جستجوی مقالات مرتبط با کلیدواژه "نورمن فرکلاف" در نشریات گروه "علوم اجتماعی"

Critical discourse analysis is an important branch and approach of discourse analysis theory.  As an interdisciplinary trend, this approach goes beyond the level of sentences and words in examining texts and pays attention to the context of the situation in which the text was formed.  Norman Fairclough is one of the theorists of this field, Whose theory has three levels of description, interpretation and explanation.  This research tries to analyze the three Farklaf's critical discourse levels using the descriptive-analytical approach during the time of Lan Amut Sadi Jihad al-Rajbi to explain the author's ideology and speech.  The research.s conclusions indicate that Jihad al-Rajbi has been able to present his point of view by using the function of words and semantic relations between them, the use of different metaphors of news and positive verbs and the function of plural pronouns.  Also, by using intertextuality and invocation in Quranic texts and Islamic themes, he seeks to explain the situation governing Palestine. MR. Al-Rajbi expresses issues such as libertarianism, oppression and tyranny with a rhetorical discourse, and by strengthening the spirit of struggle, he seeks to acquire his own ideology and concepts such as gaining identity, freedom and fighting against the occupiers

The present article analyzes the sociological discourse of Azari folklore in Iran from the perspective of critical discourse analysis. The current research has analyzed and interpreted the stories and proverbs of the Azari language based on Norman fairclughs critical discourse analysis approach. The main question in this study is what discourses and proverbs of the Azari folk have been used in the discourse and what have been the conditions for the formation of those discourses? To analyze and explain the theories of Laclau and Mouffe's (1990) discourse analysis, Norman Fairclough's Critical Theory (1995), Clifford Geertz's Theory of Cultural Interpretation (1973) has been used as a theoretical and conceptual framework, and Fairclough's Critical Discourse Analysis approach has been used as the research method. The research type was qualitative and the analyzed data included three stories and thirty Azari folklore proverbs that among them two examples of folk tales and ten proverbs were analyzed in this article. The qualitative data of this qualitative research were selected in a purposive manner from three written sources of Azari folklore . The findings of the study indicate that there is a conflicting discourse between politics and the people, and the language of Azari folklore is a means of expressing criticism, protest and criticism of politics and the social situation.

This article is conducted by leveraging Fairclough’s framework for Critical Discourse Analysis to analyze the representation of Iran’s political context from 1991 to 2001 in the movie, The Dead Wave (2001) written and directed by Ebrahim Hatamikia. The criteria for choosing this particular movie was its wealth in representing Iran’s political, social and ideological conditions. After reviewing the present wings and political groups at the years leading to the time of production of this text, this research will attempt to determine the movie’s position towards their competing discourses. Disregarding some aspects of the movie in the analysis process (such as images, music and tones of dialogues) due to practical limitations, after extracting discourse types (and their interpretation of situational and intertextual contexts) from the dialogues of the characters of the Dead Wave and their actions in the story and then explanations of these discourse types in respect of power relations in the time of production of the text, It has been claimed that this movie by reminding the history of involvement of the US government in Iran-Iraq war and especially shooting down the Iranian passenger aircraft of flight 655, with criticizing the performance of the then-current administration in foreign affairs and the alteration of position toward that country and the subculture and actions of the Iranian young generation, defends the dominant idealism from 1981 to 1991 in Iran and the traditional values of this country.

The present paper attempts to shed light on a literary discourse which has been dominant in Iranian literature field since mid-1380's .The case study here is an Iranian poet, Alireza Azar whose poems have been defined through four characteristic features, namely anti-idealism, disappointment toward future, individualism, and death-oriented approach to life. Here we examine these features in relation to social and political changes in post-revolutionary Iran. In fact, Azar here serves as an exemplary model through which we can find out the correlations between social changes and the literary discourse. Considering that critical discourse inquires the relation between discourses and social context and goes beyond the historical limits and beliefs, it has been adopted as the method. Although there are different approaches in critical discourse, critical analysis of Norman Fairclough can conveniently explain how a certain notion of the world has been articulated. It understands any conceptual frameworks in its context, and challenges any absolute truths.

Regarding Critical Discourse Analysis approach based on the theories of Norman Fairclough, this article is concerned about the class status of individuals of characters in Firework Wednesday (2006), About Elly (2009), A Separation (2011). Representation of class status of characters has made from macro-pattern of political economy, based on Erick Olin Wright’s theories in production and consumption of these films. Relations of power in social structures and proceeding related to development of Iran, lead to class gap and unequal enjoyment of amenities in the period of making and exhibition of these films, and we see such this representation.
After declaring of middle class and under-class distinguish based on accessibility of ‘means of production’, skill and management, with the critical discourse analysis, this essay leads to conclusion that, the way of representing characters in above mentioned movies, is a kind of reproduction of the relativist dominant ideological discourse, and is in contrast with the marginalized of society and sees them as a threat.
Using library resources and interpretive analysis method and after description assortment of Iran’s urban middle class, this research leads to this conclusion that, the way of representing characters in above mentioned movies, is a kind of reproduction of the relativist dominant ideological discourse, and is in contrast with the marginalized of society and sees them as a threat