جستجوی مقالات مرتبط با کلیدواژه "تلویزیون" در نشریات گروه "ادبیات و زبان ها"

In this study, the competencies of children's section in changing to dramatic forms have been investigated in the field of visual and audible media children spend their time at home, in preschools and then in schools; they experience the highest learning and impressibility in these ages. storytelling and changing it to the drama is one of the enjoyable entertainments for them which accelerates the learning of life's teachings and increases mental growth; consequently, the improvement of structures quality and childish play content and media productivity via suitable selection of the validity works of children are considered so important. Categorizing dramatic capabilities of children's stories, via structural categorizing of their validity designs, causes the durability of children's literal works, better impressibility and education and also better vitality to be reached; moreover, it follows the improvement of childish dramatic forms quality. Reading eleven stories among uncountable stories of age groups A and B and extracting their validity elements show that they have limited and extensive dramatic capacities for changing to short animations and radio and sometimes puppet shows or scene; these capacities are existed in the primary texture of the stories. considering the rate of curiosity, patience, mental growth of the infant from one hand and also the features of all kinds of validity designs and adapting them with different dramatic structures on the other hand play on important role for each story in determining suggestive displays and prioritizing them.

Conceptual blending theory was introduced to explain human creative ability in linking elements in different domains and to find a shared schema structure between them by Fauconnier and Turner (2000). This article tries to evaluate the adequacy of this theory in cognitive semantics in the field of advertising by examining samples of radio and television advertising teasers. For this purpose, 50 radio teasers and 50 television teasers were considered as samples of the use of innovative language, the conceptual combinations used are extracted and their conceptual blending networks are drawn. The results of the research show that the attention of the creators of advertisements emerging and emergent meaning as an aspect of creativity and its use as a means of attracting and encouraging the audience in these teasers is significant. The use of the blending in radio teasers is more than twice the size of the television teasers. The presence of the image in the television shows seems to take up a lot of meaning transfer and the linguistic language has a little chance of emergence in comparison to the visual text. It was also found that, among the types of blending, the application of the single-scope conceptual blending in the propaganda of both media is more common. There are a few mirror and double-scope blending, and none of the teasers surveyed included a simple blending. Considering the common use of metaphor in the language, believing in a metaphorical intellectual system and familiarity of the audience with this category, one can justify the more frequent single-scope blending.

Relying on the dramatic effects and all cultural potentials of Iranian old and poular literature، this paper aims to deal with the possibilities to contemporarize them for new media productions. Literature is one of the most prominent icons of Iranian rich culture. A notable part of Iranian literature is composed of folklores and popular narratives، which are genuinely full of novel themes and authenticated knowledge to be adapted into film and TV series. The present research will show why exactly Iranian contemporary film-makers and play writers، despite the existing large culrual legacy، have failed so far to apply the potential capabilities. Using a pathological approach to the historical discontinuities happened during the evolution of dramatic functions of Persian old narratives، this study attempts to present a qualitative assessment of these literary art works. After reconsidering the most significant elements of Iranian popular narratives، the paper goes then to propund some common ignored challenges concerning the «adaptation» techniques for media productions. Finally، we would describe a typical narrative of Iranian folklore by which a practical method for new possible adaptation for Iranian TV drama might be provided.