اعظم راودراد

On the one hand, commercial advertisements are a reflection of the values ​​in their society and on the other hand, they are a creator of the cultural and social environment of their audience. The constant representation of family relationships in different situations by these advertisements has a significant effect on stabilizing or changing cultural patterns within the family. The upcoming research in order to understand the role pattern changes represented by commercial advertisements during the nineties with the combined semiotics method of Jilin Rose to study four advertisements "Tabarak Pasta", "Prill dishwashing liquid", "Airy Plast plastic bag" and "Zafran Gohar" Naz" has paid. Irving Goffman's "gender representation" theory was also used to analyze the findings. In general, the existing models in the field of family roles of men and women are either based on the acceptance of gender differences or based on gender equality. the results show that the representation of family roles in these four ads and similar ads is in a slow and gradual process, not towards gender equality, but towards inversion. The traditional roles of men and women have changed. Childlessness or only child and the gradual process of diminishing interaction with the extended family, the desire to be in friendly groups and finally the isolation of the nuclear family are other features of these advertisements.

Instagram texts need to be analyzed from a multimodal perspective because a large part of it on this social media platform is conveyed to the audience through images. The multimodal critical discourse analysis approach, like others, focuses on power and ideology concepts, as well as the context involved in text production and at the same time, due to attention to multifacetedness and using the social semiotics approach, it is suitable for analyzing Instagram texts. The study of childhood, motherly and fatherly identity construction on child-centered Instagram pages was chosen as a case study. For this purpose, first the analytical framework of Kress and Leeuwen was explained with the focus on how to analyze each of the intellectual, interpersonal, and hybrid meta-roles. Then only the child-centered page of fraternity that is among the top-ranked Iranian Instagram influencer pages was analyzed using the same method. Findings were analyzed by separating texts as corpus. Following that, the discourses of patriarchy and capitalism were identified and their connection to social and industrial context was described. Findings also demonstrated the fluidity and simultaneity of identities influenced by the emergence of social media.

In this article, an attempt has been made to study the sociological policies of the cultural-artistic reform discourse and its effect on film productions, and by using the method of critical discourse analysis, the works of film production have been investigated. The intellectual system of the article consists of three analysis components.The discourse of"Lakele and Mouffe",critical discourse analysis of "Fairclough"and discourse theory of "Michel Foucault" and the use of discourse analysis in the research method based on the combination of the two approaches of "Lakele and Mouffe","Fairclough and Van Dijk" and by studying film productions Reform discourse was used. In this regard, the film"Born in the month of Mehr"was chosen as an example of analysis due to the presentation of two different frames from the discourse period before and after. In the following, by summarizing the cultural-artistic policies of the dominant discourse, it can be concluded that with the change Gradually and not fundamentally in the meaning of the central signifier, a significant effect was created in the field of culture and art, this process was so positively evaluated by the audience of art that the cinematographic productions in the subsequent discourses were also greatly influenced by it

The purpose of this article is to show how housewives are represented in Iranian cinema in comparison with their real situation. The trend of increasing literacy and higher education among women and the relative stability of women's employment indicate that a significant number of housewives possess higher university degrees. Therefore, the quality of life of these women has been enhanced. The fundamental issue of this article is the discrepancy between actuality and its depiction in cinema. Saussure’s semiotic technique and the textual analysis method were employed in this study to identify the explicit and implicit meanings of the text through paradigmatic and syntagmatic analysis techniques. The number of six films produced in the 2020s was analyzed. The primary character in these films was either a housewife or the film’s subject matter was related to household. The first and most significant findings of the study are that the quality of life of Iranian households has been enhanced by an increase in higher education as evidenced by statistical data. Secondly, Iranian housewives are in fact facing a challenging situation due to the unjust circumstances within their families. They desire an independent financial source and the participation of men in household chores. Despite the fact that the quality of housewives’ lives has improved as a result of their increased education, the representation of these women in the analyzed movies remains stereotypical and inferior.

