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

The purpose of this research is to analyze the character transformation process through the application of the "Six-Stage Character Transformation in Drama" theory, using the TV series Sahebdelan, He Was an Angel, Aghmaa, and Forbidden Fruit as case studies. This research aims to examine the various types of character transformations in these dramas and demonstrate how the diversity of character transformations in a drama contributes to its quality.

The research method is qualitative content analysis, which includes specialized techniques in processing research data. This method seeks to perceive the perceptual and emotional aspects of messages or to understand the hidden and extractable aspects of statements and contents. Therefore, in addition to describing the state and nature of the phenomenon or subject, the researcher in this path also explains the how and other dimensions of it, as well as the qualitative analysis of the content of the work.

The six types of character transformation, namely resurrection, fall, ascent, decline, regression, and deterioration, were all present in the dramas examined in this research. In other words, the character transformations in these dramas are not solely limited to the category of resurrection (repentance), but other types of transformations also exist. Nevertheless, in a series like Sahebdelan, where character transformation is more diverse, the quality of the drama is also higher.

Based on the findings of the analysis of the character transformation process in the target dramas, it can be concluded that to have a screenplay of desirable quality, in addition to the transformation of the protagonist, the other characters in a screenplay should also undergo transformation, although not to the same extent as the protagonist.

This research aims to explain the construction of complementary anti-heroine characters in the historical TV series "Mokhtarnameh" directed by Davood Mirbagheri.

The research first examines the three-level conflict through the collection of materials in a library-like manner. Then, it evaluates the characteristics of complementary anti-heroine characters through the observation and analysis of the series using qualitative content analysis.

The playwright, as the main creator of many conflicts and crises, has portrayed a woman as a vital element in the conflicts, which plays a significant role in the emergence of crises and suspensions. The playwright has created prominent and influential characters by assigning several features to the complementary anti-heroine characters, whose actions either provoke the hero's reaction or cause the anti-heroine character to act against the hero. The playwright, by creating internal conflicts in the mind of the complementary anti-heroine character and transferring this conflict to the anti-hero character, creates personal, interpersonal, and crisis conflicts that drive the story forward.

The creation of complementary anti-heroine characters in the "Mokhtarnameh" series has had significant results in advancing the drama. The roots of many events are influenced by complementary anti-heroine characters, and as a result, the story progresses. The complementary anti-heroine character makes the anti-hero character more resilient in confronting the hero, resulting in significant conflicts, actions, and reactions. It is worth mentioning that despite the very positive results of creating these characters in advancing the drama, they also have weaknesses. By expanding their strengths and reducing their weaknesses, characters can be created that are more dynamic, attractive, and unpredictable, with different visual attractions than previous characters, and be more effective in advancing the drama.

Today, dramatic arts are one of the most important ways to promote ideologies. Producing a dramatic work about the lives of religious leaders is one of the main goals of Muslim artists, but this task faces many challenges. One of the most important challenges is adapting the lives of the Imams in dramatic texts. The purpose of this article is to identify the licenses and limitations of this matter from a religious perspective.

Data will be collected using library research method and analyzed descriptively and analytically.

By examining storytelling and drama from an Islamic perspective, we have found that Islam has not explicitly stated anything about such arts, but through the practices and methods of the Qur'an and Imams, a kind of implicit confirmation can be inferred because God has repeatedly used this method to convey teachings to humanity. We have also found definitions for concepts such as blasphemy, insult, and sanctity in addition to various adaptations.

Adapting the lives of the Imams in dramatic texts is not inherently problematic, but it should not lead to something forbidden. Two things are considered forbidden in this matter: blasphemy and insult. In faithful adaptation, we are usually not exposed to these two issues, but in free and borrowed adaptations, if the writer claims truthfulness, he or she is exposed to blasphemy and subsequently insult. The writer must be careful not to insult the sacred and holy characters, even if the story is fictional. From the Islamic and Shia point of view, this insult and violation of sanctity cannot be forgiven.

In the twentieth century, the rotations of language studies in the philosophy of language have affected many other branches of philosophy, including imagination studies in arts. Ludwig Wittgenstein, in the position of one of the figures of the philosophy of language in the twentieth century, tried to shake off the philosophy of language from being merely theoretical and make it nearer to method. So, his reports -particularly in the recent era- are the ways to recognize the functions of language in line with the method-orientation of the structure. The purpose of writing this article is to access the expansion ways of dramatic language, with an eye to imaginative language structure based on Wittgenstein’s opinions. Accordingly, the scenario of “Maybe, Another Time!” by Bahram Beizaei was chosen in which the linguistic games are clear. In this research, this question has been answered: how can Wittgenstein’s method in the imaginative language structure result in the expansion of dramatic language? On this very basis, this hypothesis is strengthened: it seems that Beizaei has combined different elements by mixing various structures of imaginative linguistic games to help with the expansion of the dramatic language of the work. This research is applied in terms of the goal and qualitative in terms of the documentary data collection method, and it has been conducted based on descriptive nature. According to the results, imagination-generation and formation of its linguistic game in the addressed scenario, possesses different forms and has led Beizaei to combine different verbal methods in dialogue-writing and illustration, and achieve the production of a special linguistic structure by network imagination method.

