جستجوی مقالات مرتبط با کلیدواژه "نمادین" در نشریات گروه "علوم اجتماعی"

This article attempts to examine the cultural-social construction of the gender subject and the impossibility of gender by theories Jacques Lacan and Judith Butler on the Transsexual subject. The interplay of Lacan's orders (Imaginary, Symbolic, and Real) indicates how the Transsexual subject forms through the gap between imaginary identity (Ego ideal) and symbolic identity (Ideal ego). Lacan argues sexual difference is beyond the sexual organs and is based on linguistic signifier as normative ideals, and Butler presents it as discourse structures that shape bodies and are expressed by performativity. The research is qualitative, data are collected through interviews and analyzed in terms of narrative research via theoretical concepts. The research field in Tehran, and research participants are seven Transsexual people who have been selected by the snowball method. Findings depict that the impossibility of realizing gender as signified represented through physical signifier by performativity. The subject's attempt in the symbolic to align with the imaginary gender dealing with the real is an insurmountable gap. The focus of gender difference/identity on the axis’ the signifier/body in the symbolic causes the loss of gender that constructs and destroys the subject by performativity as fantasy. Gender is linguistic and performative not immanent.

To find the identity، position and status of women in the early centuries of Islamic government، it is necessary to rely on reasonable documents. The pictorial resources and designs remained from artistic works of these times are among the available documents which can be studied by focussing on the position of women in this period. The designs of figures remained from the early centuries of Islam may be investigated in the murals of Omavis’ castles، Abbasians’ palaces، f manuscripts of Abbasian age and also in the designs of other artists. In these designs، the apparent identity of woman may be recognized as sacred، governor، minstrel، mother or spouse who has been portrayed with diverse covers and make ups. The researchers may realize women’s social identity and situation at that time by analyzing their decorations، designs and covers. It is necessary to mention that in the early centuries of Islam، art and artistic works did not have any considerable importance and value and no art was formed by Islamic beliefs. For this reason، the works remained from that time had admirable intellectual sediments with them. But from the third centuries onward، we witness considerable changes in artistic works due to the growth of Islamic beliefs. Generally، from this period onward we witness the figures being simplified as well as the growth of abstract designs due to emphasis on “prohibition of depiction” in Islamic beliefs. This depiction constraint had a deep influence on the lack of any realistic imaging during the history of Islamic art. As a result، what is dealt with in this paper regarding the designs of women’s figures (from the respect of pictorial aspect) has a decoration-oriented aspect. In the works of Islamic art، human’s figure has mostly appeared beside the designs of flowers، plants and birds it is only the cover or pictorial positions of the figures which gives a limited and definite identity to the characteristics of men and women and has given an ideal، mythological or mythical aspect to them and assists us in this research.

The main goal of this paper is to study the impact of I.R.I.B Television programs onreligious rituals such as Azadri (mourning celebrations). Therefore, the basic question ofthe paper is whether the TV religious programs will led to a cultural change or whetherthey will have a pathological impact on the content of the religious rituals.