انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823Signifier Sign Systems on the front Pages on Newspapersنظام های ﻧﺸﺎﻧﻪای دﻻﻟﺖﮔﺮ در ﺻﻔﺤﺔ اول روزنامه ها12243607FAسید علی اصغرسلطانیرئیس دانشکده زبانهای خارجی و مطالعات بینافرهنگی، دانشگاه باقرالعلوم، قم0000-0002-2562-6443گودرزمیرانیﻛﺎرﺷﻨﺎﺳﻲ ارﺷﺪ ﻋﻠﻮم ارﺗﺒﺎﻃﺎت اﺟﺘﻤﺎﻋﻲ داﻧﺸﮕﺎه ﺗﻬﺮانJournal Article20200808Samples of highly circulated Iranian newspapers were studied in this paper to answer the question of whether or not their front-page layouts are ideologically organized or merely aesthetically arranged. Methodologically, the Gunther Kress and Theo van Leeuwen’s multimodal approach was used in which four methods for layout are introduced and newspapers use one of these or a combination of them. In our study of Iranian newspapers, we reached a conclusion similar to Kress and van Leeuwen’s to the effect that the front pages of newspapers are not neutral and unbiased but try to ideologically direct their readers toward a specific meaning.
در اﻳﻦ ﻣﻘﺎﻟﻪ، ﺑﺮای ﺗﺤﻠﻴﻞ ﺻﻔﺤﺔ اول روزﻧﺎﻣﻪﻫﺎ و ﮔﻔﺘﻤﺎن ﺣﺎﻛﻢ ﺑﺮ آنﻫﺎ دورهﻫﺎی ﭼﻨﺪ ﻣﺎﻫﻪای از ﭼﻨﺪﻳﻦ روزﻧﺎﻣﺔ ﻛﺜﻴﺮاﻻﻧﺘﺸﺎر را ﻣﻄﺎﻟﻌﻪ ﻛﺮدﻳﻢ ﺗﺎ درﻳﺎﺑﻴﻢ آﻳﺎ ﺻﻔﺤﻪآراﻳﻲ ﺻﻔﺤﺔ اول روزﻧﺎﻣﻪﻫﺎ ﺑﻪ ﺷﻴﻮهای ﻫﺪﻓﻤﻨﺪ اﻧﺠﺎم ﻣﻲﺷﻮد ﻳﺎ ﺑﺮﺣﺴﺐ اﺗﻔﺎق و ﺻﺮﻓﺎ ﺑﺮ ﻣﺒﻨﺎﻳﻲ زﻳﺒﺎﻳﻲﺷﻨﺎﺳﺎﻧﻪ .در اﻧﺠﺎم اﻳﻦ ﻛﺎر از ﻣﺪل ﭼﻨﺪوﺟﻬﻲ ﮔﻮﻧﺘﺮ ﻛﺮس و ﺗﺌﻮﻓﺎن ﻟﻴﻮون اﺳﺘﻔﺎده ﺷﺪ ﻛﻪ ﺑﺮای ﺻﻔﺤﻪآراﻳﻲ روزﻧﺎﻣﻪ ﭼﻬﺎر ﺷﻴﻮه ﻗﺎﺋﻞ اﺳﺖ و اﻛﺜﺮ روزﻧﺎﻣﻪﻫﺎ ﺑﺮاﺳﺎس ﻳﻜﻲ ﻳﺎ ﺗﺮﻛﻴﺒﻲ از آنﻫﺎ ﺻﻔﺤﻪآراﻳﻲ ﻣﻲﺷﻮﻧﺪ. در ﺗﺤﻠﻴﻞ ﺻﻔﺤﺔ اول روزﻧﺎﻣﻪﻫﺎی اﻳﺮاﻧﻲ ﺑﻪ ﻧﺘﺎﻳﺞ ﻣﺸﺎﺑﻪ ﺗﺤﻘﻴﻖ ﻛﺮس و ﻓﺎن ﻟﻴﻮون رﺳﻴﺪﻳﻢ ﻛﻪ ﻣﻌﺘﻘﺪﻧﺪ ﺻﻔﺤﻪآراﻳﻲ ﺻﻔﺤﺔ اول روزﻧﺎﻣﻪﻫﺎ ﻧﻮﻋﻲ ﺟﻬﺖدﻫﻲ اﻳﺪﺋﻮﻟﻮژﻳﻚ ﺑﺮای ﻫﺪاﻳﺖ ﺧﻮاﻧﻨﺪه و اﻟﻘﺎی ﻣﻌﺎﻧﻲ ﺧﺎص ﺑﻪ او وﺟﻮد دارد.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823Contrastive Interpretation of Public Persian Media A Gender-Oriented Discourse Analysis of Magazines in the Year 2007تفسیر بین متونی داﺳﺘﺎن های ﻋﺎﻣﻪﭘﺴﻨﺪ ﻓﺎرﺳﻲ در ﻣﺠﻼت اﻳﺮان 1386 تحلیل ﮔﻔﺘﻤﺎن234843609FAقربانعلیابراهیمیاستادیار گروه علوم اجتماعی دانشگاه مازندرانشهرامپرستشاستادیار دانشگاه تهرانحسنناصحیدانشگاه تهرانJournal Article20200808Gender Language which dominants the gender discourse of social climate in Iran, is one of the most influential phenomena in language and non-linguistic actions of individuals. This phenomenon has been revealed as a part of a common outlook on the concept