he Iranian users’ conception of the discursive system of sanctions. The question that follows is how the Iranian users in virtual space responded to the Nike’s sanction on Iran football team in 2018 World Cup by the language of picture and gave an unbiased reading of sanction system order. The sanction system is a discourse-based hegemonic system whose scope and influence goes beyond the military, security, political spheres and related fields such as nuclear technology and spreads also to the social and cultural life of citizens, and also affects the social identity-maker and integrity-maker aspects such as sport and health through the politicization of the various parts of the citizens’ life. Using visual semiotics, prioritizing non-linguistic factors in portraying the ideology of sanctions, this research investigated the activity of users on Instagram, Twitter and other social networks, and through semiotic analysis of related pictures in virtual space achieved the result that the importation of sanctions into social and cultural life of citizens is a kind of new disciplinary discourse and ‘symbolic violence’ that seeks to make citizens’ life an object of power. In the course of sanctions, the power and resistance and hegemony and anti- hegemony act simultaneously, so that the Iranian users, resorting to semiotic excess and the path of ‘semiotic resistance’, attains the enjoy of political affair leisurization. 

According to Foucault, discourse works through the law of penal systems. The sanctions regime is also a discourse order that advances its mechanism in a hegemonic and ideological context. The sanction system is a discourse-based hegemonic system whose scope and influence goes beyond the military, security, political spheres and related fields such as nuclear technology and spreads also to the social and cultural life of citizens, and also affects the social identity-maker and integrity-maker aspects such as sport and health through the politicization of the various parts of the citizens’ life. This article emphasizes that the embargo regime serves the hegemony of the neo-emperor by using discursive tools. One of the signs of the inhumanity and immorality of this new system of domination is not excluding the fields of medicine and health, sports, passenger airlines and other "non-political parts of daily life" that are directly linked to the health and psychological security of citizens' lives. By studying the visual reaction of Iranian users to the boycott of the Iranian football team by Nike in the 2018 World Cup under the pretext of international sanctions against the Iranian government, the present study deals with the visual signs of users' resistance to the sanctions system. The visual reaction of the Iranian people to the boycott of their country's football team by Nike is studied as politics as a form of popular culture. 

In our project, we employed a qualitative research method , it uses semiotics as a "qualitative interpretive" method to reread the images of users against the preferred meaning of the sanctions system. This case study analyzes the visual language of users in virtual space against the boycott of the Iranian football team by Nike in the World Cup. By viewing Instagram pages, Telegram messenger channels and Twitter pages during the 2018 World Cup with online search tools and targeted sampling techniques, this article has extracted images related to the sanction of the Iranian football team in 100 pages in these three virtual platforms.

The results of this study show that the  most important Binary opposition in coded image texts are "Iranian team against Spanish team", "Amiri against Pique", "Nike shoes against Adidas shoes", "Nike shoes against national shoes". For example, Iranian users have shown a kind of humorous reaction in contrasting images, referring to Pique who used Nike products. Nike's slogan, "Just do it" has a meaningful connection with the scene of Nutmeg to Pique by one of the players of the Iranian football team. Iranian users have described Nike's products as not suitable for "success" but for "disgusting" in order to criticize Nike's actions regarding the sanctions of Iran's football team. With semiotic resistance against the sanctions regime, Iranian users are trying to remove themselves from being a subject against the sanctions regime and are resisting the "action of calling" ideology and accepting the status of subject. Users of virtual networks not only resist preferred meanings with the help of conflicting coding, but also produce new and different texts themselves. One of the ways of users' resistance is " Semiotic excess" proposed by Fisk.

This article, in the context of cultural and media studies and with a critical view, has dealt with the dimension of resistance of Iranian cyberspace users in confronting the spread of the sanctions structure from the political sphere to the public sphere. "Sanction Regime" is a type of modern repression system that uses the structure of symbolic and hegemonic violence in contrast to the modern and democratic image it presents and clearly does not separates the political from the civil spheres such as sports, health and education. Nike's announcement that the Iranian football team's players are prohibited from using the company's shoes and other sports equipment in the 2018 World Cup in Russia due to the implementation of US sanctions against Iran is a proof of the sanctions regime spreading to non-political sectors such as sports and other categories of daily life. The research came to the conclusion that Iranian users, with semiotic resistance against the sanctions of their country's football team, actively use the language of images to resist it. As sanctions the sanctions regime acts in a hegemonic way, the audience also engages in anti-hegemonic behavior against this discourse order with its own opportunities and methods, and from the power of resistance and the possibility of "opposite decoding" In the face of sanctions.