Edward Albee (1928-2016), an outstanding American playwright, is one of the authors who tried to represent the social relations of individuals in his plays. The reflection of these relationships can be viewed not only in the characters' words, and in their silence, as well as their physical encounters. This characteristic reminds us of the attention to the visible and hidden aspects of behavior in the theory of symbolic interaction. The purpose of this study is to apply symbolic interactionism focusing on the viewpoints of George Herbert Mead (1931-1863) in Edward Albee's A Delicate Balance. In this study, the method of directional qualitative content analysis has been used. Findings show the changes occurred in the beliefs of Americans after the middle of the twentieth century through the confrontation of two groups of characters. On the one hand, parents who are subject to the bourgeois patterns, values, and standards of traditional American society, and on the other hand, their significant others have lined up against them. The second group, despite transmitting from the traditional values of society, have not been able to continue their social life independently and are therefore dependent on the first group. This parasitic dependence that gives rise to conflicts and tensions of the characters; upset the delicate balance of the family. It Eventually leads to the evaluation and rethinking of the dichotomy of social responsibility vs. individual rights.

The book "Dastan Rastan" is a lasting work of Morteza Motahhari, one of the most important works of contemporary religious art in the eyes of the audience. This book has been rewritten in a simple story format based on Islamic hadiths and narrations and has been able to introduce the concepts of Islam to the audience, especially children and adolescents. The author of the book has tried to dramatize the stories without changing the essence of the narrative so that the elements of the drama make them more readable. This led the authors to take a closer look at The Story of Truth from the perspective of Aristotelian drama for visual adaptation, especially in film and animation. For this purpose, one of the stories called "Answered Prayer" was examined analytically-qualitatively based on the components in the structure of Aristotelian drama. Drama is basically created for human education, guidance and learning, which ultimately leads to cultivation. According to Shahid Motahari, the purpose of "Dastan-e Rastan" is for the reader to think about it and add something from his own thought, and this will eventually lead to an action. The findings of the research indicate that the book "Story of Truth" due to its theatrical potential and salient features such as Spectacle, Character, Fable (Plot), Diction, Melody, and Thought., the possibility of any new adaptation. Provides writers with screenplays for animation and other theatrical productions; A capacity that should be given more attention by artists.

Narrative methods is one of the complex and ongoing human challenges. Perhaps the first human question in the communication process has been, "How do I quote this?" This is a question that still persists today. In addition, other questions arise in the minds of narrators: "What are the main elements of storytelling?", "What are the narrative methods?" And "What method should I use to tell this story?" Evidence shows that, apart from the serious but general efforts of Plato and Aristotle or the unqualified theorizing of other scholars, nothing did in this field and didn’t establish a comprehensive system for the classification of these methods. This qualitative research was conducted by descriptive-analytical method using reliable library documents and sources, to achieving a comprehensive classification of narrative methods for the use of narrators. So, the definitions of the narrative and the main elements of the narrative were analyzed, and then are identified, and then a comprehensive model was provided to classifying Narrative methods in the performing arts using these elements and considering the previous classifications and describing and analyzing important structural theories about the narrative.

The purpose of writing this essay is the content critique and the form of the book of drama and the semiotics of theater and drama, the book of semiotics of theater and drama, is one of the most important books of theater and drama analysis. This book focuses on theoretical and methodological theories in the context of Structuralism semantic attitudes, and in this regard, the author sought to conceive concepts that somehow can be regarded as the main concepts and underlying themes of theater analysis. An analytical and applied methodology is presented to audiences who are interested in familiarizing themselves with the dynamic world of theater or seeking semantic methods for analyzing the theater. The main issue of this paper is the question of how the semiotics can analyze and interpret the theater and reveal to it the angles of understanding and comprehending the complexities of the world of theater and drama. The necessity and importance of a critical look at the book of semiotics of theater is for the more precise analysis, as well as the explanation of the mechanisms and functionalities of semiotic science in the analysis of dramatic texts. For this reason, showing the importance of the book of theater and drama semiotics is essential by revealing its analytical functions to guide the audiences and students who are concerned with theater semiotic analysis.