of gender in among the popular magazines. Since the dominant ideology tries to incorporate and apply a self-constructed gender outlook that provides its interests, and since this has dictated itself powerfully in the individuals’ social being, we decided to study the influence and hegemony of this desire in the subconscious mind and the gender discourse in Iranian society. To this end, some of the stories in popular Persian magazines (published in 2007) were chosen with theoretical background taken from the Michel Foucault perspective and Norman Ferklaf methodology, the stories were then analyzed. In this study, the findings of each of the texts were analyzed with regard to the basic categories of male discourse, such as patriarchal, naming, property, wealth and fear. The findings suggest that subjectivity of people of the community, especially women, is influenced by an unconscious which carries the dominant gender discourse. Therefore, they follow actions not completely in accordance with their beliefs and desires, but rather support the discourse which is to be used as a tool for achieving the goals.زﺑﺎن ﺟﻨﺴﻴﺘﻲ ﺣﺎﻛﻢ ﺑﺮ ﮔﻔﺘﻤﺎن ﺟﻨﺴﻴﺘﻲ ﻏﺎﻟﺐ ﺑﺮ ﻓﻀﺎی اﺟﺘﻤﺎﻋﻲ اﻳﺮان، ﺑﻪ ﻋﻨـﻮا ن ﻳﻜﻲ از ﺗﺄﺛﻴﺮﮔﺬارﺗﺮﻳﻦ ﭘﺪﻳﺪ ه ﻫﺎی ﻣﻮﺟﻮد در ﻛﻨ ﺶ ﻫﺎی زﺑﺎﻧﻲ و ﻏﻴﺮ زﺑـﺎﻧﻲ اﻓـﺮاد، در ﻣﻴﺎن ﻣﺠﻼت عامه ﭘﺴﻨﺪ، ﺑﻪ ﻋﻨﻮان ﺑﺨﺸﻲ از ﻧﮕﺎه راﻳﺞ ﺑـﺮ ﻣﻔﻬـﻮم ﺟﻨـﺴﻴﺖ، ﻧﻤـﻮد ﻳﺎﻓﺘﻪ اﺳ ﺖ. از آ ن ﺟﺎﻳﻲ ﻛﻪ اﻳـﺪﺋﻮﻟﻮژی ﺣـﺎﻛﻢ، درﺻـﺪد ﺗﺰرﻳـﻖ و ﺑﻬـﺮ ه وری از ﻧﮕـﺎه ﺟﻨﺴﻴﺘﻲ ﺧﻮدﺳﺎﺧﺘ ﻪای اﺳﺖ ﻛﻪ، ﺗﺄﻣﻴﻦ ﻛﻨﻨﺪة ﻣﻨﺎﻓ ﻊ اش ﺑﺎﺷﺪ، و اﻳﻦ اﻣﺮ ﺧﻮد را به شکلی ﻗﺪر تﻣﻨﺪ، در ﺑﻮدن اﺟﺘﻤﺎﻋﻲ اﻓﺮاد دﻳﻜﺘﻪ ﻧﻤﻮده اﺳﺖ، ﻟﺬا، ﻣﺎ ﺑﺮآن ﺷﺪﻳﻢ تا ﺗﺄﺛﻴﺮ و اﺳﺘﻴﻼی اﻳﻦ ﺧﻮاﺳﺖ را، در ﻧﺎﺧﻮدآﮔﺎه ذﻫﻨﻲ و ﮔﻔﺘﻤﺎن ﺟﻨﺴﻴﺘﻲ جامعه ی اﻳﺮان، ﻣﻮرد ﺗﺤﻠﻴﻞ ﮔﻔﺘﻤﺎن ﻗﺮار دﻫﻴﻢ. در اﻳﻦ راﺳﺘﺎ، ﺑﺮﺧﻲ از داﺳﺘﺎنﻫـﺎی ﻣﻮﺟـﻮد ، ﺑـﺎ ﭘـﺸﺘﻮاﻧ ﻪی ﻧﻈـﺮی 1386 در ﻣﺠﻼت ﻋﺎﻣﻪ ﭘﺴﻨﺪ ﻓﺎرﺳﻲ ﻣﻨﺘـﺸﺮ ﺷـﺪ ه در ﺳـﺎ لﺑﺮﮔﺮﻓﺘﻪ ﺷﺪه از دﻳﺪﮔﺎه ﻣﻴﺸﻞ ﻓﻮﻛﻮ و روشﺷﻨﺎﺳﻲ ﻧﻮرﻣﻦ ﻓـﺮﻛﻼف، ﻣـﻮرد ﺗﺤﻠﻴـﻞ ﮔﻔﺘﻤﺎن ﻗﺮار ﮔﺮﻓﺘﻪاﻧﺪ. در اﻳﻦ ﭘﮋوﻫﺶ، ﻳﺎﻓﺘﻪ ﻫﺎی ﻫﺮﻳـﻚ از ﻣﺘـﻮن، ﺑـﺎ ﻣﻘﻮﻟ ﻪﻫـﺎی اﺳﺎﺳﻲ ﮔﻔﺘﻤﺎن ﻣﺮداﻧﻪ، ﻧﻈﻴﺮ ﻣﺮدﺳﺎﻻری، ﻧﺎ م ﮔﺬاری، ﺗﻤﻠﻚ، وﺣﺸﺖ و ﺛﺮوت، ﻣـﻮرد ﺗﺠﺰﻳﻪ و ﺗ ﺤﻠﻴﻞ ﻗﺮار ﮔﺮﻓﺘ ﻪاﻧﺪ. ﻧﺘﻴﺠﻪ ی ﺑﻪ دﺳﺖ آﻣـﺪه، ﺣـﺎﻛﻲ از اﻳـﻦ اﺳـﺖ ﻛـﻪ، ذﻫﻨﻴﺖ اﻓﺮاد ﺟﺎﻣﻌﻪ، به ﺧﺼﻮص زﻧﺎن، ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻧﺎﺧﻮدآﮔـﺎﻫﻲ اﺳـﺖ ﻛـﻪ، ﺣﺎﻣـﻞ ﺧﻮاﺳﺖ ﮔﻔﺘﻤﺎن ﺟﻨﺴﻴﺘﻲ ﺣﺎﻛﻢ ﻣﻲﺑﺎﺷﺪ. ﻟﺬا، آﻧﻬﺎ ﻛﻨﺶﻫﺎﻳﻲ را در ﭘﻴﺶ ﻣﻲﮔﻴﺮﻧﺪ ﻛﻪ، ﻧﻪ ﺧﻮاﺳﺖ و ﺑﺎور ﺧﻮدﺷﺎن، ﻛﻪ ﺑﺎﻳﺪ ﻣﺆﻛﺪ ﮔﻔﺘﻤﺎﻧﻲ اﺳﺖ ﻛﻪ ، از آﻧﻬ ﺎ ﺑـﻪ ﻋﻨـﻮان اﺑﺰاری در ﺟﻬﺖ دﺳﺖﻳﺎﺑﻲ ﺑﻪ اﻫﺪافاش، ﺑﻬﺮه ﻣﻲﺑﺮد .انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823The Reappearance of the Social Identity of Intellectuals in Cinemaﺑﺎزﻧﻤﺎﻳﻲ هویت اﺟﺘﻤﺎﻋﻲ روﺷﻦﻓﻜﺮ در سینما496843610FAتقیآزادارمکیدانشگاه تهران0000-0001-9276-2149فرزانهبازیاردانشجوJournal Article20200808The main objective of this paper is to examine the reappearance of the social identity of intellectuals in cinema with emphasis on the Jenkin’s theory on social identities. In this analysis five movies namely “Hamoon”, “Objection”, “The Hidden Half”, “Unscathed Paper” and “One Little Kiss” with the theme if intellectualism have been evaluated and interpreted based on the three significant indices of the identity theory “Self”, “Social Interactions and Stimuli”, throughout “Time and Place”. In the final stage, based on definitions of the intellectuals as provided by Ale Ahmad in three aspects “Generating”, “Prestige” and “Disillusionment” which have been represented in the post revolutionary cinema, analysis has been made. The main conclusion reflects that major characteristics that have been considered for the intellectual such as courage, bravery and … are not present in these moves and merely the academic achievements are observed. ﻫﺪف اﺳﺎﺳﻲ در ﻣﻘﺎﻟﻪ ﺑﺎزﻧﻤﺎیی ﻫﻮﻳﺖ اﺟﺘﻤﺎﻋﻲ روﺷﻦﻓﻜﺮ در ﺳﻴﻨﻤﺎ ﺑﺎ اﺗﻜﺎء ﺑﻪ ﻧﻈﺮﻳﺔ ﻫﻮﻳﺖ اﺟﺘﻤﺎﻋﻲ ﺟﻨﻜﻴﻨﺰ ﻣﻲﺑﺎﺷﺪ.در اﻳﻦ ﺗﺤﻠﻴﻞ ﺳﻌﻲ ﺷﺪه اﺳﺖ تا 5 فیلم "هامون"،" اعتراض"، "نیمه پنهان"، "کاغذ بی خظ" و"یه بوس کوچولو" ﺑﺎ ﻣﻀﻤﻮن روﺷﻦﻓﻜﺮی ﺑﺮاﺳﺎس ﺳﻪ ﺷﺎﺧﺺ ﻣﻬﻢ ﺑﺮ ﮔﺮﻓﺘﻪ از ﻧﻈﺮﻳﺔ "ﺗﻌﺎﻣﻼت وﻛﻨﺶﻫﺎی اﺟﺘﻤﺎﻋﻲ" و ﻇﺮف "زﻣﺎن و ،" ﻫﻮﻳﺖ ﻳﻌﻨﻲ "ﺧﻮدﻣﻜﺎن" ﻣﻮرد ارزﻳﺎﺑﻲ و ﺗﻔﺴﻴﺮ ﻗﺮار ﮔﻴﺮد. درآﺧﺮ ﺑﺮاﺳﺎس ﺗﻌﺮﻳﻒ آلاﺣﻤﺪ از "ﭘﺮﺳﺘﻴﮋ" و"ﻳﺄس" ﻛﻪ ﻧﻤﻮد ،" وﻳﮋﮔﻲﻫﺎی روﺷﻦﻓﻜﺮ ﺳﻪﮔﺎﻧﻪ "زاﻳﺶ ﺑﻪ دﺳﺖ ، ﺑﺎرزﻗﻬﺮﻣﺎن روﺷﻦﻓﻜﺮ در ﻋﺮﺻﺔ ﺳﻴﻨﻤﺎی ﺑﻌﺪ از اﻧﻘﻼب اﺳﺖ ﻣﻲ آﻳﺪ .ﻧﺘﻴﺠﺔ اﺻﻠﻲ ﻧﺸﺎن دﻫﻨﺪه آن اﺳﺖ ﻛﻪ ﺧﺼﻮﺻﻴﺎت اﺻﻠﻲ ﻛﻪ ﺑﺮای روﺷﻦﻓﻜﺮی در ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪه ﭼﻮن ﺟﺮأت، ﺟﺴﺎرت و ...