Since a long time there has been the influence of the ruling class's tendencies on the works and achievements of different people in the societies,cinema as one of the individual and collective achievements has not been exempted from this rule. In the country of Iran, which experienced tremendous discourse changes with the occurrence of one of the biggest revolutions of the century,the sociological investigation of this discourse change and its effect on artistic works and productions has been worthy of attention and study. Therefore, the study of the prevailing approaches in the field of planning and determining artistic-cultural policies in the first years of the Islamic Revolution is one of the constituent elements of this article.The question is,to what extent have those involved in the production and production of a film in the country paid attention to these policies? In other words,to what extent have the discourse relations of the political system ruling the society penetrated into the country's cinematographic works,and to what extent has the success or failure of this discourse been? Therefore,by analyzing and interpreting cultural policies and their role It has been studied in the formation of works of art with the method of critical discourse analysis

In the present paper, some Iranian and Hollywood made movies and a sample of disabled individual have been studied. It seems this kind of study does help to understanding the social conditions and characteristics of disabled people.In order to address the issue of social construction of disability in some Iranian made movies and the stereotypical images of people with disabilities, three Iranian films titled "Painting Pool", "Here Without Me", "Eternal Children", and three Hollywood made titled "Me Before You", "I am Sam" and "Rain Man" were selected to analysis. Conceptually, In addition of Stuart Hall's concept of representation and Goffman's concept of stigma we tried to analysis the selected films based on Grimas’s narrative theory.Our findings indicate that, in general, negative stereotypes of people with disabilities are still the main theme of narrating disabled people in the analyzed Iranian movies. Although Hollywood films have adopted a more critical approach, but we still see some stereotypes such as pathetic, additional burden and imposition on society, fear of the disabled and its consequences, and isolationism in characterizing the disabled people. In sum, the analysis of the action function showed that the depicted disabled people have the opposite function in the cinematic narration. In this regard, we can conclude that disability is often represented as an obstacle in achievement of hero’s wishes.

With a comparative discourse analysis of three important museums, this article tries to show the relationship between the institution of power and the institution of museum in Iran. The research question is whether or not Iranian museums on different historical topics and periods receive equal attention from the power institution, today. The method of discourse analysis is based on Foucault’s concept of power as well as a description of Gillian Rose on this theory. This research is about power apparatuses and institutional technologies in three important museums i.e., The Museum of Ancient Iran, The Islamic Museum, and The National Museum of the Islamic Revolution and Holy Defense Museum. For that matter, a second type of the discourse analysis has been used that focuses more on institutions, their related procedures, and how content is produced. Findings from field surveys of museums indicate significant differences in the apparatus and institutional technologies being used there. The results show that The National Museum of the Islamic Revolution and Holy Defense Museum articulates the discourse of its trustees such as anti-arrogance, resistance, and progress in comparison with others that are equipped with the most diverse, advanced, and attractive designs, space, displaying technologies, and facilities. The Islamic Museum, by the way has its own importance for authorities because of its post-Islamic Iran cultural manifestations compared to The Museum of Ancient Iran.

This study aimed to investigate how child sexual abuse is reflected in Persian-language news websites. The goal was to determine whether these websites effectively raise awareness about child sexual abuse or simply create a stereotypical image of it.

In this research, two cases of child sexual abuse, Neda Alizadeh and Mohammad Hossein A'mi Azghadi, who garnered media attention in the spring of 2018, were analyzed using content analysis. The statistical population of this study included 24 news articles about Neda and 14 about Mohammad Hossein on Persian-language websites, which all of them have been analyzed due to the limited number of related news articles.

Persian-language news websites provided very limited coverage of the studied cases of child sexual abuse, with most articles ending with news of the perpetrator's execution. The main elements of the news articles were "event details," "introduction of the perpetrator," and "introduction of the child." The main approach of these websites was to present a dramatic story using specific adjectives and details in these three elements, rather than providing analysis and root cause identification.

The studied cases of child sexual abuse were focused on creating moral panic towards the perpetrator, rather than providing informative and educational content. This approach creates a stereotypical way of thinking about child sexual abuse and especially the perpetrator, and is unable to offer solutions to prevent it by identifying the underlying causes, which is necessary to provide effective measures to prevent child sexual abuse and promote social health in the community.

