فهرست مطالب مهرناز عسگری

This study tries to deal with the effect of political, social, and ideological currents, and power relations on the discourse of selected satirists' works, and the degree of their words' explicitness and implicitness. These satirical works were written between 1953-1978. Moreover, this study aims to analyze the effect of various events and currents of this period such as coups, the spread of the discourse of absolute Pahlavi modernism, the expansion of political restrictions on Satire's discourse, and the words' explicitness and implicitness of mentioned satirists. Using components of Van Leeuwen's model such as categorization, impersonalization, nomination, etc., this article examines the methods of representing actors in satirical works and explains and analyzes their relationship to the prevailing powers and ideologies. The research results show that the implication of categorization has the highest frequency in all works; as satirists represent most actors based on their occupation, social status, gender, etc. By applying the exclusion component, they avoid criticizing the institution of the monarchy and clericalism. This can be justified by factors such as the prevalence of the discourse of absolute Pahlavi modernism, Shiite resistance, lack of political development, fear of the danger of excommunication of clericalism, and the precautionary thinking of these satirists. Furthermore, the explicitness and application of the nomination component are often reflected in the field of cultural, literary, and social satire.

 This research attempts to have a critical discourse analysis of the works of the post-Islamic Revolution Period by four female satirists based on Van Leeuwen model. The study is conducted based on the poems of Robab Tamadon in "Ahangar" magazine, the book "Scrap Iron, Crispbread, Old Slippers!" by Azardokht Bahrami, "H, Like Understanding” by Roya Sadr, and "Letter to the Thief" by Nasim Arab Amiri. The main issue in this research is to find out what effect the political and social currents, powers, and ideologies of the last four decades have had on the discourse of female satire as well the degree of explicitness and implicitness of the words of female satirists. It also deals with how "male" actors are represented in these work. The works of female satirists have often been neglected in the field of research, thus this article intends to compensate this shortcoming by examining the works of female satirists. The research explains and analyzes the relationship between the representation methods of actors in satirical works and ideologies and power relations, using the components of Van Leeuwen's model. These include categorization, impersonalization, nomination, etc. The results of the study show that female satirists tend towards implicitness with conservatism in the field of political satire. In many instances of the categorization component, "Sadr" represents ​​actors based on gender, and negative appraisement aggressive men; Bahrami criticizes the masculinity system by using the components of categorization, specification, association, and differentiation; "Arab Amiri" uses a subset of inversion to humiliate the beloved; and "Tamadon", unlike the other three satirists, pays less attention to women's concerns.

The subject of this research was focused on the Critical Discourse Analysis of two satirical works of “Book of poems of Lari Rooster ” by Abolghasem Halat and “The collection of works by Mohammad Ali Afrashteh”, compiled by Nosratollah Noohian, based on Van Leeuwen's model(1996). This research aimed to examine the influence of ruling powers and the ideological processes of the second Pahlavi era on the explicitness (frankness) and obscurity (inexplicitness) of the word in the two works mentioned. In this article, the actors  involved and participating in these satirical lyrics were evaluated based on Van Leeuwen's model components such as exclusion, impersonalization, determination, indetermination, nomination, categorization, association, differentiation, genericization and specification. We chose these works since the views of their satirist authors in the Pahlavi II era emanated from common social and political origins, while at the same time, they had different ideologies and tendencies. Therefore, such various commonalities and differences provide a basis to make comparisons between them. The study results suggested that although both satires are more eager to speak and write in obscurity and vague and classification and depersonalization are highly frequent in their poems, but unlike Abolghasem Halat, Mohammad Ali Afrashteh has enhanced the explicitness and frankness of his words by stating the names of the actors who were in power as well as criticizing the main pillars of power such as the king, royal court, clerics, and the security forces. Due to socialist tendencies, Mohammad Ali Afrashteh has also further used the referential type component to represent masses and people. Abolghasem Halat, with more use of the depersonalization component, namely, pronouns and obscure attributes, has made his word more obscure.

The subject of this article is comparing the Dehkhoda and Syed Ashraf aldin Gilani social satire. Satire is a literary sort of language which is based on the contradictions and inconsistencies with the audience system mental contracts. With modified intent, Satirist displays shortcomings and disadvantages of the various aspects of life in a ludicrous and exaggerated way. One of the themes of satirical works is a social satire in which chaos and darkness found in some of the different levels of society, such as customs and traditions, systems, norms, and different people are criticized. Pioneers of satire in the age of Mashrooteiat are Syed Ashraf aldin Gilani and Ali Akbar Dehkhoda that they both in a common period of time took advantage of the satire sharp weapon to fight problems, disadvantages and social corruption of their time. The method of this study is descriptive and comparative. In this study, with comparing the satire works of Dehkhoda and Syed Ashraf similarities and distinctions between the social satire of both can be seen. Although many social problems of that time were commonly critical goal of both of them, Dehkhoda social satire is deeper and his understanding of the social disadvantages is broader. On the other hand, due to Syed Ashraf satire long time, more broader corruptions and social problems are reflected in his works.