در ﻓﻴﻠﻢﻫﺎ وﺟﻮد ﺗﺤﺼﻴﻼت داﻧﺸﮕﺎﻫﻲ ﻣﺸﺎﻫﺪه ﻣﻲﺷﻮد ًﻧﺪارد و ﺻﺮﻓﺎ ﺗﺤﺼﻴﻼت داﻧﺸﮕﺎﻫﻲ ﻣﺸﺎﻫﺪه ﻣﻲﺷﻮدانجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823The Collective Memory and Its Dimensions: Case Study of Clergies Shiraz Cityﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ و اﺑﻌﺎد آن: ﺑﺮرﺳﻲ ﻣﻮردی ﺣﻮزة ﻋﻠﻮم دﻳﻨﻲ ﺷﻬﺮ شیراز699243611FAکاظمکاظمیﺩﺍﻧﺸﺠﻮﻯ ﺩﻛﺘﺮﻯ ﺟﺎﻣﻌﻪ ﺷﻨﺎﺳﻰ ﺩﺍﻧﺸﮕﺎﻩ شیرازسید سعیدزاهدیهیات علمی دانشگان شیرازJournal Article20200808This paper examines social memory of clergies who study in traditional religious schools and its relationships with social indicators of the group. The main goals of the research have been exploration of principal elements of collective memory of clergy groups as well as explaining the respondents’ justifications for prominent events. This survey was carried out through distributing a questionnaire to clergy people of religious schools in Shiraz city. Through a probability approach of cluster sampling, 256 students and teachers were selected. They were asked about the most important national events in almost the last nine decades as well as their reasons for the importance of the prominent events. The relationships of independent variables to the prominent group memory were examined. The results indicated the absolute primacy of 1979 Revolution and War between Iran and Iraq memory among other ten events in this epoch. The great change, progress, religion and retrogress were the main categories for the justification of Revolution and War’s primacy. There are significant relationships according two variables analysis: Revolution’s memory and education as well as race; War’s memory and cultural consumerism. Education appeared in the final Logistic regression model for Revolution memory and cultural consumerism in War’s. Generally the results confirmed the Halbwachs theory of collective memory.ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﺑﺮای ﻧﺨﺴﺘﻴﻦ ﺑﺎر در اﻳﺮان ﺑﻪ ﺑﺮرﺳﻲ ﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ ﮔﺮوه ﻫﺎی اﺟﺘﻤﺎﻋﻲ ﻣﻲ ﭘﺮدازد .ﻣﺘﻐﻴﺮ واﺑﺴﺘﻪ، ﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ ﺣﻮزوﻳﺎن ﻣﺪارس ﻋﻠﻮم دﻳﻨﻲ ﺷﻬﺮ ﺷﻴﺮاز، ﻣﻬﻢ ﺗﺮﻳﻦ وﻗﺎﻳﻊ دوره ﺗﺎرﻳﺨﻲ آﻏﺎز ﺣﻜﻮﻣﺖ ﭘﻬﻠﻮی ﺗﺎ ﺣﺎل ﺣﺎﺿﺮ را ﺷﺎﻣﻞ ﻣﻲ ﮔﺮدد .ﻣﺪل ﺗﺠﺮﺑﻲ و ﻓﺮﺿﻴﻪ ﻫﺎی اﻳﻦ ﺗﺤﻘﻴﻖ ﺑﺮ ﭘﺎﻳﻪ ﻧﻈﺮﻳﺔ ﺣﺎﻓﻈﺔ اﺟﺘﻤﺎﻋﻲ ﻫﺎﻟﺒﻮاﻛﺲ ﺑﻨﺎ ﺷﺪه اﺳﺖ .روﻳﻜﺮد ﭘﮋوﻫﺶ ﻛﻤﻲ و در ﻗﺎﻟﺐ ﺗﻜﻨﻴﻚ ﻫﺎی آﻣﺎری ﺑﺎ ﺷﻴﻮة ﭘﻴﻤﺎﻳﺶ ﺑﻪ ﻣﻄﺎﻟﻌﺔ ﺟﺎﻣﻌﺔ ﻫﺪف ﻣﻲ ﭘﺮدازد .از ﻃﺮﻳﻖ روش ﻧﻤﻮﻧﻪ ﻧﻔﺮ از ﻃﻼب و ﻣﺪرﺳﻴﻦ ﺣﻮزه ﻋﻠﻤﻴﻪ ﻣﻮرد ﭘﺮﺳﺶ ﻗﺮار 256ﮔﻴﺮی ﻃﺒﻘﻪ ای، ﮔﺮﻓﺘﻨﺪ .ﻋﻨﺎﺻﺮ ﺑﺮﺟﺴﺘﺔ ﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ اﻳﻦ ﮔﺮوه، در اوﻟﻮﻳﺖ ﻳﻜﻢ، واﻗﻌﺔ اﻧﻘﻼب و در اوﻟﻮﻳﺖ دوم واﻗﻌﺔ ﺟﻨﮓ اﻳﺮان و ﻋﺮاق اﺳﺖ .