مجله جهانی رسانه - نسخه فارسی
پیاپی 15 (بهار و تابستان 1392)

This paper will analyze the news contents of the press to show how women’s victimization is being represented. In order to do so, a sample of four newspapers that were published during the period of April 21, 2009 and January 20, 2010, namely Hamshahri, Iran, Mardom-Salari, and Etemad were selected and studied. Since there is a difference between women victimization as opposed to other groups, the primary question we attempted to address here was how does the print media depict victimization of women? By drawing on ideas proposed by Stewart Hall and Connell, as well as Forsich’s theory, we conducted a qualitative analysis of the aforementioned four newspapers as they claimed to have been representing women’s cases of victimization. Some of the findings indicate that women have always been depicted as victims while men have been shown to be perpetrators. In addition, the press media generally adopt two approaches to represent women’s victimization: (1) the normal and unaware women who became subject to victimization and fell victim unknowingly and with no previous awareness of the danger (e.g. women who take unregistered and authorized cabs); (2) women who go to the dangerous places or have relations to dangerous strangers. The findings also suggest that such newspapers do not reflect views of the victimized women as they focus mostly on statements of defendants who attempt to place responsibility on the victimized women. It should also be noted that the press try to show that victims’ own actions leads to such crimes, rather than providing sympathy for the victims. In all such news, the focus is on masculinity while femininity is marginalized.

The paper is an attempt to examine the relationship between Globalization and the extent of religiosity among the women in cities of Tehran, Shiraz and Estahban. The theoretical framework of the study is based on Giddens’s ideas on the process of modernity and how modern institutions play a role in Identity-formation. In order to test such claims, I launched a survey on 2200 samples whose age ranged between 16 and 45. The samples were selected randomly in the three cities that I considered them the units of analysis. As for the data collection procedure, I used a survey-based research using questionnaires containing questions that operationalized my theoretical claims. Some of the findings indicate that variables such as the modern social identity, modernism and the egalitarian attitude towards gender roles, on the whole, explain some 33 percent of the total secular behavior of the women in selected cities. The study also revealed that reinforcing religious values and improving the women's awareness about the changes and the process of globalization require participatory planning and far more numerous research projects. Taking such measures will divert the potential threats of globalizations and can turn it into opportunities for women.

Using Fairclough’s analytical theory of critical discourse, this paper intends to analyze the communicative actions in Shakespeare’s play Othello. The paper also will show how the play affects various layers of any given society especially where it has been produced. Our approach is based on the historical fact that human beings have constantly struggled to gain their identity under the shadow of social relationships. Accordingly, one can expect to see different societies developing various cultural communicative theories alongside literary works. Considering that Fairclough’s theory attempts to explain the relation between language and social actions, Shakespeare’s works can also be taken to bear the signs of discourse in communicative and cultural actions. By the same token, a discourse analysis of Shakespeare’s works, similar to other literary works, requires us to analyze various layers and structures of the society in which the literary works have been produced. Meanwhile, the question of communication creates cultural interactions between both the host and the guest cultures. And the encounter of the two cultures should pave the way for the very communication per se, something that can result in further interactions between the two. We believe such signs of interaction are present in Shakespeare’s play Othello. The concluding parts of the play indicate that the cultural and social actions exist not only in society but also in literary texts; even if it refers to centuries back when such theories like communicative actions had not been produced yet.

This paper explores the question of how post- revolutionary Iranian cinema represents woman’s social values. We used Goffman’s gender display theory and his interaction theory to make up our theoretical framework for such study, and added Max Weber’s concept of ideal type to address the issue in a more plausible way. The latter section of our theoretical approach was used with the intention to make interpretive patterns of the represented social values of women in post revolutionary Iranian cinema.Methodologically speaking, this study employed semiotics study that falls in the category of qualitative methods. To meet the requirement of such approach we selected a number of non-probabilistic samples as units of observation from among movies that matched the necessities of our theoretical approach. The samples were analyzed at two different levels 1- Barthes’ narration model, 2- Keith Seleby & Ron Kowdery models.The findings are presented here based on two following descriptive patterns: 1) “transformation of subjectivity; i.e., a change in interpretation”. This pattern indicates that values such as “patience and tolerance” are constructed; and 2) “a lying, multi-faced and deceptive figure” that indicates the precedence of a constructivist model of lying. This type of female identity is represented as a socially repetitive behavior and a value that represents how women are depicted in cinema.

This paper presents an analysis of Interactive Art and compares it to Roland Barthe's theories regarding “The Death of the Author” and “Text” to indicate whether one is following the other. At the theoretical level the paper offers Roland Barthes’ theories as opposed to interactive art’s characteristics, and uses a case study on Venice Biannual interactive art work presented by Norma Jeane to claim Barthe's theories are compatible with Jean's work. We used a descriptive-analytical method to put such claim to test. We also used documentary and internet sources as our necessary data to examine our claim. Some of the findings indicated that there is a harmony between Barthe's theories and this piece of work. It also indicates that there is an interacting process of producing through which the choice of media selection, interaction and participation of the audience in creation of the work, cooperate hand-in-hand so to give rise to transformation of the art piece into art text. The same process results in the fading away of the artist who is the creator of the work.

The main purpose of this article is to identify how an ideology is textualized in the trilogy of the movie “outcasts” (Ekhrajiha). The question here is how these best-selling movies in the history of Iranian cinema, transfer ideology in the sense that Thompson puts it as the “symbolic forms”. Accordingly, the main interest of this article is to see how a popular art work such as that of “the trilogy can reflect ideas of the dominating class and convey its ideology and to see what methods and strategies are used for such function.Using the concept of ideology and the methodology of Thompson’s textual analysis, some of the findings indicate that the most important goal of this trilogy has been to transfer the message of “national unity”. The findings also indicate that in the two first movies, the context in which such an issue discovered was related to the war period but in the third one it was related to the 2009 (1388 Iranian Calendar) presidential election.Moreover, the paper managed to embark on a theoretical finding which emphasizes that “movie” operates as a kind of symbolic form that has this specific potential to narrate an ideology. It is also the means of power reproduction that can act as a means of representing such special concepts as the producer intends to deliver to its audience. At the same time, it can push other concepts into margins by overlooking them and replacing them by its own ideal meanings and concepts.