فصلنامه مطالعات فرهنگ - ارتباطات
پیاپی 30 (تابستان 1394)

Legend is a tale with an imaginary event of the life of the human, animals, birds, illusory creatures like demon, giants, fairy and dragon which accompanies by mysteries and sometimes the ethical and deductive aims and mostly is being written for reader’s entertainment and recreation. The differentiation of the legends is powerful imagination and being exaggerated. There are several kinds of legends like allegorical, fairy, romantic and heroic ones. In this paper while defining the heroic legends, we become acquainted with the characteristics of this genre like marvel, weak plot, absolutism, mainstreaming, stagnation of hypothetical time and place, homology of characters, Surprising, independence of events and obsolescence. Final section speaks about the most important themes of these kinds of tales. The method of this paper is reading the 23 written legends and using them as examples and the aim of paper is showing the detailed characteristic of heroic legends to compare them with other kinds of legends.

Researching on public culture or folklores is a measure to learn about the beliefs, traditions and myths of the people of old times and may be useful in self-cognition, self-confidence and eventually, identity achievement of the contemporary generation. A major part of society’s culture is represented in its oral literature. Therefore, such type of literature is extraordinarily along with the level of dreams, economy and beliefs of the public. Oral literature has unknown authors, but known narrators and in terms of contents, it includes perished or inaccessible dreams and expectations, myths, and individual and group beliefs of the people of the past, while some of these myths and beliefs are associated to supernatural creatures such as elf and fairy. When the mankind in the past failed to find a logical answer and in proportion to his/her knowledge, experience and expectations from his/her surrounding phenomena, (s)he was surprised and therefore started making imagination and fantasy and created supernatural and mythical creatures and attributing several issues to them, through which (s)he answered his realistic questions using fantasy responses and therefore mentally persuaded himself/herself. Khorasanian oral literature, which manifests these issues, has been sometimes in prose, and within the framework of stories and fictions, narrations, mazes, proverbs and sometimes as poems and been expressed in the form of masnavi, part, sonnets, couplets, quatrains, materia, etc. In this brief work, the author strives to study elf and fairy in poetic oral literature (lullaby, couplets, quatrains, etc.) of Khorasan. In other words, in this research article we are trying to find out that in which part of Khorasan poetic oral literature, elf and fairy are more manifested and emerged and how is the emergence of these creatures in different frameworks? Examining, studying and researching on public culture and oral literature are a measure to recognize the ancestors and take benefit from their minds and language for a better life. In order to collect the data of this article, 2,007 couplets, 675 quatrains, 954 lullaby, 186 mazes and roughly 3,000 poetic proverbs have been studied, after which it should eventually be specified that these creatures have been created to meet the needs of humans. They have some similar entities in the other culture and some of them are embedded in the public beliefs, and sometimes they have a masculine creation.

Is the film Sang-e-Saboor "Rock patient" express the true nature of marriage in Afghan society? To answer this question and whether the character and functions of men and women in this film, showing the culture of men and women in Afghanistan or not; this article analysis the concepts of masculinity and femininity in the dialogues of one of the most popular films by using Laclau critical discourse analysis method, psychoanalytic theory of Karen Horney and the critical theory of orientalism. The film Sang-e-Saboor "Rock patient", represents the marriage life of a wounded men and his wife at the time of the civil war in Kabul. This Analysis shows that the concepts of femininity and masculinity represented in stone patient do not reflect the cultural nature of marital relations of Afghans. However, the discourse methods exchanged between the injured man and his wife represent part of the hegemonic discourse of war in Afghanistan which cannot be considered the only hegemonic discourse in Afghanistan.

This paper studies the religious expressions in scenarios sent to the first religious short film festival of "Rouyesh". To this end, after reviewing the literature, Leoba's definition of religion by some modification is selected and based on it we recognize four dimensions for religion: theoretical, religious experience, behavioral and institutional. Sample population is all of scenarios sent to the festival which we select 158 scenarios by random systematic sampling with 95% confidence interval. The method of research is documentary and the technique of content analysis is used to investigate religious symbols in these scenarios. The results show that the religious experience dimension of religion has the lowest appearance in scenarios and the institutional appearance of religion such as religious norms or religious buildings and means have the most presence in religious scenarios. This means that the scenarios perceived as religious almost include institutional religious norms and buildings rather than religious experiences or moral values.

