نشریه مطالعات ملی
سال چهاردهم شماره 2 (پیاپی 54، تابستان 1392)

The relationship between collective memory and identification process is an important subject because every society identifies and introduces itself to others by its collective memory, and without it the realization of every community would be impossible. Collective memory secures the persistence and survival of identity bearers including nations, and prevents its disillution and death. Collective memory prevents from forgetting of past and relates it to the present and future. This function could be implemented by constructive narration of the past for present and future generations. The most significant point should be pointed out is that the collective memory as an identification project is a product of human agency and is inspired by those involved in the meaning-making process during times and is narrated properly. The collective memory involves in the political process of identification and as substances used for justification and legitimization for beliefs, attitudes and needs of the present. This function is accomplished through objectivization and crystallization of collective memory by creation of memory sites such as memorials and other forms of mnemonic practices and reputational enterprises.

Central Asia is one of the cultural domains of Iran that has long played a fundamental role in the growth and development of the Iranian and Islamic culture around the world. Apart from its prominent role in the formation of Iranian language and culture, this region has also played vital role in institutionalizing elements of the Iranian culture. In the contemporary era, Tajikistan being in the realm of Persian linguists as well as presence of tens of Persian language poets and writers in Uzbekistan has increased the importance of this country, especially for Iran. This research, using descriptive method, studies Central Asia of 20th and early 21st centuries (1900-2010) in books, articles, dissertation/ thesis divides the proposed period into three time intervals i.e. from early 20th century to the emergence of Islamic Revolution in Iran; from the Islamic Revolution to the disintegration of Soviet Union and independence of Central Asian Republics and; from independence of Central Asian Republics up to 2010. Results indicate that attention to the Central Asian region was absent till the advent of Islamic Revolution in Iran… the revolution that had taken regional and global aims in its own political and cultural dimensions. However, this attention reached to its highest level after the disintegration of the Soviet Union. It became more intensive after the independence of central Asian countries in 1990s.

The presence of ancient myths and mythical concepts and personages of Shahnameh, in the war poem can't be accidental. But; Shahnameh is an ancient pattern for heroic verse; so in the appropriate time, like during the period of "imposed war against Iran", the unconscious collective of poets of war poem helped them to use these kind of patterns, this, testifies the influence of Shahname on war poems in modern time in Iran. Defining the importance of Shahnameh, in the aspect of "national unity", especially in the period of "imposed war"; is the first aim of this research. And revealing the honors of Iranian warriors to maintain the integrity and elegance of Iran is the next purpose of this paper. Also, defining other features of Epic and War poem; and other similarities and differences between them are the basic discussion in this research.

With its common language and symbols among all cultures, the idea of universal art has long been a matter of debate in the theories of art, as opposed to another approach to art that believes in the diversity of artistic styles and genres with an emphasis on the locality of artistic creation. Modern art, presenting pure and abstract forms of art, considered the realization of the universal art as possible. This model of art, however, with its European centralism was criticized in the 1960s. Another wave claiming the realization of universal art appeared in recent decades within the globalization discourse. Nonetheless, like other cultural arenas, this concern remains as whether universal art is developing as pure forms which are common to all cultures or it is Western artistic creation models which are globalizing themselves and imposing themselves as the authorities behind the hegemony of the western world. Will not the result of this current be a move towards conformity in artistic creation and elimination of artistic varieties? The globalization movement has strengthened the antithesis of localization in itself. The strategic revival of regional arts, such as Asian art, Arabic art, African art, as well as national arts, such as Japanese or Cuban arts, by governments and opponents of globalization may be considered as resistance against being digested in universal models. The strengthening and revival of the Islamic art during the last two decades under titles such as the Islamic world art, the Islamic countries art, Muslims’ art, and the Middle Eastern art can be categorized under this movement. In this article, as we deal with various forms of art in the Islamic region, we emphasize the differences among these forms. At the same time, their common point as a cultural resistance against the globalization of art will be analyzed. With an emphasis on the Laclau and Mouffe’s methodological approach to discourse, this article spells out the central signifiers and floating signifiers of modern art in the Islamic world and present its discourse configuration.

