جستجوی مقالات مرتبط با کلیدواژه « مطالعات فرهنگی » در نشریات گروه « علوم اجتماعی »

In recent centuries as a consequence of human mental, intellectual and scientific growth, nations and governments have realized more than past the importance of culture in the continuity of their lives and its role in the sustainable development of countries and have brought cultural competitions to a peak. Therefore, Cultural Studies was added to the educational programs of Birmingham university as an interdisciplinary in the sixties of 20th century by some persons like Herbert Richard Hogarth (1918-2014) professor of anthropology and sociology. In a short time after that, it made its way to other places and became officially popular in prestigious universities of the world, including Iranian universities. Considering the inseparable link between literature and culture, the examination of literary works in the framework of cultural studies can lead to valuable results of the general culture of the society and the studied works. Therefore, in this research, the poems of Parvin Etesami are analyzed on the basis of cultural studies. For this purpose, Parvin's poems are analyzed in five major sections according to the important components of cultural studies. These studies provide a relatively comprehensive picture of the general state of culture in the poet's time and in some cases provide detailed data on factors affecting the cultural and social situation, including the role of the social institutions of that period in the cultural prosperity and development of the country.

Roland Barthes, a famous French literary theorist, cultural critic and semiotician, has important works in the field of semiotic analysis of literary texts and cultural phenomena. Among these cultural phenomena, we can mention the clothing system, which can be read as a visual symbolic system. Clothing as a sign contains different and multi-layered codes, expressing different concepts and meanings. One of the important pillars and layers of meaning in performing arts and cinema is clothing, which plays a colorful and key role in the interpretation and analysis of the work. Der Cheshm Bad series, as one of Iran's enduring national works, reflects important parts of contemporary Iranian history and has many characters, each of them is worthy of reflection in terms of social, cultural and political aspects. The cover can be analyzed and read. Also, in terms of the presence of characters in different time and place situations and having different clothes, it can be a good example for semiotic reading in order to achieve cultural and social issues. The point of departure of the current research is the semiotic reading of the men's clothes in Chesh Bad in the light of Roland Barthes' opinions and the answer to the question, how does the design of clothes in Chesh Bad express the personality, class, cultural and social characteristics of people?

This research is fundamental in terms of its purpose, and in order to achieve the stated goals, descriptive-analytical research method was used, and essential and needed information was collected in a library manner. In this regard, the selection and selection of images from different sequences and seasons of the series in Eye of the Wind has been made based on the emphasis on men's clothing, and images have been presented that best display men's clothing and are useful for semiotic interpretation and reading. And it is efficient.

The obtained results show that one of the distinguishing factors of the characters is the category of clothing design, which in a way reflects people's thoughts, views, social position, tastes, political attitude and generally indicates their social class. And this category contributed as a meaningful element in the introduction of different characters and despite the behavior, speech and performance of each character, their clothes also show the connection of the characters with cultural and social metatexts. The clothing design in this series has been able to display important parts of social, political and cultural classes as a meaningful system and also express the historical developments of contemporary Iran. In other words, the gender, color, model, and different combinations of clothes have been examined, each of them has many meanings that introduce the character and culture of that historical period. The examined clothes show the geographical region, historical period, social class, job, personal characteristics, tastes, moral characteristics and even the character of people

Since its inception at Birmingham University,, cultural studies has had a tenuous relationship with other disciples. Cultural studies refused to define itself within the limits of academic disciplines. One of those branches of human sciences with whom cultural studies had an “undefined” relationship was history. History along with literature are two of the well-established fields of study in human sciences. The discipline of history has witnessed significant shifts within the last two centuries. Following the Rankean definition of history, a historian was tasked with writing history as it happened. But this definition of history was first dismantled by the interpretative school and then by the Annales school. Following the linguistic turn, a new horizon was opened in the study of history, and narratives were employed to give voice to those whose voices have been suppressed. But it’s this article’s contention that cultural studies, as a radical project, fits into none of these definitions. Cultural studies needs to define history as “historical conjunctures” in order to live up to its pledge as a radical disciple.