The study investigates the manifestation of “Popular Feminism” in the content created and shared by Iranian Women’s rights activists on social media platforms. To do so, it is studied how women’s issues and claims are represented in these digital materials and which solutions are proposed by the activists for the gender inequality. This work is based on qualitative content analysis of sample posts extracted from four popular Instagram accounts which are run by women’s rights activists. Besides identifying the most frequent themes in these accounts, we criticised the content as being involved in feedback loops, emphasizing women’s bodies, presenting an aestheticised version of feminism and proposing simplified individualist solutions for gender inequalities.We also argued that however this sort of digital activism make women’s suppressed and marginalised issues and claims visible on the digital space, it is mainly a way for activists’ self-branding and it could be considered as part of a process in which popular feminist discourse is regenerated and reinforced in the Iranian digital space.

The purpose of this study was to analyze the representation of East and West in the cover images of National Geographic Magazine from its first issue until the end of 2000, and in this regard, all editions of this journal, during these 112 years that have had a cover image, have been analyzed and a total of 501 images have been analyzed by qualitative content analysis. The results of the research indicate that the main approach of this magazine has been to emphasize the progress and civilization of the West against the backwardness of the East. Also in this magazine, the East is associated with history, the femininity, childhood and old age, emotions, spirituality, poverty, tradition, and low-level ritual and economic activities, while the West is associated with civilization, masculinity, youth, logic, technology, wealth, modern and recreational and scientific activities. The results show that the Orientalist background of this journal has not disappeared over time. Rather, these stereotypes have been revived and strengthened in a new way.Today, the same colonial views of the past are seen with a more ornate appearance in which some old elements have been removed and new elements have been added. Thus, the legitimation of Western domination of the East in the earlier periods, with the demonstration of the inherent and essential superiority of the West, and in later periods by accepting the possibility of change and development in the East, provided the transfer of culture and technology from the West

The aim of this article is to introduce and analyze social problems in Iran as reflected in the Iranian cinema. The theoretical approach used to explain these issues is the theory of reflection with emphasis on Pierre Sorlin’s mirror theory. The application of this theory in the cinema leads us to the image of society and its social problems in the cinema. The main sources of this study include articles published in scientific journals in the field. These sources are valuable and trustable because they are scientific and research-based sources. Most of these studies are conducted using qualitative methods and techniques.Here, those articles that show studies of social problems in the cinema during the last four decades in Iran are collected. Then, using the method of meta-analysis and systematic review, the most important findings of these articles are summarized, categorized and analyzed.Finally, it was found that the image that Iranian cinema produces of social problems of Iran is an image appropriate to social reality. Although in general, some issues in cinema have become more prominent than reality and others have been ignored, the most important social issues found in social research have also been reflected in the Iranian cinema. Therefore, we could say that Iranian cinema is an approppriate media for understanding important social problems in Iran.

The purpose of writing this article is to study the problems that Iranian cinema encounters in its relationship with the audience. In this article, first, in the part of reviewing the previous investigations, the reasons for decreasing the ratio of audience’s attendance to movie halls and watching Iranian movies are discussed. Then the theoretical foundations of the study is stablished based on concepts of the cultural consumption of audience, aiming to a better understanding of the audience and their needs in relation to cinema. This is followed by doing a secondary analysis on the data gathered previously through a survey named the National Survey on the Consumption of Cultural Goods; the third wave. The data of this report were re-analyzed in relation to the consumption of cinema and other means for viewing movies. The ratio of cinema audiences comparing to non-audiences is examined in this article. In addition, relationship of personal and social factors of audience with kind of their cinema consumption is analyzed. A comparison of first and second wave data of cultural consumption survey with the data gathered in the third wave is also presented. Moreover, the audience use of cinema is compared with their use of cinema’s competitors such as TV, foreign film and series. Finally, reasons of people for not going to the cinema are explained. The overall result is that cinema audiences are much smaller than non-audiences are, but most people who do not go to the cinema, watch movies in other ways using other available devices. In addition, the most important reason why these audiences do not go to the cinema in one sentence is that Iranian cinema does not meet the individual and social needs of the audience.