Media literacy as the ability and power to access, analyze, evaluate, and shift the information and media messages, has been accepted more than four decades, as the experience of policy making in many countries and one of the most efficient guidance and supervision tools. Having media literacy (from choosing simple media to criticism text) and reachning a deeper level (understanding and interpretation of the field of representation of the text), provided the ability of understanding this potential for the active audience-not passive-, the biased representation of competing media, not considered the national identity as media interpretations and not give his/her self-control to representation system of the West media, unawarely, in the five areas of attitudes, knowledge, motivation, methods and practices. Intensity of external media attacks and unrealistic representation of Islamic-Iranian identity, defects of supranational legal systems, reduction of moral structures against of increase of the quality and quantity of damaging media production, and… became inevitable promoting the media literacy as a strategy to strengthen national identity.

One of the Concerns of the most statesmen, in addition to the usage of the universalizing atmosphere, is the strengthening of the national solidarity feeling to win over barriers with the lowest expenses; this solidarity is different in various countries due to the political, geopolitical, and demographic specifications. This research considers three components as the major ones in forming Iran’s national solidarity: identity, economy, and culture; from the viewpoint of experts, the offices of security, political, and cultural-social deputy of the interior ministry, try to examine, through solidarity method, the relation of the three above mentioned components with national media function, using Roser Klauvs theory. By examining the data resulted from the questionnaire, it is concluded that with the relation intensity of 0/74 and certainty percentage of 99 percent, the most relation among media’s fourfold functionality is between national media’s informing and news transition and national solidarity; after this there are necessity and satisfaction with 0/61, education with 0/54 and expression with 0/49 respectively.

During the recent decade, besides the impact of the satellite channels on the youth’s view of political issues, we are witness to a change of cultural models of the youth in many subjects such as values, religiousness, nationalism, culture, fashion, dressing etc. especially with regard to the fact that the majority of our country’s population is young. This article, in addition to dealing with the impact of the media on the youth’s identity, will examine the effects of the Farsi-Language satellite networks on religious and national beliefs of the youth in Arak. This study is conducted in the measurement method and a sample of 400 people between the ages 16-24 is used. The results of correlation coefficient of the index of satellite role in reducing the youth’s tendency toward religious values and national culture at the level one percent indicates a meaningful relation showing that the longer hours the youth spend for watching satellite programs the weaker their religious values and inclination toward national culture becomes. In these circumstances, the cultural decision-makers of the society should create an alert move to decrease negative impacts of the satellite programs. The role of the media in this connection is considered as a fundamental pivot in the cultural changes of society and effectiveness on the people especially the young stratum.

It is said that the mission of art is removing the veil from realities of the life. Poetry and literature have known as mirror that a minifest many conditions, viewpoint, political, social and cultural events of communities in every period. Yet, the poetry in the history of Iran has been more prominent compared to other communities. So, the poetry has known as the most important iranian cultural media. Poets as well as scholars of community play a major role in direction of intellectual and social aspects of the society. In the sixty and seventy decades, a range of religious poets emerged, that in comparation with poets of earlier generation, their intellectual foundations and cultural trends had major differences. This paper wants to examine the field of social advent and major poetic themes of these poets. This research with historical-analytical method and studying poems of poets such as Mohammadreza Shafiei Kadkani, Nemat Mirzazadeh, Hamid Sabzevari, Mehrdade Avesta, and Tahereh Saffarzadeh, concluded that appearance of religious movement in Persian poem in mentioned decades has been affected of the overall cultural movements of society. These poems were participant and affected from social and cultural leaders of society like Imam Khomeini, Jalal Ale-Ahmad and Ali Shariati, in awaring the various social groups, at the forefront of the struggle against the pahlavi regime and effort to prepare the grounds for revolution. Social and political basic of their poetries were on the major axes such as; opposition and denial of values and actions of the privious state, inviting to flight against the Pahlavi regime, having identity concerns and emphasis on return to the Islamic and religious roots, emphasis on the religious rules with careing their political dimention and admiring the character of Imam khomeini as the supreme leader.