Cultural History and its NeighboursPeter BurkeabstractThis article offers a kind of map of intellectual fields that are more or lessclose to cultural history. It is difficult to separate cultural history fromintellectual, social and political history, from archaeology and from thehistories of such activities as art, literature, language and religion,whether these histories are studied in departments of history or under theumbrella of “visual studies”, “religious studies” or “cultural studies”. Allthese neighbours form an “inner circle”, discussed in relative detail.Beyond it lies a “middle circle” of disciplines that are separate fromcultural history but have made considerable impact on it: anthropology,ethnology, sociology, politics and geography. Still further away, anddiscovered by cultural historians only recently, comes an “outer circle”,comprising psychology, cognitive studies, neuroscience and biology. Theeffect of the outer circle of disciplines on the practice of cultural historyremains uncertain.

How should one read Syed Hussein Alata's’ The Myth of the Lazy Native in Iran? What are its possible contributions towards theorizing an ideological concept that has kept Iranian dynamics of progress in suspense for a long time? This article attempts to expand on the idea of Iranian exceptionalism, observe and explain the discourse around it. The author employs Alatas’s writings, particularly those from his book The Myth of the Lazy Native, in order to argue that Iranian exceptionalism is a mentality created and empowered by internal despotism as well as external semi-colonialism in modern Iran. Borrowing ideas from Alates's analysis of postcolonial Malaysia, the author suggests that Iranian exceptionalism locates at the intersection of gender, religious, and national ideologies - it refers to a being and condition of contradiction. It is what makes the nation’s image of itself both inferior and superior towards the other at the same time. It is indeed what makes imagining future change impossible – and therefore ideological.

Ageing can be studied from different theoretical perspectives. In this article, the author has taken the approach of cultural Gerontology, to provide explanation of ageing in feminist, intersectionality, and postmodern theories, to promote conceptual and theoretical knowledge in ageing studies. Also, the theoretical insights produced in this field, can be used in the social and cultural policies of the elderly. Cultural, feminist, and postmodern Gerontology show the diversity, multiplicity, and complexity of the ageing experience and by adopting such an approach in ageing studies, it is possible to gain an understanding of the voices, narratives, and lived experiences of diverse, vulnerable and marginalized groups of the elderly. These approaches represent a fluid and multiple ageing. The experience of ageing in Iranian society also indicates a heterogeneous and multiple experience and we can’t talk about uniform and homogeneous ageing in Iranian society. Ageing based on gender differences and inequalities is a multiple experience; in addition, Ageing is also experienced in a variety of ways, at the intersection with gender and other structural components such as class status, health status, and ethnic and cultural differences. Finally, it can be said that considering these social and cultural differences and inequalities in the analysis of the issue of ageing is very important and necessary.

With the advent of social media in the modern age, the role of old media such as television and newspapers has diminished, and in a democratic and pluralistic environment, people have replaced the monolithic media. Humans are not only no longer influenced by the messages of the old media, but they are the producers of the messages themselves. Twitter, as a social network, represents agency and expression. Critical tweets have a special writing style that distinguishes them from texts on other social networks; a style that has made it attractive and influential to users in the field of political and critical activism. In this article, we have used the schools of cultural studies, formalism and semiotics to seek to identify the features and language styles of critical tweets among Iranian users. The dominant features of the writing style of tweets were the use of intertextuality, parody, irony, imagination, simile, and so on. Users whose tweets, indicated that they had a lot of backgrounds and knowledge and many references to other texts; they also choose the language of humor and are interested in imagination and fantasy.

From the perspective of cultural studies, tolerance as a social construct is a way to avoid conflicts between people. Tolerance as a constructed concept refers to how people perceive, interpret, and experience it in everyday life. Tolerance arises from structural conditions, context, social status, discourses, and the worlds of urban life. Tolerance is considered an important issue in different societies, cultures, and political systems. In the present study, the authors attempted to investigate the concept of tolerance, its process and mechanisms, its requirements and forms in the context of everyday urban life. The following research question was posed: How do people in the context of everyday urban life understand and interpret the concept of tolerance as a meaningful social action and experience?  