This article is to study how mass media role and function in interpreting or changing surrounding world is reflected in Iranian contemporary fiction. The purpose is determining that mass media which leads every other phenomenon to being reflected, how is dragged to the scene of reflection itself. This is also proposed to give a picture of explanation and acknowledgement of media epidemic presence in real society in order to analyze the relation between power and prevalence of mass media in Persian novel and its social role and function in real world. Therefore 12 Persian realistic novels whose authors live in Iran and also are published in I. R. IRAN are chosen by targeted sampling method for qualitative research. All phrases about traditional mass media as radio, TV, newspaper and magazine are derived from these texts and are analyzed on basis of theories of media power, reflection, literary Criticism and sociology of literature, in accordance with cultural studies requirements for understanding media.Findings revealed that mass media is reflected as “power and trigger tool”, “awareness tool”, “negligence tool”, “routine thing”, “informative tool”, “Hobby tool”, “Contradictive phenomenon/tool”, “secondhand thing”, “Criticism tool” and “presenter phenomenon” in the world of Persian novel. Obvious difference between written media and visual and audio media in social role finding (oral culture), TV and radio roleplaying as the most main gate of being informed, in contrary with picked role of newspapers in everyday life and weaker than them, not-daily print magazines (inactive choice), lack of specified and strong place for news media among public (media weakness), printed media consume as a factor of the elite lifestyle (neglecting public audience), and lack of understood identity of activities and characteristics of media people (threat in meaning of media job), are categories that finding of this research are explained within.

This study examines the visual messages Iranian women shares on Instagram in order to perceive how they are represented on the social network. The research applies John Berger’s Ideological approach, and considers every single picture as a report on the users’ view about their personal and social identity. After an introduction about the investigated users, and a general and brief evaluation of their posts, some selected pictures is analyzed based on the ideological approach. Moreover, in the conclusion, we try to connect the research findings to the existing discourses about the women’s role and position in the Iranian society. Based on the Research findings, some pictures indicate a part of female users’ resistance against social pressures to be a normative woman. In return, other pictures show that some users represent themselves consonant with the common social norms and values in their visual narrative about their everyday life, and consequently reproduce and reinforce the hegemonic values of the Patriarchal system they have grown up in.

In this article, an attempt has been made to identify and analyze the world of Arak carpet art using Howard Becker’s theory of art world. Becker argues that to understand sociology of art, we must see art as a collective activity. In this article, the issue of collective artistic activity about the art of carpet in Arak region is studied. A qualitative research method was applied using techniques of documentary field studies. Data collection has been done through gathering related documents such as books, and other sources. This was completed using field study including active observation, talking with people active in this field and taking notes. Having several trips to important centers of weaving in the region, we talked to designers, weavers, sellers add experts of Arak carpet. The question asked included subjects such as technical characteristics of weaving, the meanings of patterns as well as beliefs, rituals and social relations in the carpet art world. All these were considered relating to the society and its culture. Study on the three areas of production, distribution and consumption of Arak carpet art world showed that not only carpet production is a collective art activity, but also each of the participants in this art world influences the final product, which is the carpet, and determines its shape and hidden meanings. In addition, this art is not only produced in the society and is therefore affected by it, but also affects it due to its close interaction and close relationship with society.

Social media has provided an opportunity for various groups of people to visualize their everyday life. This visualization of everyday life is done by female influencers on the Instagram image-based social network. In this article, the dominant discourse reproduced by these users has been studied. Using a conceptual framework consisting of Foucault's theory of discourse analysis, Butler's ‘gender representation’, and Mirzoeff 's ‘visual culture’, the question of whether these images create a different discourse of gender or they fall within the same dominant discourses can be answered through studying the images of females as shown by themselves. For this purpose, the Instagram pages of 27 female influencers with more than 500,000 followers were selected. Overall, a total of 315 posts (image and text) were also selected as a sample out of which the main themes and sub-themes of the discourse were extracted by visual discourse analysis method. The discourse analysis of the findings shows that the discourse reproduced by female influencers includes both discourses of patriarchy and capitalism.

