governance both in domestic affairs and foreign policy so that the country''s affair may be managed and developed. Results of the present study may be employed، as a framework، for comprehensive studies and policy-makings in the field of soft defense، and، consequently، pave the way to establish and develop intelligent power of the intended culture or ideology.

Development of internet entails a new plural era for human identities based on various cultures and civilizations. Though this diversity may arrive to anarchy، but with a systematic manner، mankind can free from monopolism of western subjectivism and therefore a phenomenological approach to all of the human culturs develops in the whole world. thus multiple discussion reconstructs the collective identity and this process will form continually and permanently collective wise and human sentiments will be transform to collective sentiments.

Modern media art is one of the artistic development appeared in the context of contemporary arts. Appearance of contemporary arts became possible through departure from components and intents of the modern arts، among which emphasis put on the artist''s subject was the most important component and contemporary arts were seeking to modify it. Finally، subject-centeredness of the modern arts led to abstraction and autonomy of arts; but the current of contemporary arts which was a critical reaction to the modernist arts، paved the way for arts to become heteronymous. Among consequence of this heteronomy، we may mention the dependence on global media of arts so that media influenced arts more than all other components، and caused the artist''s subject in the contemporary arts to be weakened and then eliminated in the modern media art.

History is a great treasure of nations'' lives in the course of time. Nations try to، through keeping and transferring historical knowledge to the next generations، protect their own identities. The non-objective nature of history as well as temporal interruption between the past and the present، because of which historical events cannot be experienced by the present generation، make this difficult. In the modern educational systems، teaching history is not aimed to remembering a host of names، but to strengthening one''s power of analyzing historical events and studying their consequences for the contemporary lives of human societies. Thus، scholars have focused to find better ways to teach history and make a pathological study of the present methods of teaching history as one of the most important fields of humanities. One of the issues، emphasized in the modern education، is employment of various kinds of media to assist students to understand academic topics in a better way. In Iran، in teaching history، to this point has not been unfortunately paid so attention. Film is among instruments which are able to provide information and reconstruct the past in the audience''s mind. Among various kinds of film، documentaries، since they are relied upon facts and authentic resources، are among the best tools to teach history and represent the past events to the audience. Based on the theories popular in two fields of documentaries and modern education، the present article tries to recognize the place and importance of documentaries in teaching history. The present article is aimed to make an interdisciplinary study in two fields of history and arts، and puts emphasis on the point that making uses of movies produced on the basis of facts requires professors and tutors to find a primary knowledge of kinds of documentaries and their educational functions for social and political history of various countries.