The research method of the study is grounded theory. The research questions focus on the interaction between people or the interaction of them with specific fields as well as processes, which are usually not possible to answer quantitatively.Among the different branches of grounded theory, according to the fluidity of the research topic and the gender, variety, and data, the postmodern branch of grounded theory was used.For sampling, according to the research approach and problem and based on the experimental and theoretical literature, we decided to adopt prototypes from people who, according to their job, their living situation and relationship need to show tolerance the most in their daily lives as citizens. Then, other samples were selected during the research process based on the theoretical needs of the researchers.

Analysis of the data using Clark's position analysis method (the postmodern branch of grounded theory) shows that tolerance-based action is a fluid and scaled concept consisting of three dimensions: passive tolerance or surrender, active tolerance, and intolerance. These dimensions come together under the mechanism of tolerance-making. The results also show that the concept of tolerance (based on the two elements of consciousness and agency), is included in surrender, tolerance, and intolerance dimensions. Finally, ‘ambiguous toleration’ is considered a central phenomenon of research.People who experience being in a chaotic and uncertain life in Tehran, living in an atmosphere full of individualism, ontological insecurity, facing feelings of turmoil, apprehension, anxiety, experiencing rapid change, cultural and economic gaps, facing identity crises, urban crises, and rapid socio-cultural changes make constant choices in their orientations toward a tolerance-based approach. In the way of expressing mentalities and actions along with exaggerating the moral concepts of the society such as tolerance, one tries to represent the hidden mentalities and patterns  produced and reproduced by citizens in everyday urban life. Tolerance is a concept manifested in a distorted way due to various factors and representations, with the elements of submission and failure, despair, and frustration. The dualism of power-weakness, urban space and urban cultures, communication and understanding, maintaining peace, avoiding conflicts, commitment and the concept of love, utility, boundaries of action, reformism, mistrust, social change, and values are factors and motives for tolerance-based actions in everyday urban life.  The gender, social class, historical memory, socialization, beliefs and personalities, cultural policy and representational crisis, economic disruptions, positioning, revenge and justice, and self-censorship interaction on resentment and isolation are the main categories in this study.

The first media religion studies dates back to 70s and 80s. Until the 1990s, this field had not been seriously considered by scholarships. Media studies’ affection by cultural studies and its apostasy (an important feature of cultural studies) are the main reasons for abandoning religion in media studies. Religious scholars also considered the mass media to be a factor in the weakening of religion, and therefore paid less attention to media studies. However, the emphasis of cultural approaches on the processes of meaning-making in society and the importance of religion as one of the most important components in the process of meaning-making of human agency caused attention to be turned to religion. Therefore, since the 90s, we have witnessed the growth of literature in the field of religion and media studies. Studies that began with the efforts of scholars such as Clifford Geertz and James Carey have continued up to the date and have grown due to the widespread influence of new media and their unique features at the community level. Examining the performance of religious groups, audience-oriented approach, examining religious news coverage, content analysis of religious topics, policy-making and critical content analysis have been among the main subjects of studies in this field, in recent years. However, the most important approaches to this emerging field of study can be found in Marshall McLuhan's "Technological Determinism"; Stig Hjarvard's "The Mediatization of Religion"; Stewart Hoover's "Mediation of Meaning"; Gordon Lynch’s "Mediation of Sacred Forms"; and Heidi Campbell’s "Religious-Social Shaping of Technology."

We are immersed from cradle to grave in a media and consumer society and thus it is important to learn how to understand, interpret, and criticize its meanings and messages. Cultural studies allows us to examine and critically scrutinize the whole range of culture without prior prejudices toward one or another sort of cultural text, institution, or practice. cultural studies contains a threefold project of analyzing the production and political economy of culture, cultural texts, and the audience reception of those texts and their effects. This comprehensive approach avoids too narrowly focusing on one dimension of the project to the exclusion of others. To avoid such limitations, I would thus propose a multiperspectival approach that (a) discusses production and political economy, (b) engages in textual analysis, and (c) studies the reception and use of cultural texts. this article is about the potential contributions of a cultural studies perspective to media critique and literacy.

