جستجوی مقالات مرتبط با کلیدواژه « اسلام هراسی » در نشریات گروه « ادبیات و زبان ها »

This article examines Saturday in terms of its ideological orientation. It is argued that Saturday’s essentially pro-war stance can be explained in terms of liberal humanist views which the novel espouses. It is argued that the novel in a sense reflects all the main features of liberal humanism: secularism transformed in the New Atheist militant stance against religion, scientism, pluralism, emphasis on the centrality of man and his liberties and rights, emphasis on the human relations and glorification of art and literature as humanizing achievements. However, considering the post-9/11 context, the writers seek to shed light on the connection between this liberal humanist tendency and neo-orientalism (with Islamophobia as one of its main features). As such, despite the liberal humanist emphasis on avoidance of prejudice and considering all sides of an issue, the novel fails to ask the essential questions about the condition of the contemporary world – the real causes of terrorism – and in effect by justifying an imperialistic war, rather unabashedly, serves power.

Islamophobia is a phenomenon that is taking place in various political, social and cultural fields and women are now being used by Western powers as a tool to spread Islamophobia, as the issue of women is one of the most important and strategic issues of all societies. This issue has long existed in societies among thinkers and in the various morals and habits of nations. The widespread and heavy wave of media ads has always been based on the fact that Muslim women are under the most severe pressure and do not enjoy any of their legal and religious freedoms. In contrast, non-Muslim women enjoy gender justice and own freedoms and rights equal to men and are rapidly making progress. This study initially tries to provide a comprehensive definition of Islamophobia and then surveys the rights of Muslim women, discriminatory behavior against women and the reflection of Muslim women in Hollywood cinema; and finally Qur'anic strategies to deal with this phenomenon are discussed.

This paper examines Kamila Shamsie’s Home Fire (2017) as a faithful transposition of Sophocles’s Antigone into a contemporary novel that addresses the diasporic subject’s encounter with sovereign politics of life and death in the post-9/11 backlash against Muslims. A survey of the notion of the embodied subject as set in the complex network of power relations and biopolitics in the diaspora space where new forms of bio- and necro- power (as expounded by Postcolonial thinker Achille Mbembe) are at work towards enforcing subjugation of diasporic bodies forcefully synthesises with the question of belonging, the right to soil, and post-mortem identity in Shamsie’s Home Fire. For Aneeka Pasha and other British diasporics, burial of British citizens by birth in the British soil is a natural and legal right, whereas to the representatives of the Islamophobic State, the diasporic subject’s rights to soil is as evanescent as their liminal identities. Just like Polyneices in Antigone, the dead body of Parvaiz – a remorseful ISIS member seeking a way back home to rest in peace – functions beyond the biological borders of his body and proves to challenge the body politic of the state and question their necropolitical decisions.

According to Sheridan and Gillett (2005), one fundamental form of inequality, being on the rise since 9/11, is religious discrimination. The main source of experiencing and being exposed to such inequalities and discriminations can be television which ‘is such an important source of information and entertainment that viewers cannot escape its gradual encroachment into their everyday lives’ (Laughey, 2007, p. 20). American TV series are so major and worldly-known entertaining media that many of them have millions of viewers around the world. So, it will be of great importance to make sure if they want to keep and even worsen this picture of Islam and Islamophobia. Therefore, this paper investigates the role of American TV series in promoting Islamophobia in public view. To do so, one has to analyze two main aspects of the TV shows which are the conversations and the picture frames. For analyzing the former, we have chosen Norman Fairclough’s (1992a, 1995, 2001) approach to Critical Discourse Analysis, and for the latter, Kress and van Leeuwen’s (2006) Grammar of Visual Design. American TV series, named Homeland (2011- still on air in 2017), broadcasted by Showtime® in the U.S has been the corpus of the present study. Its story that is mainly connected to the Middle East with lots of Muslim characters explains our choice. Consequently, the present study seeks to answer the following research questions: 1. Do the analyzed sequences of Homeland have Islamophobic elements based on Fairclough’s (1992a, 1995, 2001) CDA framework? 2. Do the analyzed sequences of Homeland have Islamophobic elements based on Kress and van Leeuwen’s (2006) Grammar of Visual Design? 3. Are there any combinations of visual and discursive elements to promote Islamophobia in the analyzed sequences of Homeland which can be analyzed by an integration of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s (2006) Grammar of Visual Design?
Our work has led us to the conclusion that many cases in Homeland TV series, either discursive (based on Fairclough’s CDA framework (1992a, 1995, 2001)) or visual (based on Kress and van Leeuwen’s Grammar of Visual Design (2006)), were Islamophobic. Furthermore, there were cases in which both visual and discursive (audio) elements were used to promote Islamophobia. As a result, all of the research questions receive a positive answer. Moreover, it can be concluded that a combination of Fairclough’s (1992a, 1995, 2001) CDA framework and Kress and van Leeuwen’s Grammar of Visual Design (2006) can create a powerful approach in critical media analysis to expose the real policies of the media and power owners and decode the encrypted messages behind what is shown to the public. It is worth noting that analyzing a greater number of TV series could result in a higher generalization of our results.