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

By learning the role and effects of the media in the field of international communication, governments seek to influence and persuade the public opinion of other countries by making an intelligent use of communication. One of these cases is the psychological operation that is considered and used by the Zionist regime in the realm of public diplomacy. This research, therefore, aims at exploring the principles used for the matter by studying the report of “The Israel Project Global Language Dictionary”. To do this, in a comprehensive manner, the entire report, which contains 116 pages and 18 chapters in English, has been analyzed by qualitative content analysis. The results indicate that using diverse and numerous techniques in the form of psychological operations to influence the people of other countries is the main strategy of Israel, which according to the theory of constructivism is the ultimate goal of governments that intend to manipulate people’s attitudes in conformity with their wills. Based on this, the Zionist regime has used the following principles of psychological operations, mentioned in order of importance: image creation, intimidation, labeling, benumbing, incitement, creating division, provocation, making enemies, expressing through the others’ mouth, and dehumanizing.

 The present study, entitled "The principles and components of communication of Imam Hussein(AS) in civilization during Ashura", is research with a qualitative approach that seeks to achieve the communication plan of Imam Hussein(AS) in the year 61 with a new look at the phenomenon of Ashura which the Almighty God has drawn for that Imam Hussein to answer that question that what the principles and components of communication of Imam Hussein were in civilization during Ashura.The necessity of conducting this research has been in two ways. First, so far no research that has relied solely on the text of history itself and has been far from personal analysis which has been conducted on Ashura. Second, in order to reach the communication model of Imam Hussein, basically no research had been recorded and conducted. so the Grounded Theory method was considered suitable for this research.The researcher first has examined the civilization of the prophets in the Qur'an and the Five members of Al-Abba in the history of Islam to define the path of civilization . While, it was the turn of the history of Imam Hussein through which the 31 sources of Ashura, were carefully analyzed to extract the communication propositions of Imam.Finally, after extracting and classifying the propositions and analyzing them, the datas were classified into the following two categories:1) Principles and communication components of Imam Hussein in speech(21 subgroups): For example, "Invitations", "Prayers and Curses of the Imam", etc.2) Principles and communication components of Imam Hussein in behavior(5 subgroups): For example, "Imam's apparent awe", "Speech and principles of persuasion", etc. 

Identity means the reality of a person, thing, group and nation. There is no being without identity in the world of existence. It has different in types like historical, linguistic, religious, social and cultural identifies. This paper aims to study the effect of Karbala and the Ashura events on the historical and socio-cultural identity of Shia in old poetry, from the first to the fifth century AH, based on the qualitative content analytical method. This research is based on the poetry of ten old Shia poets. This article draws conclusions such as: Karbala is part of the history of Shias, their historical and political identities, which cannot be deciphered. The poets have preserved it in their collections, as it is a factor for the unity of the Shiites. The social and cultural morale of the Shiites on the day of Ashura, not only has an emotional dimension, but political and spiritual as well. The poet adheres to it in order to establish unity among the people, and to minimize their pain. We see old Shia poets not very inclined to explain the details of Ashura, but rather talk about the faculties that constitute the foundations of their beliefs.

A comparison between the pattern of pilgrimage experience in the two pilgrimage rituals "Arbaeen Walk" and "Last Zero Pilgrimage to Mashhad" can provide a good understanding of the pilgrimage patterns of Shiites, especially Iranians. The present article, by asking about these differences and similarities, has been conducted in the framework of a qualitative research with participatory observation techniques and in-depth semi-structured interviews with pilgrims and servants in both hiking rituals. The research data were collected from two experimental studies on the Arbaeen walk and the last zero walk to Mashhad, both in 1396. The results show the fundamental similarities in the general patterns of travel and experience of Iranian pilgrimage in these two religions. At the same time, there are important differences between the experience of pilgrims in these two rituals, which can be seen especially in the prevailing pattern of travel, how to serve pilgrims and organize these activities, as well as the pattern of identity and cultural diversity in the context of these two rituals.

