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

The author of the present article applies the "cultural turn" approach in translation studies to find out why Qavam Al-Din Bundari, in the seventh century AH, when translating the phrase: "      " From Ferdowsi's Shahnameh, chose equivalent of the word " " as " "? Because the text of Shahnameh is devoid of signs that clarify the gender of " ", so there is a hypertextual reason for thinking this word as masculine. An analysis of desire pattern and sexual mechanism in the age of the translator, also its before and after, show that the male actor / subject has in mind in his sexual act, at the same time, two active / objects: (non) masculine and feminine actionable. In other words, unlike the contemporary sexual desire pattern, based on heterosexuality and the male-female duality,in that period in addition to mentioned duality, the dual presence of male- (non) male is also evident in sexual behavior. A search of written and non-written works, such as surviving drawings from predecessors, reveals that the (non) masculine object includes: beardless boy, effeminate man, sodomy and non-testicle. Due to the actions attributed to " " in the text of Shahnameh, Bondary chooses " " as the equivalent of " " among these interpretation. Thus this selection is rooted in the pattern of sexual desire of the source community, not the equivalence of two words in the source and target languages.

In this paper, a number of films by two Iranian filmmakers as part of the linguistic corpus was analysed based on van Leeuwen's social semiotics. The attempt has been  to answer the questions, "what are the common and different elements of signs of sexism thought in Iranian cinematic texts based on the semiotics of language", and "how have these signs been able to indicate the centrality of sexism and socialism in the Iranian society?" The present study uses a descriptive-analytic method. Having a quantitative as well as a  qualitative study, the paper uses purposeful sampling to examine the modalities in films. Findings of the study showed unexpected results based on van Leeuwen's  model in the number of modalities used by female and male characters in Iranian female director films with a feminist perspective. A similar study was conducted on Iranian male director, and the results showed that the modalities used by male and female characters yielded the full-fledged expectation of Van Leeuwen's pattern with no dominant orientation between the two sexes, and the female and male characters in the film's story naturally used the expected modalities of the pattern used.