آزﻣﻮن 1357اﺳﻼﻣﻲ ﺳﺎل دوﻣﺘﻐﻴﺮه ﻧﺸﺎن ﻣﻲ دﻫﺪ ﻛﻪ ﺑﻴﻦ ﻣﺘﻐﻴﺮﻫﺎی ﻣﺴﺘﻘﻞ ﺗﺤﺼﻴﻼت و ﻗﻮﻣﻴﺖ ﺑﺎ ، راﺑﻄﺔ ﻣﻌﻨﺎدار وﺟﻮد دارد .ﻫﻤﭽﻨﻴﻦ ﺑﻴﻦ ﻣﺘﻐﻴﺮ 1357ﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ اﻧﻘﻼب ﻣﺴﺘﻘﻞ ﻣﺼﺮف ﻓﺮﻫﻨﮕﻲ و ﺣﺎﻓﻈﺔ ﺟﻤﻌﻲ ﺟﻨﮓ اﻳﺮان و ﻋﺮاق راﺑﻄﺔ ﻣﻌﻨﻲ دار وﺟﻮد دارد .ﺑﺮ اﺳﺎس ﻧﺘﺎﻳﺞ آزﻣﻮن ﭼﻨﺪ ﻣﺘﻐﻴﺮة ﺗﺤﻠﻴﻞ رﮔﺮﺳﻴﻮن ﻟﺠﺴﺘﻴﻚ دو ﺷﻘﻲ، ﻣﺘﻐﻴﺮ ﺗﺤﺼﻴﻼت در ﻣﻌﺎدﻟﺔ ﻧﻬﺎﻳﻲ ﻟﮕﺎرﻳﺘﻢ ﺑﺨﺖ ﮔﺰﻳﻨﺶ واﻗﻌﺔ اﻧﻘﻼب و ﻧﻴﺰ ﻣﺘﻐﻴﺮ ﻣﺼﺮف ﻓﺮﻫﻨﮕﻲ در ﻣﻌﺎدﻟﻪ ﺑﺨﺖ ﮔﺰﻳﻨﺶ واﻗﻌﻪ ﺟﻨﮓ اﻳﺮان و ﻋﺮاق وارد ﺷﺪه اﺳﺖ .دﻻﻳﻞ ﭘﺎﺳﺨﮕﻮﻳﺎن در ﺗﻮﺟﻴﻪ اﻫﻤﻴﺖ دو واﻗﻌﺔ اﻧﻘﻼب و ﺟﻨﮓ در ﭼﻬﺎر ﻣﻘﻮﻟﺔ ﻣﺮﺗﺒﻂ ﺑﺎ دﻳﻦ، ﭘﻴﺸﺮﻓﺖ و زﺑﺎن ﻣﺸﺨﺺ ﮔﺮدﻳﺪه اﻧﺪ .ﻧﺘﺎﻳﺞ اﻳﻦ ﭘﮋوﻫﺶ ﺗﺄﻳﻴﺪی ﺑﺮای ﻧﻈﺮﻳﺔ ﻫﺎﻟﺒﻮاﻛﺲ داﻳﺮ ﺑﺮ ﺑﺎزﺳﺎزی ﻋﻨﺎﺻﺮ ﺑﺮﺟﺴﺘﺔ ﺣﺎﻓﻈﺔ ﮔﺮوﻫﻲ در ﺑﺴﺘﺮ ﭼﺎرﭼﻮب اﺟﺘﻤﺎﻋﻲ زﻣﺎن ﺣﺎﺿﺮ ﻣﻲ ﺑﺎﺷﺪانجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823The Ethic Representation In Iranian Best Selling Movies from Sag- Koshi To Atash basﺑﺎﺯﻧﻤﺎﻳﻰ ﺍﻣﺮ ﺍﺧﻼﻗﻰ ﺩﺭ سینمای ﭘﺮﻣﺨﺎﻃﺐ ﺍﻳﺮﺍﻥ ﺍﺯ ﺳﮓ ﻛﺸﻰ ﺗﺎ ﺁﺗﺶ ﺑﺲ9311643612FAساراشریعتی مزینانیاستادیار گروه جامعه شناسی دانشگاه تهرانوحیدشالچیاستاد دانشگاه علامه طباطبائیJournal Article20200808Today the cinematic narrative is one of the most important narratives in forming individual and collective subjectivity, which is a subject to ponder on. This article is to consider the ethic representation in the popular Iranian cinema throughout the first half of the 90’s decade in Iran and focus on the preferred reading. This article aside from examining the representation of he preferred ethic narrative among selected ovies attempts to indicate which ethic narrative has been able to attract the most audience among the society and to thus provide an outlook to the recognition of ethic interpretation of this section of the society. In this research, six of the best selling movies in the years 2001-2006 have been studied by semiotic methods. It is interesting to point out that despite numerous differences (genre, author, …) many common binary oppositions exist in these works, and there is also an almost similar ethic dialogue dominating over all works. Tolerence, honesty, joy, pure and non-hypocritical relationships are the accepted values in these movies. Moreover in most of these works, a paradox among the narrative methods in the inner layer and the preferred values(tolrerance) canbe observed.اﻣﺮوزه روایت سینما ازﺟﻤﻠﻪ ﻣﻬﻢ ترین روایت ها درﺷﻜﻞ دﻫﻲ ﺑﻪ ﺳﻮﺑﮋکتیو های