This is a descriptive-analytical research seeks to answer that question "How do news agencies in their science and technology pages’ use image messaging to better convey the message to their audiences?". Qualitative method of "compound-based interpretation" and "quantitative content analysis" have been used for conducting the research. The statistical population of the study is the science and technology news of the official news agencies of the country that by purposeful sampling method, the news of spring 1398 in FARS, ISNA and MEHR news agencies was selected as the sampling frame. From the sampling frame and using simple random sampling, a statistical week was selected and the images of each news item as a unit of observation and analysis were studied. According to the results, ISNA has used Visual messages to better convey its message to its audiences and Fars and MEHR are next in line. Research shows low utilization of Visual messages capacity in news science and technology news agencies and in less than half of this news, the good use of video messaging has become attractive, presentation of news information, and the easy-to-read scientific news. Use the most of proprietary images with relevant news elements and values, describing images and referring to them in the text, using visual messages in multiple frames and not using archival images unrelated to the main topic of the news, the most important suggestions to News agencies are making better use of visual messaging to attract, simplify, and make science news accessible to audiences.

This research was conducted to study the factors affecting the music consumption of Radio Payam and Radio Ava, and also identify the audience's perceptions of the music of these two radios. The research was on the peterson's plural readings consumption, the concept of taste and lifestyle theory derived from Bourdieu's approach to cultural consumption and perception theory, with a focus on Hall's approach. To do the research, in-depth interviews were conducted with 23 Tehranian audiences on the two radio channels "Payam" and "Ava", and the theme analysis method was used to analyze the data. The research findings were extracted in the form of 3 main themes and 16 sub-themes. The results showed that the studied samples have a plural readings taste and radio is the second source of access to music for them. According to the theory of rception, the social position of people is the most important factor influencing the meaning they receive from radio music, and each of them based on their social position, personal experiences, values, beliefs and social and political processes, perceive their own meaning from the radios’ musics. Also, the audience interprets the ideology of the content of the music broadcasted on the radio as negotiated, preferred and critical readings, according to their social status and the political atmosphere in the society.

The way of representation of employed women in Iranian media, is one of the social and cultural factors affecting the traditional gender stereotypes about women and their employment. This, can be effective in changing the cultural beliefs about women's employment. The main purpose of this Research is to study the representation of employed women, in the cinema of Iran after the revolution (in 1979) and presenting a comparison in different political periods of post-revolution, respectively. To achieve this goal, prominent films produced in each course (focused on women's employment), had been selected and analyzed. The theoretical section of this study, utilizes the representation theory of Stuart Hall. The research methodology is based on the semiotics of John Fiske. The results of the study represented that the modern employed women, unlike traditional female stereotypes, have the power and are more independent from their husbands. In most films that focus on employed women, the director have tried to criticize the patriarchal ideology, alongside defending the ideology of egalitarianism and meritocracy in employment. Although social conditions of each political period, had been effective in the way of representation of employed women and the ideology of the film. Nevertheless, despite trying to avoid patriarchal ideology, in these works, the naturalization of housework for women can be seen as well.

Typology, alongside media developments, has always been taken into consideration. The advent of the Internet, and in particular the formation of social media, has paved the way for paying further attention to new forms. Given that one of the potentials of social media is to create a platform for dissemination of news and information, both true and false, this paper is an effort to take a step to classify the false artifacts published on social media from a typological perspective. The questions brought up in this writing are whether a collection of false artifacts published on social media can create a particular species? What are the characteristics if such a species is formed? Is it possible to identify such "subspecies" as well? To answer these questions, the research data, which were false (text-video) content published on social media during the period of 2016-19 and confirmed by the WikiHooks authentication website, were analyzed, using rhetorical critique. Findings of this analysis suggest a new species called "unreality" with stylistic and intrinsic characteristics. The stylistic characteristics of this species, based on the sample of research, broadly speaking are shortness, intermediate narration of the event, have a separate text and video with the interrelationship and intrinsic characteristics of this species, lack of accuracy despite their apparent correctness, lack of validation technique at the first encounter. Also, four sub-types of unreality, Unreal news, Unreal entertaining, Unreal art and Unreal transcendent have been identified for this main species.

