نشریه جامعه شناسی هنر و ادبیات
سال نهم شماره 1 (بهار و تابستان 1396)

This paper has focused on how different aspects of religion including faithful, emotional, behavioral, knowledge and consequence have been represented in after-revolution Iranian Cinema. The relations of these aspects to social contexts and mediated cinema have been studying too. Therefore, the films which have closer characteristics to best definition of religious cinema have been selected; “Tobeh Nosuh” and “Ofogh” of 60s, “From Karkheh to Rhein” and “The color of paradise” of 70s, “So far-So close” and “Gold and Copper” of 80s and “Track 143” of 90s have been selected. The methodology of this paper is qualitative content analysis with Umberto Eco’s semiology. Eco’s codes including perceptive codes, codes of recognition, codes of transmission, tonal codes, iconic codes, iconographic codes, codes of taste and sensibility, rhetorical codes, stylistic codes and codes of the unconscious have been detected in different primary and secondary scenes of these films and different subject matters of religion have been extracted. Some of the results are: the main focused of studied films is on behavioral and knowledge aspects of religion, having deeper concepts in religious cinema in the years after 60s, alignment of studied films to religious process in society and being non-political the films of 80s against hegemony of politics on social structures of Iranians.

Our experience regarding modern-day life, suggests that family and family relationships have changed overtly and doing research in the area of family relationships, is of great importance. In the Iranian cinema industry, the family and family relationships have been key focuses of the movies made by Asghar Farhadi. In the present paper, the main question we attempt to address is, how family relationships are represented in three Farhadi’s movies, namely Fireworks Wednesday, About Ely, and A Separation.
We applied a qualitative content analysis using Mayring’s inductive approach and attempted to indicate both revealed and hidden themes in the movies selected to analyze. According to our findings the movies studied present fragile family relationships in the modern world, wherein family relationships are characterized by loyalty, distrust and psychological insecurity, in addition to lying, secrecy, violence and rigid individualism.

Ways of displaying women in the works of a new generation of Iranian directors and the representation way of showing male and female characters in his films is the subject of the research.
3 Films which have been criticized in this regard were “Dance in the Dust”-one of the firsts films directed by Farhadi-,“about ELI”-one of the most praised films directed by him especially by international critics and awarded in Berlinale Film festival- and “the Past” –which was produced abroad and with some non-Iranian actors and actresses.
The scientific way of doing research is semiotic analysis and targeted sampling was used to get samples.
The main question is that “can we find sensible changes in old ways of representing women compare with men?”
The primary hypothesis was that probably there aren’t old stereotypes about men and women roles in Farhadi’s works as a modern director which won big awards and praised by international critics, but the results didn’t confirm that.
The results show that outdated beliefs about natural Sex’s Specifications still is existed and emphasized Despite the presence of significant changes in old social roles about women and men and Escrowing key roles to the actress in the reviewed Farhadi’s Films.

The study of the history of Iranian fine arts shows the scarce contribution of female artists. In fact, Linda Nochlin with asking this controversial question that: “Why have there been no great women artists?” presents a challenge that can be traced universally. This study examines the role of female painters and the sexual aesthetics of their works between two key eras in Iran: The Constitutional Revolution and the Islamic Revolution. With Nochlin’s emphasis on the rarity of female artists, it is obvious that, in spite of their relatively strong presence, their artistic actions and technical evaluations has been almost neglected.
Furthermore, there has been inattention to the influence of female painters in art schools and colleges in Pahlavi era; a period in which modern teaching methods were flourished. Using the sexual analysis in the artworks of women painters, this study tries to discover some reliable patterns. In fact its findings show that issues like “masculine modernism and the absent sex”, “reproduction of masculine look”, “rethinking of feminine mind” and “passive sexism” has grouped women artworks into different classes.
Study of the modern female artists of Iran comprises a rich diversity in relation to social change and significant artistic alterations, from traditional and classic methods to using modern techniques.

One of the most effective concepts in Iran modern art is "nationality". This paper concerns how this concept effects on Iran Modern Arts –focuses on Iran modern visual arts- and surveys the role of "government" and "political-cultural discourses" as "patronages of the arts," which work like mediators of these effects, during first and second Pahlavi eras. The hypothesis is the modern art trends, whether in the form of cultural policies or hegemonic intellectual discourses, are affected by patronages of the arts; and the purpose of the paper is access to various forms of the "nationality" operations, also find an explanation of "how" this concept shaped the form and content of contemporary Iranian artist’s trends and art movements in Pahlavi eras. This paper explains works or artistic trends affected by cultural and governmental policies which have similarities and differences in first and second Pahlavi. The writing method is analytical, and for this purpose, the library and historical documents are searched. As a result, the concept of "nationality" introduced as a central signifier, in both futuristic approaches like discourses such as "nation-state-building" and under that "nationalism" and "modernization", also in retrospect approaches like "Originalism" as well as "third world-ism, then proposed the resulting tendencies in the Iranian modern art.

The present article aims to study historical reconstruction in Ali Ashraf Darvishian’s novel named Salhay-e Abri (Cloudy Years) as mediated by characterization. The question we raise is twofold: what totality does an examination of the life of the hero reconstruct and how does it reconstruct this totality? Historical novel is the abstract essence of the history that a society has gone through; a history that has been reconstructed through the events of ordinary people’s lives. It tries to keep alive important historical
currents, which account for the current state of society. Thus, the aim of historical novel is dealing with the everyday life of ordinary people rather than narrating history from the perspective of prominent historical figures. Characterization is one of the most important formal tools through which the author can reconstruct history. Accordingly, we have studied Salhay-e Abri to understand how characters have developed and how their personalities have been shaped. Within the framework of Lukacs’s explanation of
historical novel and his dialectical reading, characterized by constellation of realism, totality and type, we have explored characterization in the historical novel Salhay-e Abriin, considering the context of the events of the novel. It can be concluded that this novel has focused on the hardships of an authoritative modernization or the Pahlavi’s dependent capitalism as the core of narration by means of the account of the hero’s life.

After the Islamic Revolution, great political, cultural and social evolutions lead to the formation of different discourses in Iran.
Iran,s conditions after the Islamic revelution lead iran society to the new direction and this conditions naturally search their owns literature. So the conditions beagan to change quickly.
The aim of this study was to investigate the sociological developments in the early years after the revolution and also how they are reflected in the poetry of mentioned period. On the political-social discourse can be divided into three. 1. Liberal Democrats 2. Marxist and socialist 3. Islamist religious. Although similarities such as revolution and Emam praised , criticized the government side, cite the martyrs, hope and … exist in poetry of these discourses. But there are also differences. For instance, in the liberal discourse, national and patriotic symbols are used. And Imam Khomeini is remembered as a national leader. But in the Marxist and socialist discourse, more issues of livelihoods, poverty and discrimination is expressed. And the Imam is remembered as the leader of people. While in Islamic discourse too much thought to religion, anti west, anti aristocratic cast, undermining national symbols and etc. And the Emam is remembered as mystical and spiritual leader