This paper aims to scrutinize what factors make Iranian youth pick Persian satellite televisions to fulfill their needs to entertain and prefer it to domestic TV channels and to answer this main question that from Youth audiences point of view, which factors affecting documentary and drama content appealingness in satellite televisions? To achieve the answer, 25 qualitative semi-structured individual and group in-depth interview conducted and analyzed by thematic analysis technic through MAXQDA 10 software.
Analysis revealed that the main factors of appealingness of drama content of satellite TVs could be summarized to five factors: story telling trends, social sticks, informational emowerment, resistance against domestic TV frames and repetition of familiar patterns. Moreover, there are two main factors which explain appealingness of satellite televisions documentaries to Iranian youth: comprehensiveness of narratives and professional selection and narration of subjects.
In general, drama and documentary contents of Persian satellite TVs have three substancial functions for youth audiences which cause their gratification. Audiences gain some Ideas and subjects to communicate, so, they can use this material to expand their social interactions. As well, they can find their familiar patterns, in the world where the other author created that; they can make their own meanings and build their own world. Without any irritating confront with serious content, they get the information from drama and documentary and it make them feel empowered in creating their world and confronting social world and this feeling of surrounding the world make them satisfied.

Family is the most important pivot of a society that paves the way of its prosperity or causes its misery; an institution currently and unfortunately lost its stability, with its referring to Islamic life style being its panacea. Therefore, it is useful to present a suitable pattern of Islamic family through show productions. To this end, the present study seeks to the content policies of the desired representation of Islamic life style of family within show productions. This study has been carried out in two stages. In first stage, the content of 7 books on Islamic family was counted all, through qualitative content analysis. The analysis in this stage resulted in 725 codes classified in 93 concepts and 12 categories, and finally presented as the comprehensive pattern of Islamic family with 3 axes: theoretical perspectives of Islam on family, practical solutions for strengthening family, and family instability factors. In the second stage, with the questions designed out of the pattern obtained in the first stage, the experts and professors in 4 areas, namely management and policy making, family and Islamic life style, TV production, and communication science were interviewed. The interviewees were selected through purposeful sampling and the interview itself was conducted in a semi-structured form. The results obtained from the interviews were codified and categorized. Finally, the results of the study were presented in two parts. The first part titled as “objectives, axes, and priorities” included 7 categories namely, “marriage and making family”, “outlining the position of family members”, “the economy of family”, “the desired environment ruling on family”, “visiting relatives”, “the duty of family members”, and “dealing with family instability factors”. The second part also titled as “content policies and rules” included 35 content propositions concerning the desired representation of family in show products under Islamic life style.

Drama has an ancient history in India. The Sanskrit dramatic literature developed in an organized traditional infrastructure and continued during centuries. The main origins of drama in India are the dialogue-like vedic chants, vedic rituals, and epic recitation. Related arts such as dance and music were important in appearance and development of drama in India. Moreover, Greek dramas may have had influences on Sanskrit dramatic literature. Studying the origins of drama in ancient culture of India reveals that it had some counterparts in ancient literature of Iran, which remained until Islamic period and parts of it became more widespread. On the contrary to these powerful origins in India, drama has not been able to develop in form of organized and indelible works of art in Iran. In this paper, firstly the origins of drama in India is discussed and afterwards, the void of drama in ancient literature of Iran is studied. It seems the main reason for such historical void is the fact that writing tradition has not been developed properly in ancient literature of Iran.

Selfie can be interpreted as an emerging new sub-genre of self-portraiture, as anexample of the digital turn in vernacular photography as well as a side product of the recent technological developments. For clarity’s sake, the term ‘selfie’ here is used only in relation to the self-portraits shared via social media, in accordance with the definition provided by Oxford Dictionaries from 2013. In this article I focus on identity at virtual space also by focusing on Instagram.This study tries to find the form of interact between Instagram users and their followers. my method is observation and semiology. I focus on 10 women who are the Instagram user.

The present research aims to examine the way family economy is represented in Channel Two’s telefilms (made-for-TV movies). First, five main components of family economy are introduced and then the way they are represented in the 1390(Iranian calendar) telefilms is analyzed. The findings show that in 92 percent of the telefilms “attempt to earn money”, in 31 percent “in-house jobs”, in 15 percent “in-house production of certain family needs” (except for daily food) and in 15 percent “use of Iranian goods” are represented. In 23 percent of the examined telefilms children had only a consuming role and they spent their leisure time playing or studying. “Financial investment by family” was not represented in any of the telefilms. Also, based on group discussions with programmers and TV experts, the following were suggested: holding expertise meetings for programmers on the “family economy”; using family economy’s consultants at the stage of writing scripts; and avoiding advertising foreign-made, unnecessary and luxury goods.

In this study we are to , resorting to Bourdieu approach regarding literary production, examine the state of producing drama as a literary genre as well as the fromation of its production field in 1960. To do so, by exploring the products and producers of the decade accompanied by application of Bourdieu's theory related to the principle of field and placement of positions in polarization in terms of closeness and distance to other fields, and the most important one " the field of power", polarization of the fields is done; and in the pure pole of production (thinking theater) a range of producesrs has been identified placed in the various positions of this pole in terms of their turning to Iranian or western presenting drama as well as the implication. As such, having built the field, formation the field of literary production in the decade is determined.