One of the most significant artistic activities in Iran is the production of textiles, which flourished during the Safavid period. This art, like other arts, was influenced by many factors including the policies of the rulers and monarchs. Innovation and development in the production of textiles is one of the characteristics of this period that the course of its production and prosperity in Iranian society and art should be examined. Studying and inspecting the different angles of the Safavid textile production system has an important role in recognizing the status of this industry in rejecting this historical period. The present research is accomplished qualitatively (descriptive-analytical). The theoretical framework of the research is based on the approach of Howard Becker's art worlds. The research findings show that the social formation of Safavid Iran was based on providing services (political, social) and prominent designers and weavers worked in workshops that were directly supported by courtiers. Economic and political stability and the constant support of courtiers aided the textile production system to introduce a new generation of artists and textile designers to create eye-catching textiles at this time due to incentive systems and financial rewards.

Recognition of the artistic image and the guild system of designers and weavers in creating textile productions in Safavid art.Examining the factors of production in introducing Safavid court textiles as works of art.

Research questions:

Were the textiles of the Safavid era considered as a work of art?What are the factors that contribute to the Safavid textile production system?

The issue of happiness and happy actions in the field of Iranian society has always been discussed. The five basic signs of the Shiite jurisprudential discourse that are associated with happy and festive actions are music, dance,drinking,men-women relationship,and game and gambling.Since Iranian television has a special status in the tripartite relationship among religion, government,and the media,a discursive look at the state of happiness in holiday programs can shed light on the relationship between the discourse of happiness and the social sphere.First, to determine the general structure of the distribution of programs on television, the question arises:during the days when official culture introduces as a time of happiness, what is the quantitative structure of the distribution of television programs and how does television happiness occur?Using this analysis, the typology of happy day programs on television is determined and, in addition,it clearly shows the specific diversity of the subgroups of public affairs and religion.An important feature of this TV program arrangement is the connection between the subject of religion and music.If televisions are divided into commercial and non-commercial types, the arrangement of Iranian television programs during the holidays is highly polarized. Public affair programs and political programs are more competitive with traditional happiness programs than any other.This analysis also to some extent shows that some signs of happiness in television programs are controlled and then systematically eliminated.

tales are not the simple reflections of the society, but the artistic representations of the same social issues, according to Lucien Goldmann. In relation to socio-political issues, the artwork goes beyond the artist, as an individual, and puts him/her in the structure of a society in which his/her meaning and existence are defined. Goldmann’s “genetic structuralism” focuses on the socio-historical implications of an artwork in order to reveal its socio-political aspects for the audience. This paper adopts genetic structuralism [as a method] to analyse the Play Tender with the Red Rose. The study’s hypothesis is that genetic structuralism can help us understand the socio-political aspects of an artwork and connect drama with the realms of Sociology and Political Studies. Hence, here is the research problem, and consequently the research question: if we read an artwork in relation to its socio-political context that has given birth to it, can this help us reveal its socio-political features and the symbolic function of its characters for the audience? The study of the socio-political aspects of a play can lead the reader and theatre practitioners to [discover] the non-dramatic layers of the work. It can, moreover, help us re-write the play in accordance with the [society’s] current circumstances and improve its performance in order to reveal hidden socio-political layers of the play and show another dimension of political drama in Iran. This paper aims to provide a [new] approach for understanding the socio-political aspects of Iranian drama. It, therefore, suggests Lucien Goldmann’s genetic structuralism as a useful method.

This paper aims to introduce a mixed research method for the analysis, reading, and interpretation of urban visual culture texts. To reach this goal, mural have been chosen as the most outstanding urban visual text. In order to do a case study, one of the outstanding wall-paintings located in Tehran`s Vanak square, has been selected to be analyzed by a mixed method. The analysis of the visual text has been done in two stages including semiology and discourse analysis. For the first stage, we used O`Toole`s semiotic method suitable for analyzing urban murals, and for the second stage, we employed Laclau and Mouffe`s discourse theory. Findings of the case study for the micro level showed that, key signifiers - as nodal points - of the text have been recognized as nature, city, man, and woman and the relationship and interaction between them have been distinguished in the form of binary oppositions such as nature (village)/city and man/woman. At the macro level, the main competitive discourses identified in the text, are Environmental Protection vs. Urban Sprawl and Masculism vs. Feminism, that are lively and actively in an antagonistic situation using their key signifiers. Finally, the dominant and hegemonic discourses through positive representation of their key signifiers can be considered as Environmental Protection and Masculism.