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

Food is one of the most important human needs for social activities that cannot exist without the possibility of the development and development of other human abilities. The main issue of the present research is whether it is possible to draw and design patterns for the cultural fabric of Iranian food, and what changes have been made in the construction of Iranian food culture throughout history? Thus, the basic question of the research is whether we can design patterns for Iranian food culture, and what changes have been made to making the Iranian food culture during history? The main hypothesis of the text implies the idea that there has been a strong link between the type of society and the food actions of the Iranian people so that in the Pre-contemporary society dominated the collective actions in the dietary behaviors and with the emergence of Gesellschaft society, individual behaviors dominate the food arena. The results confirm three food paradigms: The ancient Persian model, the Arabic Islamic model and modern model, each of which has its own characteristics. In the Iranian archetype, metal and wooden tools such as spoons and knives were used, while in the Arabic-Islamic pattern, food was eaten with three fingers.The first two patterns, in spite of their distinctions, have come from a Gemeinschaft society and at this level, collective actions are governed by "co-ordination". But in the third paradigm that came from Europe, Individual actions overcome, such as personal spoons, forks, Knife and plates that this cultural construction is a manifestation of the Gesellschaft society.

The movie Qaysar marks the entrance of Jaheli movies into the “revengeful” phase. This revengefulness was depicted in different ways in the movies, the protagonists of which were extensions of the Qaysar type. In this article we have investigated the post-Qaysar revengeful act by studying three movies: Reza Motori, Gavaznha (The Deers), and Kandoo (Beehive). My approach to the study of the film is that of a sociological intra-textual reading - a reading that studies the Laat in the context of the social world that is his condition of possibility, and is depicted in the movie itself. We have hypothesized a “situation of balance” in the narrative of the movie: a situation the disruption of which makes the formation of the movie plot possible. Having this situation in the background we have tried to answer these two main questions: In what situation would the Laat refrain from a revengeful act? And now that the situation of balance is disrupted, how does he react to the new situation? Our study shows that in such movies, we are dealing with a process that represents both the radicalization of the Laat and his losing self-consciousness in his acts. These two aspects eventually lead to a total conflict with all manifestations of the modern world. This total conflict is activated through a minor incident. The movies are coded through a qualitative content analysis. The categories achieved are not presented in tables, but in an analytic textual body instead, in an attempt to explain the radicalization process. The process could only be presented in the flow of text and not in the form of table.

Between 1958 and 1979 Iranian Cinema illustrated different types of Luti. The story that Iranian popular cinema tells of the transformations of this social group is in fact the story of how one of the most radically traditional groups confronts some of modernity’s manifestations. Like any other social group, the Luti group finds meaning within a specific social structure; what we call here the “neighborhood structure”. There is a direct relationship between the strength of this structure and the power of Luti. Modernity dismantles the neighborhood structure. As a result, the value system accompanying this structure also fades. The transformation of the Luti type is mediated through the changing values. Pre-revolutionary popular cinema is a narration of how the Luti confronted the collapse of neighborhood system’s traditional values. Based on this structural transformation and the parallel change in values, this paper studies the changes in Luti’s confrontation with modernity in Iranian Cinema, by considering two films: Laat-e Javanmard and Gheysar. The former is chosen as the first remarkable Jaheli film, and the second, as a milestone in this genre that amused the masses and the intellectuals alike. To conceptualize Luti and neighborhood structure, we use Bateson’s concept of Manhood and Tonnies’s Gemeinschaft-Gesellschaft dichotomy respectively.