ﻓﺮدی و ﺟﻤﻌﻲ ﻣﺎﺳﺖ اﻳﻦ رواﻳﺖ را ﻣﻲ ﺗﻮان از ﺟﻬﺎت ﻣﺘﻌﺪدی ﻣﻮرد ﺗﺄﻣﻞ ﻗﺮار
داد .اﻳﻦ ﻣﻘﺎﻟﻪ در ﭘﻲ ﺗﺄﻣﻞ در سینمای ﻋﺎﻣﻪ اﻳﺮان 90 ﭘﺴﻨﺪ ﻧﻴﻤﻪ ﻧﺨﺴﺖ دهه
از ﺑﺎب ﭼﮕﻮﻧﮕﻲ ﺑﺎزﻧﻤﺎﻳﻲ اﻣﺮ اﺧﻼﻗﻲ در آن اﺳﺖ .اﻳﻦ ﻣﻘﺎﻟﻪ ﺿﻤﻦ ﺑﺮرﺳﻲ
ﺑﺎزﻧﻤﺎﻳﻲ رواﻳﺖ اﺧﻼﻗﻲ ﻣﺮﺟﺢ فیلم های ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻧﺸﺎن ﻣﻲ دهدﻛﻪ ﻛﺪام
رواﻳﺖ ﻳﺎ رواﻳﺖﻫﺎی اﺧﻼﻗﻲ ﺗﻮاﻧﺴﺘﻪ اﺳﺖ ﮔﻴﺸﻪ ﻫﺎی ﺳﻴﻨﻤﺎی اﻳﺮان را از آن
ﺧﻮد ﻛﻨﺪ ازاﻳﻦ رو ﻣﻨﻈﺮی ﺟﻬﺖ ﺷﻨﺎﺧﺖ تفسیر در اﺧﻼﻗﻲ اﻳﻦ ﺑﺨﺶ از ﺟﺎﻣﻌﻪ
ﺑﺎ روﺷﻲ 80ـ85 اﺳﺖ .در اﻳﻦ ﻣﻄﺎﻟﻌﻪ ﺷﺶ ﻓﻴﻠﻢ ﭘﺮﻓﺮوش ﺳﺎلﻫﺎی
ﻧﺸﺎﻧﻪ ﺷﻨﺎﺧﺘﻲ ﻣﻮرد ﺑﺮرﺳﻲ ﻗﺮار ﮔﺮﻓﺘﻪ اﻧﺪ .ﺟﺎﻟﺐ آنﻛﻪ ﺑﻪ رﻏﻢ ﺗﻔﺎوتﻫﺎی
ﻣﺘﻌﺪد )ژاﻧﺮ، ﻣﺆﻟﻒ و... (دوﮔﺎﻧﮕﻲﻫﺎی ﻣﺘﻀﺎد ﻣﺸﺘﺮک ﻣﺘﻌﺪدی در اﻳﻦ آﺛﺎر
ﻳﺎﻓﺖ ﻣﻲ ً ﺷﻮد ﻫﻤﭽﻨﻴﻦ ﺗﻘﺮﻳﺒﺎ ﮔﻔﺘﻤﺎن اﺧﻼﻗﻲ ﻣﺸﺎﺑﻬﻲ ﺑﺮ ﻫﻤﺔ اﻳﻦ آﺛﺎر ﻏﻠﺒﻪ
دارد .رواداری، ﺻﺪاﻗﺖ، ﺷﺎدی، رواﺑﻂ ﻧﺎب و ﻳﻚ رﻧﮕﻲ ارزشﻫﺎی ﻣﻤﺪوح و ﺗﻤﻨﺎ
ﺷﺪه در اﻳﻦ آﺛﺎر اﺳﺖ .ﻫﻤﭽﻨﻴﻦ در ﻋﻤﻮم اﻳﻦ آﺛﺎر ﻧﺎﺳﺎزه ﮔﻮﻧﻲ ﻣﻴﺎن ﺷﻴﻮه
رواﻳﺖ در ﺳﻄﺢ زﻳﺮﻳﻦ و ارزشﻫﺎی ﻣﺮﺟﺢ در زﻣﻴﻨﻪ رواداری ﻧﻤﻮد دارد و
دﻳﮕﺮی در اﻟﻜﻦ ﺗﺮﻳﻦ و ﺑﻲ دﻓﺎع ﺗﺮﻳﻦ ﺷﻜﻞ ﺑﺎزﻧﻤﺎﻳﻲ ﻣﻲ ﺷﻮد.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823Symbolic Capital in Ebrahim Hatami kia ,s workﺳﺮﻣﺎﻳﻪ ﻧﻤﺎﺩﻳﻦ ﺩﺭ ﺁﺛﺎﺭ ﺍﺑﺮﺍﻫﻴﻢ ﺣﺎﺗﻤﻰ کیا11713843613FAشاپوربهیان.اﺳﺘﺎدﻳﺎر و ﻋﻀﻮ ﻫﻴﺄت ﻋﻠﻤﻲ داﻧﺸﮕﺎه آزاد اﺳﻼﻣﻲ واﺣﺪ ﻣﺒﺎرﻛﻪJournal Article20200808The war remains a generation of warmen entering in to the society who found themselves with a change in to the dominant ideology: the epic ideology which was depended on revolution and war’s values was replaced by market and economic values. They didnt accept this change, and begain to express their dissatisfaction. They wanted to recover these values and believed that the war has not been ended yet. This article try to show this change in course of the Pierre Bourdieu’s theories about symbolic capital and the field .and to show how they respond to this problem in several films by Hatami Kia named Glass Agency, Red Ribbon. Wave of Dead, In the Name of Father. This Paper is aimed to show that heros’ claims about society’s unkindness to them are in fact a group’s claims who was outcasted by new group who is the representaion of new ideology.but representation of reality in these films ends in this point . And the displacement process is disordered by representational funections.