The purpose of this study was to represent incentive factors of Tehranian adults to go to the cinema and Offering a model based on exploratory mix method. The research method based on Cresswell pattern was set in two qualitative and quantitative sections. Qualitative section was phenomenology and quantitative section was based on descriptive analysis with correlation method based on confirmatory factor analysis. The study populations in qualitative section were selected from executive managers of cinema, directors, producers and film critics, actors and actress, sociologists, social psychologists and cinema professional audiences. In Quota sampling method, 1031 active Tehranian people were selected from 43 cinemas and the questionnaires were distributed among them. Research tools in qualitative method were depth interview and Research tools in quantitative method were questionnaire which resulted with from qualitative categories. At first, its reliability was confirmed by using content and factor validity. Cronbach's alpha was used to check the reliability of the questionnaire that was 0/912 which shows the reliability of the questionnaire. Data analysis in qualitative aspect identified several dimensions such as Individual and psychological, the economic, environmental and cultural, policymaking and planning, good film and Favorite movie features. The results of quantitative data analysis with confirmatory factor analysis show that there is little difference between quadratic impact factors. The last results shows that in addition to the good movie production, desirable cinema and attention to unmet needs of consumer and … are important to stimulate the audience to the cinema.

In the era of image and visual dominance, cinema is improving rapidly with the unique capability of transforming objective reality to motional image. Meanwhile, essentialities and technologic limitations of cinematic image, Muslim cineastes and media thinkers have faced the problem of how to transfer religious message via this instrument. Quran, as eternal miracle of the last Prophet, has depicted several discrete and intellectual conceptions to sensible symbols for the people; as if, in many of Quran verses, you are not standing in front of the words, but vis-à-vis live images that talk to you. Reflection on each of these Koranic artistic images besides understanding the logic and custom of visualization in Quran can inspire picturesque works. In this article, with regard to the possibility of transferring religious message via cinema, we have attempted to discover the capacities of Koranic visual literature for realization of “religious cinema”, comparing Koranic visualization to cinematic.

One of the most fundamental problems in today's cinema is a discussion of what is referred to lack of mutual understanding between officials and artists. The record review in Hoze Honari as one of the major determinants of coordination in Iranian cinema, it can be a reference for all those involved in Iran's cinema and efficient. But what Hoze Honari as a critic the revelation of values in The New Iranian Cinema refers to Debate success in the sacred films as a cinema with special audience and yet have a value. Avini’s theory of cinema of the 60s, has raised him as the "Benchmark Index" of this movement. In this paper with the comparative methods, we scrutinize the sacred defense, with an emphasis on the Avini’s theory in 6 movies chosen from this current artistic movement in Iran. These films are: “Mohajer” [Immigrant] (Hatami Kia, 1989), "Gozargah" [Crossing] (Bahrani, 1986), "Radde Payi bar Shen" [A footprint on the Sand] (Honarmand, 1987), "Chashme Shisheii" [the eye of glass] (Jami, 1995), "Haras" [The Fear] (Bahrani, 1987), “Balami be souye Sahel” [The Boat toward shore] (Mollagholipour, 1985) Results show that Cinematic works produced by Hoze Honari has not Substantial coordination with Avini’s opinions and even contradicts. The films “Mohajer” (Hatami Kia, 1989), "Rade Payi bar Shen" (Honarmand, 1987), and "Chashme Shisheii" (Jami, 1995), are coordinate with Avini’s Point of view. But the films "Gozargah" (Bahrani, 1986), "Haras" (Bahrani, 1987), “Balami be souye Sahel” (Mollagholipour, 1985) were Uncoordinated with the Avini’s opinion.

Language in general and the Holy Qur’an as a special language in particular, have an auditive nature. Formation and learning of a language in its natural manner, still continuing through successive generations in human history, have the same nature. Every language has also its own sound and melody, which in many cases, the proportion of sound and meaning are verifiable. The special language of the Holy Qura’n, dosen’t do exception in this regard. This language, being a divine and compulsory collection (by the Book and Sunnah), follows this order in many cases. So, the study of this aspect of the Qura’n’s language is important and has notable results. This paper studies the concordance existing between Kuranic words, phrases, ayas and their meanings in eighteen Suras of the Holy Qura’n...