Screenwriting is one of the most popular arts in the Iranian culture that could link the events of Ashura with visual culture and turn the narrative into a narrative. The narrators with the poet in each street and the street read the curtains for the audience and transmitted Ashura's message and culture to the chest and to the generations. This art could be seen every day and used, but today there is no news of it. The photographers also plotted on the occasion of the event to be installed in holy places and houses on the walls, and the narrators with a curtain and self-esteem with audiences like the theoretical and theatrical theater To explain. In this article, the imam Hussein's imam's portrait and Ashura's afternoon events based on the screening on the screens are analyzed using the Faye Form method. The results suggest that the curtains, while expressing the emotional feelings, have been able to communicate with the audience. This connection, if accompanied by an oral narration, while the audiences express their feelings, regard the curtains as sacred object, which will interfere with the event of Karbala.

Religious systems spread across geographical contexts and thus form their own historical and geographical formations. The existing understanding and analysis of Shiite formulation is mainly concentrated on its time and historical developments. In this article, I have tried to deal with geographical aspect of Shiite identity formation by emphasizing the recent developments, especially the fall of Saddam and the liberation of pilgrimage of Karbala and other Shiite holy cities in Iraq for believers, in relation to the geography of the Holy Land in Shiite culture. Historical data show that Shiism has always regretted for the pilgrimage to its holy land, Karbala, and this has symbolically become a fundamental part of the identity and faith of Shiites around the world. The most important consequence of free access to the holy shrines has caused the fundamental change of this formulation of the centrality of the Holy Land and the end of this historical syndrome of regretting for the Holy Land and the desire for pilgrimage.

Abstract Holy soil that also called Torbat is brought from around place that belongs to Imam Hussein(AS) holy shrine or any other holy lands. The sanctity of these places is due to an important event that took place there. Objects that belong to holy place are also sacred, such as rosaries and mohr-e namaz or water that are brought from there. Some of objects are made of holy soil and are used in different ceremonies and rites like passage rites from birth to death,. They also used to protect people from evil eyes, recovering and healing. This study is to find the role of holy soil or Torbat in a daily life of Tehran residence and also a comparative review to find similarities and differences of using holy soil in passage rites of different points. The method of study is documentary and library study alongside In-depth observation and interview with the participants.

The author of the present paper is going to study and explain the content of two works on the eventof Karbala. The titles of these essays are as follows: 1.“Remembering Karbalāʾ: The Construction of an Early Islamic Site of Memory,” by Antoine Borrut; 2. “Beyond the Karbala Paradigm: Rethinking Revolution and Redemption in Twelver Shi‘a Mourning Rituals” by Edith Szanto.

The term “Ta’ziyeh” refers to an Iranian dramatic genre which might be compared to the Western Passion Play and is the only indigenous drama of the entire Islamic world. This ritual drama has both an Islamic and a Persian heritage, the central theme of which is the tragic and heroic martyrdom of Imam Husayn, the grandson of the Prophet Mohammed and the third Imam of Shi’ite in the desert of Karbala in 680 A.D. Shiites believe that Imam Husayn sacrificed his life to be their Intercessor on the Day of Judgment. The history of Ta’ziyeh did not begin with the events at Karbala rather it dates back to pre-Islamic culture as well as the dramatic expressions of both the Memorial of Zarer, a religious epic from the Sassanid era, (226-652 A.D.), and the Tragedy of Siyavush, a work from ancient Iran, which precedes the Ta’ziyeh play by 1,200 years. The tradition continued from an early processional form to the Magtal-Khani (a recital of martyrdom stories), until it took a dramatic shape. Further, both the playwrights and the structure of the Takiyeh performance building, its performance site, contributed to the evolution of Ta’ziyeh. In this paper, the emphasis is to demonstrate the character of Ta’ziyeh, its foundation and, the development of its various elements. It also attempts to reveal, from an objective stance, its value to a people who embrace it as a kind of ritual, both a holy and national art form. Ta’ziyeh is a kind of ritual drama which has fascinated some of the world’s most famous theatre historians, critics, and performers, who view in it some elements of the postmodern theatre.