Cultural Studies A modern theoretical approach to humanities has not been born in the vacuum. This approach, like any theoretical approach, essentially shaped the concept of modernization by criticizing its earlier approaches. British culturalism was the first step in the formation of cultural studies. Culturalization, by criticizing the elitist approach, shaped its new life. Following the contrast between the culturacy and the elitism of this Stewarthal, Trusency would have given this approach a redefinition of the central issues of cohesive cultural studies. Since the main concern of culturalism was to criticize elitism, so, in a positive formulation, there is a lack, and this lack of a new approach, as synthesis Which implies Stuart Hall's conceptions and formations of cultural studies. Stuart Hall presented a comprehensive approach to the study of different layers of culture and the relationship between culture and power, with the creation of a coherent theoretical theory as a culture of culture. By combining French approaches to paying Birmingham's culture and approach, he also made a great contribution to the development of cultural studies. For the same reasons, this article finds its way into the description of the achievement of this privileged position by Stewart Hall. This paper uses the metaphorical approach to the emergence of cultural studies from Marx's recitation of the Hegelian dialectic, the triple antithesis thesis and synthesis. This paper elitistically approaches the thesis of a culture-oriented approach and synthesizes the antithesis and approach of Stuart Hall's cultural studies and examines their contradictions.

Hofstede culture’s consequences study is the one of popular and valuable research about national culture and many research used it as their theoretical frameworks. Most researchers know Hofstede due to his studies about national culture. Hofstede's studies about culture have many contribution in the national culture area. Most research use his studies without considering its weakness and limitations. In other words, each theory is related to specific contexts or may have limitations. Researchers should be aware about such limitations then use theories. In this paper, we aim to do a review on Hofstede culture’s consequences study by using available literature. Firstly, we introduce Hofstede studies on national culture and compare it with Globe research. Secondly, we present limitation of Hofstede study by using literature. Our study shows that Hofsted study is being criticized for overlooking different dimensions of culture, generalization, etc. This paper is suitable for people who want know about Hofstede culture’s consequences study an going to use it.

The purpose of this article is to present, review, and criticize the book “Meaning of Everyday Life” which has been written by English-born Susie Scott in 2009. A book that tries to examine and consider all aspects and dimensions in relation to the concept of "everyday life" in ten chapters. The assumption of the author is based on the fact that the study of everyday life in the field of sociological studies, which is usually engaged in answering questions and predicting macroeconomic trends in the community, has been regarded as a marginal archetype that seems to be unmistakable as if it was not necessary to study it. The author claims that recognizing macro-social structures regardless of micro levels, such as the realm of everyday life, will not be possible. As a result, it will be argued that the author could not get out of the narrow circle of social psychology and discusses the issues at sociological levels, as claimed. For this reason, the author has used superficial and non-theoretical approaches in different chapters, and it has not gone beyond the initial levels of analysis.

The concept of "yellow journalism", from it's very origination has embedded different significations. Although, at the early stages, it contained economic signification due to the type of content and the problems it raised , later on Yellow Journalism involved politics as well. Hence, critical theorists maintained the contents that these newspapers produce, would bamboozle people and distract them away from key political issues. Later on, during 1990s, it's signification expanded into moral issues and passed judgment on ethical problems. But it was not until late 2000s that cultural studies presented a different look at this style of journalism. From this viewpoint, yellow press could sometimes get tied to individual daily lives more effectively and cover issues that legitimate journalism could not address. Thus, in the present article, we aim to assess "Khanevadeh-e-Sabz Journal" and, hence examine critical views on yellow press and review this type of journalism in terms of cultural studies. We have also tried to establish a close relationship between yellow journalism and social media by addressing the position this kind of media are place in. Furthermore, we demonstrate how "communication itself" has outperformed shared content in these media .

Cultural studies is a relatively new field of scholarship in social sciences. Rising the field in Iranian academia was challenging as far as some sociologists considered it as a replacement for sociology recalled the death of sociology. There is also a new type of sociology which tries to fill the gap between sociology and the public: public sociology. In other words, criticizing the neglect of individuals and their culture in the formal sociology, both public sociology and cultural studies are concerned with people, their lives and their culture. According to the study, the most important similarities between cultural studies and public sociology are their focus on emancipation, culture, and qualitative methodology. The two fields do not believe in theorization and intrinsic norms and claim to be critical. The main differences between cultural studies and public sociology comes from the different levels of attention they give to academic discussions and also different classes in the society. In this paper, we explain how public sociology and cultural studies approach these issues and compare their points of view.

