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

Based on Laclau and Mouffe's Discourse Theory, this study provides semantic systems of JCPOA-related discourse in the form of "Official / state" and "Conservative" discourse and their discursive battles, while Foregrounding / Backgrounding in field of language and media discourses through Dichotomous Paradigms. Contents of six media outlets were assessed in Persian calendar 1394 till 14th Aban1397. The field of research is divided to Micro and Macro levels. In Macro, Discourses are analyzed on base of Laclau and Moufeh's Discourse Theory. In Micro, Text Analysis is held on base of Dichotomy as Seperated semiosis system. Seven dichotomous were recognized. The articulation of both discourses in media content engross of dichotomized representation of "foregrounding self" and "backgrounding the other". Official/State discourse takes "sanction lift" moment along with "good deal / bad deal" and also Foregrounding of "Transparency / Rent". This discourse tries to articulate its meaning system through Empty Signifiers. Conservative discourse defines Ideological discursive moments and focus its Nodal Points on Antagonistic relations in order to break its competitor's hegemonic domination of "Constructive interaction" and "Interaction / Confrontation. Both discourse employ signifier in rival's Field of Discursivity, for creating dichotomy, as well as employing floating signifiers after threat of JCPOA.

Based on Laclau and Mouffe's Discourse Theory, this study provides semantic systems of JCPOA-related discourse in the form of "Official / state" and "Conservative" discourse and their discursive battles, while Foregrounding / Backgrounding in field of language and media discourses through Dichotomous Paradigms. Contents of six media outlets were assessed in Persian calendar 1394 till 14th Aban1397. The field of research is divided to Micro and Macro levels. In Macro, Discourses are analyzed on base of Laclau and Moufeh's Discourse Theory. In Micro, Text Analysis is held on base of Dichotomy as Seperated semiosis system. Seven dichotomous were recognized. The articulation of both discourses in media content engross of dichotomized representation of "foregrounding self" and "backgrounding the Other". Official/State discourse takes "sanction lift" moment along with "good deal / bad deal" and also Foregrounding of "Transparency / Rent". This discourse tries to articulate its meaning system through Empty Signifiers. Conservative discourse defines Ideological discursive moments and focus its Nodal Points on Antagonistic relations in order to break its competitor's hegemonic domination of "Constructive interaction" and "Interaction / Confrontation. Both discourse employ signifier in rival's Field of Discursivity, for creating dichotomy, as well as employing floating signifiers after threat of JCPOA.

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.

Prestige is the general self-image and a kind of respect that a person considers for him/herself. Paying attention to somebody during the conversation is considered politeness and on the other hand, impoliteness is an attack to one’s prestige. In fact, all efforts made by a person to observe politeness to others, are considered prevention of his/her prestige from threatening (Brown & Levinson, 1987). Culpeper (2011) in his discourse theory points to different strategies of impoliteness based on quality/ relational/ social prestige and equities such as, social rights and association rights and also close relations between these concepts. Since Culpeper’s approach is based on factors like context, social norms and feelings and also contains collectivism aspect of prestige, so it could be employed to analyze verbal impoliteness in the Iranian TV family serials. This study is aimed to answer the question of which aspects of this theory can be discussed in “Madarane” TV serial and which patterns of verbal impoliteness it follows. For this purpose, based on purposive sampling, 30 samples of dialogues including relations between kinds of prestige and social rights were selected and analyzed by descriptive-analytical method. The results showed that all the verbal impoliteness patterns including attack to the personal prestige, relational and social, were used in this serial and among them the relational prestige attack, by 86/6 percent, were at the highest rate.

The 2000s was an important decade in the history of Iranian cinema because some important movies were made at this time which represented the major discourse dominating Iranian society. “Felicity Land” is among them. This film received many journalistic reviews so far, but no academic research about this film has been conducted yet. However, focusing on this and other films made by Miri, this paper is to answer the question that what discourses are represented in this film and what are the relationships between these discourses and the macro-discourses dominating Iranian society in this decade. In fact, the purpose of the paper is to shed light on the complexities of the discourses determining the Iranians daily life and the way they are represented in Maziar Miri's works. Theoretically and methodologically, the paper is based on Ernesto Lanclau and Chantal Mouffe’s post-structural discourse theory and Soltani's (2014) Discourse-Semiotic Approach for studying films. The findings show that among the macro discourses of Modernity and Tradition governing on Iranian society in its modern history, the film is more inclined to represent the modernity discourse. In addition, the film shows a discursive conflict between men and women, women and husbands, and parents and children.