ﭘﺎﻳﺎن ﺟﻨﮓ ﻫﺸﺖ ﺳﺎﻟﺔ اﻳﺮان و ﻋﺮاق، ﻧﺴﻠﻲ از ﻣﺒﺎرزﻳﻦ را رواﻧﻪ ﺟﺎﻣﻌﻪ ﻛﺮد ﻛﻪ ﺧﻮد را ﺑﺎ ﺗﻐﻴﻴﺮی ﺟﺪﻳﺪ در اﻳﺪﺋﻮﻟﻮژی ﻣﺴﻠﻂ روﻳﺎروی دﻳﺪﻧﺪ؛ اﻳﺪﺋﻮﻟﻮژی ، ﻣﺒﺘﻨﻲ ﺑﺮ ﺣﻤﺎﺳﻪ و ﻫﻤﺒﺴﺘﮕﻲ و اﺗﺤﺎد اﻳﺜﺎرﮔﺮاﻳﺎﻧﻪ ﻣﻠﻬﻢ از اﻳﺪهﻫﺎی اﻧﻘﻼﺑﻲﺟﺎی ﺧﻮد را ﺑﻪ اﻳﺪﺋﻮﻟﻮژی ﻣﻠﻬﻢ از ارزشﻫﺎی ﺑﺎزار و اﻗﺘﺼﺎد ﺑﺎزار داد. اﻳﻦ ﺗﻐﻴﻴﺮ در ﺷﺨﺼﻴﺖﻫﺎی ﻓﻴﻠﻢﻫﺎی اﺑﺮاﻫﻴﻢ ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻪﺻﻮرﺗﻲ ﻧﻮﻋﻲ ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺪه اﺳﺖ .اﻳﻦ ﻣﻘﺎﻟﻪ ﻣﻲﻛﻮﺷﺪ ﺑﺎ اﺳﺘﻔﺎده از ﻧﻈﺮﻳﺔ ﭘﻴﺮ ﺑﻮردﻳﻮ درﺑﺎرة ﺳﺮﻣﺎﻳﺔ ﻧﻤﺎدﻳﻦ ﭼﮕﻮﻧﮕﻲ واﻛﻨﺶ اﻳﻦ ﻗﻬﺮﻣﺎﻧﺎن را ﺑﻪ اﻳﻦ ﺗﻐﻴﻴﺮ در ﭼﻨﺪ ﻓﻴﻠﻢ از ارﺗﻔﺎع ، ﻣﻮجﻣﺮده ، روﺑﺎنﻗﺮﻣﺰ ، ﺣﺎﺗﻤﻲﻛﻴﺎ ﺑﻪ ﻧﺎمﻫﺎی: آژاﻧﺲﺷﻴﺸﻪای ﭘﺴﺖ و ﺑﻪ ﻧﺎم ﭘﺪر ﻧﺸﺎن دﻫﺪ. دراﻳﻦﺣﺎل ﻛﻪ ﻧﺸﺎن ﻣﻲدﻫﺪ ﺧﻮد ﺗﻐﻴﻴﺮ اﻳﺪﺋﻮﻟﻮژﻳﻚ در ﻓﻴﻠﻢﻫﺎی ﻣﺬﻛﻮر اﻧﻜﺎرﺷﺪه اﺳﺖ. ﻫﺪف اﻳﻦ ﻣﻘﺎﻟﻪ اﻳﻦ اﺳﺖ ﻛﻪ ﻧﺸﺎن دﻫﺪ ادﻋﺎﻫﺎی ﻗﻬﺮﻣﺎﻧﺎن ﺣﺎﺗﻤﻲﻛﻴﺎ از ﻟﺤﺎظ ﻣﻈﻠﻮﻣﻴﺖ و ﺑﻲﻣﻬﺮی ﺟﺎﻣﻌﻪ ﻧﺴﺒﺖ ﺑﻪ آنﻫﺎ در واﻗﻊ ادﻋﺎﻫﺎی ﻳﻚ ﮔﺮوه اﺟﺘﻤﺎﻋﻲ ﺑﻪ ﺣﺎﺷﻴﻪ راﻧﺪه ﺷﺪه از ﻃﺮف ﻧﻈﻢ ﺟﺪﻳﺪ اﺳﺖ ﻛﻪ ﺑﺮ اﺛﺮ ﻏﻠﺒﻪ اﻳﺪﺋﻮﻟﻮژی ﻟﻴﺒﺮاﻟﻴﺴﺘﻲ در اﻗﺘﺼﺎد و ﺑﻪ ﻣﺤﺎق رﻓﺘﻦ اﻳﺪﺋﻮﻟﻮژی اوﻟﻴﺔ ﺟﻨﮓ از ﻫﻤﻪﺳﻮ ﻣﺘﻀﺮر ﺷﺪه اﻧﺪ و اﻛﻨﻮن ﻣﺨﺼﻮﺻﺎ ﺧﻮاﻫﺎن ﺳﺮﻣﺎﻳﻪﻫﺎی ﻧﻤﺎدﻳﻦ ﺧﻮد ﻫﺴﺘﻨﺪ .اﻣﺎ ﺑﺎزﻧﻤﺎﻳﻲ واﻗﻌﻴﺖ در اﻳﻦ ﻓﻴﻠﻢﻫﺎ ﺑﻪ ﻫﻤﻴﻦﺟﺎ ﺧﺎﺗﻤﻪ ﻣﻲﻳﺎﺑﺪ و ﻓﺮاﻳﻨﺪ ﺟﺎﺑﻪﺟﺎﻳﻲ در ﻓﻴﻠﻢﻫﺎ، ﻛﺎرﻛﺮدﻫﺎی ﺑﺎزﻧﻤﺎﻳﻲ را دﭼﺎر اﺧﺘﻼل ﻣﻲﻛﻨﺪ.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557551520090823Representation of Consumerism in TV Serialsﺑﺎﺯﻧﻤﺎﻳﻰ ﻣﺼﺮﻑ ﮔﺮﺍﻳﻰ ﺩﺭ ﺳﺮﻳﺎﻝ ﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ )ﻧﺤﻮﻩ ﺑﺎﺯﻧﻤﺎﻳﻰ ﺳﺮﻣﺎﻳﻪ ﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﻓﺮﻫﻨﮕﻰ ﺩﺭ ﺳﺮﻳﺎﻝ ﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ(14916043615FAمهدیفرجیدکترینفیسهحمیدیدانشجوی دکتریJournal Article20200808The media, especially television, is representing culture and everyday life. The representation