Conducting a thorough review of the M.A. theses in Sociology and Cultural Studies at Razi University, it seems that we could grasp the idea of how in this system of knowledge production, discursive practices and facts are being articulated and archived. While the way that this articulation of practices works is not different from the commom style of conducting research in humanities in Iranian academia, in this article, the goal is to shed light on the case of Razi University. From our perspective, some peculiar and different kinds of discursive practices, which are being articulated unnecessarily and are even misleading in the system of knowledge production, lead to a special kind of archiving in M.A. theses which is unable both in determining the exceptionality of our experiences and in producing the effective possible knowledge; practices that by neglecting the very necessaries of rules in a new discourse formation, inevitably form "the trauma of missed opportunities" in establishing a well in-depth knowledge as an inseparable part of these discipline's unconscious.

This paper tries to present an approach for teaching Cultural Theory. Cultural Studies discipline theory has very significant place. All students of cultural studies have to pass the course of Cultural Theory. I have discussed how Cultural Theory is the core of cultural studies and it is needed to convince students to pay serious attention to the course of Cultural Theory. This paper argues that teaching cultural theory is not merely dealing with theories, in fact we practice all the political and social dimensions of cultural studies. In addition, here I used my lived experiences for demonstrating some educational and political barriers to teach Cultural Theory in Iran. This approach for teaching cultural theory is rooted in cultural studies cognitive, political and educational objectives. I showed that learning theory is a kind of ethical and emotional practice and it is also theoretical and cognitive exercise. This is the first Persian text to discuss how to teach cultural theory in cultural studies.