Researchers believe that، due to the expansion of mass media and familiarity of youths with modern life، modernity has influenced on family more than other institutions. The paper is to find out how the clashes of modernity with tradition impacted on Iranian society and on its most important institution i. e. family and how these impacts have been portrayed in Iranian cinema. Thus، the film «As Simple as That» by Reza Mirkarimi is studied on the basis of Laclau and Moffe''s discourse theory and Soltani''s Discourse Semiotics approach. According to Discourse Semiotics approach a film is studied in three phases: textual analysis، intertextual analysis، and contextual analysis. First phase includes a semiotic analysis of film characters and the identification of discourse orders. This phase is very important because the other two phases are based on the findings obtained from film text analyses. The first step in this phase is picking out major characters and / or locations as identifying signifiers. Then، evaluative signifiers and their meanings should be identified. Evaluative signifiers are those attributing specific characteristics to identifying signifiers. What characters say and do، the type of clothes، food، belongings are actually evaluative signifiers attributing meanings to characters. The next step is characterizing discourse orders with a focus on antagonism. Any of film characters represent a discourse in the social space. Afterwards، themes and major concepts woven in film structure are extracted. At this stage، the themes related to the subject of the study and the way each of the discourse define these concepts are elaborated on. Finally، the features of the discourses are presented through diagrams. Then، at the intertextual analysis phase، the obtained discourse orders are compared and contrasted with other similar films. Finally، through contextual analysis the findings are discussed in a more general social level and the ideas of other scholars at a broader scale about the subject matter of the research are presented and evaluated. Iranian cinema has not fall behind of social and cultural changes and since art، movie industry، has a lot of capacities to introduce problems and affects family، the movie makers use this mediator to express their ideas and worries about society on different areas، including contrast between tradition and modernity in the family unit and used it، directly or indirectly، in their movies. Obviously، in recent years، there’s been an increase in producing movies with this theme. The main question of this research is to understand the effects of collision of tradition and modernity on society and the most important of all، the family and how these effects represented on the 80’s family movies. Studying this can give us better understanding on how filmmakers are thinking، and since this thinking is affected by society and its conditions، we can get a better look on social image and its challenges. The main objectives of this paper are investigating the articulations of the movies discourses and the descriptions that these discourses give for fundamental family concepts. Another goal is to show how cultural products، like movies، give us a better look of the biggest intellectual movements، including Iranian family challenges

While many researches have been carried out on Farhadi's A Separation, still major questions remain unanswered. Which discourses does the film represent and how are they related to dominant discourses of Iranian society? Resorting to Laclau and Mouffe's discourse theory, the present study offers a three- stage framework for answering the above questions. The results show that A Separation depicts four micro-discourses, i.e. Islamic, Iranian, Western, and official, as well as two macro-discourses, modernity and tradition. The opposition between these two discourses is the reason behind many conflicts visible in Iranian films.

This article, raising this question that “what are the Iranian society discourses in Asghar Farhadi’s movies and how they are represented?” is an analysis and study of two movies by this director, “Fireworks Wednesday” (2006) and “A Separation” (2011). In order to do this, Ernesto Laclau and Chantal Mouffe’s discourse theory has been chosen as the theoretical framework. The results show that Farhadi, having a sympathetic view towards social subjects, without any partiality, highlighting or marginalization, is trying to represent a realistic picture of prominent discourses of Iranian society, while he is representing differences and conflicts of these discourses.

The goal of this article is the Recognition of middle class discourses in mostafa mastoor's letters. The recognition of this discourses have examined the representation of urban middle-class life at last. In the analytical section of this article, with reference to two famous novels of this writer, it is examined the techniques of middle class life representation and using the discourse theory of laclau and mouffe, it is acknowledged the nodal points and network meaning which is produced the narratives in this two novels. This study shows that the constrictive discourse of this two novels have been representing such a middle class identity which is belong to the more immense traditional and modern discourses in IRAN. Answering to the question that how much this representation are altered or deviation from the reality of modern middle class life in Iran needs to more vast and deep social and literary studies.