is constantly followed with ideology. We try to illustrate the dominant ideology in TV series. In this article, it is illustrated that TV series represent consumerism. For this purpose, methods of representation of cultural and economic capitals in different social groups and, the relationship between represented commodities with social and economic status are analyzed. We used content analysis in this article and randomly selected 53 episodes of series that had been broadcasted between the years 1997 and 2004. Data reflect that economic capitals dramatically performed more than cultural capitals. The relationship among represented commodities and social and cultural status in these serials is in its lowest level. رﺳﺎﻧﻪ ﻫﺎ، ﺑﻪ وﻳﮋه ﺗﻠﻮﻳﺰﻳﻮن، درﺣﺎل ﺑﺎزﻧﻤﺎﻳﻲ ﺑﺨﺸﻲ از ﻓﺮﻫﻨﮓ و زﻧﺪﮔﻲ روزﻣﺮه ﻫﺴﺘﻨﺪ .اﻳﻦ ﺑﺎزﻧﻤﺎﻳﻲ ﻫﻤﻴﺸﻪ ﺑﺎ اﻳﺪﻳﻮﻟﻮژی ﻫﺎی ﺧﺎﺻﻲ ﻫﻤﺮاه اﺳﺖ .ﻣﺎ ﺗﻼش ﻛﺮده اﻳﻢ ﺗﺎ ﻳﻜﻲ از اﻳﻦ اﻳﺪﻳﻮﻟﻮژی ﻫﺎی ﺑﺎزﻧﻤﺎﻳﻲ ﺣﺎﻛﻢ ﺑﺮ ﺳﺮﻳﺎل ﻫﺎی ﺗﻠﻮﻳﺰﻳﻮﻧﻲ را ﺗﺮﺳﻴﻢ ﻛﻨﻴﻢ .در اﻳﻦ ﻣﻘﺎﻟﻪ ﻧﺸﺎن داده اﻳﻢ ﻛﻪ ﺳﺮﻳﺎل ﻫﺎی ﺗﻠﻮﻳﺰﻳﻮﻧﻲ درﺣﺎل ﺑﺎزﻧﻤﺎﻳﻲ ﻣﺼﺮف ﮔﺮاﻳﻲ ﻫﺴﺘﻨﺪ. ﺑﺮای اﻳﻦاﻣﺮ، ﻧﺤﻮة ﺑﺎزﻧﻤﺎﻳﻲ آنﻫﺎ از ﺳﺮﻣﺎﻳﻪ ﻫﺎی اﻗﺘﺼﺎدی و ﻓﺮﻫﻨﮕﻲ ﮔﺮوه ﻫﺎی اﺟﺘﻤﺎﻋﻲ ﻣﺨﺘﻠﻒ و ﻫﻤﭽﻨﻴﻦ ﻧﺴﺒﺖ ﻣﻴﺎن ﻛﺎﻻﻫﺎی ﻣﺼﺮﻓﻲ ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺪه ﺑﺎ ﻣﻮﻗﻌﻴﺖ اﻗﺘﺼﺎدی، اﺟﺘﻤﺎﻋﻲ اﻳﻦ ﮔﺮوه ﻫﺎ را ﺗﺤﻠﻴﻞ ﻛﺮده اﻳﻢ. در اﻳﻦ ﻣﻄﺎﻟﻌﻪ از روش ﺗﺤﻠﻴﻞ ﻣﺤﺘﻮا اﺳﺘﻔﺎده ﺷﺪهاﺳﺖ ﺑﻪ ﻗﺴﻤﺖ از ﺳﺮﻳﺎل53 از طریق سریالهای تلویزیونی که در سال 1376 تا 1383 از طریق تلویزیون پخش شده اﺳﺖ ﺑﻪ ﺗﺤﻠﻴﻞ ﻣﺤﺘﻮای آن ﻫﺎ ﭘﺮداﺧﺘﻪ اﻳﻢ. ﻳﺎﻓﺘﻪ ﻫﺎ ﻧﺸﺎن ﻣﻲ دﻫﺪ ﻛﻪ ﺳﺮﻣﺎﻳﻪ ﻫﺎی اﻗﺘﺼﺎدی ﺑﻪ ﻃﺮز ﻓﺎﺣﺸﻲ ﺑﻴﺶ از ﺳﺮﻣﺎﻳﻪ ﻫﺎی ﻓﺮﻫﻨﮕﻲ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬاﺷﺘﻪ ﺷﺪه اﺳﺖ و ﻛﻤﺘﺮﻳﻦ ﻧﺴﺒﺘﻲ ﻣﻴﺎن ﻛﺎﻻﻫﺎی ﻣﺼﺮﻓﻲ در اﻳﻦ ﺳﺮﻳﺎل ﻫﺎ و ﺟﺎﻳﮕﺎه اﻗﺘﺼﺎدی، اﺟﺘﻤﺎﻋﻲ اﻓﺮاد وﺟﻮد ﻧﺪارد