Introduction and problematic of research: The main purpose of this study is to identify the role of mass media in determining the popularity and authenticity of art works which are open to a variety of interpretations across different countries. As a relative notion, the popularity and authenticity of art works depends on cultural, social, and political strategies and circumstances of the discourse within which it is articulated. In other words, the popularity and authenticity of art works is not an inherent quality but regulated by elite classes who have control over mass media and try to advertise their favorite discourse as the dominant one. It should be noted that media brings a work of art to the canon not necessarily based on aesthetic qualities. Those works of art which have won popularity, authenticity, and labeled as ‘canonical’ in an era may lose their credit in other historical epochs. To put it more specifically, mass media attempt to invest only on those art works which reinforce their favorite discourse. Such a pseudo-objective canonization process can be decoded by using interdisciplinary paradigms including cultural studies and sociology of literature paradigms. Here in this paper, we attempt to identify the main reasons behind the popularity and authenticity of 12 Years a Slave (2013), directed by Steve McQueen, both in America and Iran. Such an interdisciplinary study can help to discern how a work of is assigned different values once articulated within different discourses.
Theoretical framework: To explore the popularity of 12 Years a Slave (2013) both in America and Iran, despite the countries’ discordant sociocultural approaches, we utilize two interrelated and complementary theoretical disciplines: cultural studies and sociology of literature. The former paves the way for understanding critical notions like standardization, discrimination, and qualification as the latter concerns the social and cultural factors determining the popularity of works of art. Utilizing the two creates a solid framework to explore the contingency of the popularity and authenticity of art works. The paper uses Neil Campbell and Toby Miller’s ideas related to cultural studies, on the one hand, and Lucien Goldmann’s genetic structuralism, on the other hand, to analyze the notion of ‘popularity’ and ‘authenticity’ in the realm of art in general. Based on this theory, the picture which is declared by mass media as “the most important”, “the best”, or “the greatest” is not necessarily the most artful one; rather it is the picture which is most applicable for reinforcing the dominant discourse of the society. Toby Miller, one of the famous figures in cultural studies believes that this theory is a magnetic field in academia embracing various tendencies of human sciences (Miller 2001). Instead of focusing on canonical works of art, cultural studies devotes time to popular media, subcultures, and ‘ordinary’ and ‘marginal’ social groups.
Cultural studies field, according to Neil Campbell, has been promoted by groups on the margins of power, excluded from the mainstream (Campbell 2008). These groups on the margins consist of people of color, women, ethnic and minorities who interrogate and resist the old system of representation and power through their new critical approaches (ibid). They believe in cultural dialogism or “multiculturalism, that is, the belief that a healthy culture is made of many different people with diverse systems of belief and practice (ibid.). Furthermore, the paper makes use of Lucien Goldmann’s genetic structuralism which delineates the importance of sociocultural norms in informing the popularity and authenticity of art works.
in spite of being a single aesthetic entity, 12 Years a Slave (2013) is assigned different ideological values both in America and in Iran. In the first step, the paper finds the reasons behind its popularity in Iran, and subsequently sets to find out why it is awarded several Academy Awards despite purporting to be an ‘anti-colonial’ work of art. Finally, we discuss the broadcasting and casting system informing 12 Years a Slave.
Findings and Some of the findings indicate that mass media are not neutral in authenticating and popularizing works of art. Under the influence of different elements, particularly political ones, a work of art may be labeled as “the best”, or “the great”. The mass media try to justify the “authenticity” of these works, and make them “popular” for both common people and elite groups of a society. These two factors have been analyzed in 12 Years a Slave (2013) directed. In spite of their completely different dominant discourses, both Iran and United States mass media brought the film to their canon. This paper will answer the question on the causes of film popularity and canonicity. The findings show that many factors such as film awards, release dates, and its casting have an important function in labeling the film as “popular”. By evaluating the policy of media in advertising the dominant discourse and implied ideology of the film, we may come to this conclusion that instead of showing the reality, such discourses try to construct the reality, and form the attitude of their audience towards their surrounding phenomena. This dominant political discourse imposes the imaginary borders of “popularity and authenticity” of art works; and since such a discourse is not fixed in different periods of time, it is not possible to put definable borders for artistic “popularity and authenticity”. In the case of 12 Years a Slave, the aesthetic factors of the film are undeniable. The powerful and influential acting in addition to the effective cinematography and the photogenic qualities of the movie in representing Southern farms can be mentioned as the remarkable points of the film that have played an important function in its popularity. However, our findings indicate that we need to emphasize the role of political and media-concerned elements that made the film “popular”.

In this article, Iranian society in the 80s is analyzed in terms of its prevailing insights using the theory of reflection in the sociology of cinema. This theory, which considers art as a mirror for society, permits researcher to study the predominant perceptions of the period under investigation. This is done through assessment of the image of hero shown in its cinema. Moreover, the general approach of the sociology of cinema provides the opportunity to compare the findings of the analysis of movies and their contemporary political, social, and economic events. Often, the reflection of such events that appears in movies can be investigated.
This study is based on a qualitative method and the technique) used Barth’s structural narratology. This is completed with a documentary study that describes the political, social and economic conditions of the 80s. The most important finding of this article includes identifying two kinds of active and passive heroes in the popular movies of the 80s, each being dominant in the first and second half of the decade, respectively. In the other words, transforming the active hero to a passive one is the key change which is occurred in the characteristics of hero in these movies.

By reviewing the current methodological topics in cultural studies، yet some kinds of theory/method dualisms are distinguishable. Going beyond these dualisms، requires emphasizing the importance of qualitative researches in cultural studies. In this article، we try to discuss the problem، which is focused on the dualistic contentions in the methodology of sociology and cultural studies. Next، with respect to the politics of theory and politics of method in cultural studies، we try to introduce an analytical approach، which helps us out to move beyond these dualistic quarrels. This analytical approach is well-known as “conjunctural analysis”. In this article، after detailed presenting this approach، and its conceptual origins that developed by Machiavelli، Marx، Lenin، Gramsci and Althusser، we argue how this approach can be applied in cultural studies. This argument reminds us that there is an intensive relationship between decentering method/theory dualism and possibilities of a cultural study as interventionist and contextual knowledge that is sensitive to history.