Analysis of critical speech as a new approach of speech analysis is a significant method in detecting the speech-based cosmology. Neon Van Dupek, one of the prominent theorists of critical speech analysis, emphasizing on this fact that speech-based cosmology (ideology) which has the capability to reflection in the language presents the quadrate theory of ideology. The term "ideology quadrate" composed of four sides emphasizing on our positive characteristics, negative features, paling our negative characteristics and other positive characteristics, makes clear the opposite characteristics of speech and justifies the polarization in the societies. Through descriptive-analytical method, in the present paper, it has been tried to study and analyze the conversation between Moses and Pharaoh which is a representation of Quran's data in order to detect the ideology reflection of conversation parties in the internal and external texture of text and deeply recognize the text layer as well as test the testability of this theory in Quran. The results of this study imply that the discourse of Pharaoh tries to distort the other-Moses-through applying various language forms. It is in contrast to Moses who presents a discourse based on my enhancement.

Norman Fairclough's critical discourse analysis is an important theory of discourse analysis. While expressing the relationship between the internal and external evidences of the text and relying on linguistic forms and signs, this theory seeks to examine the dominant power of society and the space in which the literary work is formed through the three axes of description, interpretation and explanation, and to read through some kind of ideological concept beyond the text. Given the importance of Al-Tahaddi Ayahsin the miracle of the Qur’an and various interpretations of these ayahs, the necessity of a new reading is felt. Using a descriptive-analytical approach and based on the analysis of Fairclough's critical discourse analysis, the present study concluded that at the «description» level, the key words used to describe and critique the speech and behavior of the polytheists with varying frequency in the context of Al-Tahaddi Ayahs have played a central role in the representation of the ideology governing the society, and serve as a comprehensive and accurate reflection of the circumstances of the society in the era of the coming down of the Qur’an. The level of «interpretation» is a combination of textual content and contextual knowledge, consistent with historical mutual action that shows how social structures describe and define discourse as social action. At the level of «explanation», the Qur’anic rhythmical order and rhetoric are the most important factors in people's trying to emulate the Qur’an. However, the social relations of the era of the descent and the extratemporal dimensions of the Qur’an have also been influential in the revelation of the ayahs.

 In the power structure, the ideological anxiety of the subversive forces is such that its owners do their best to subdue the subversive forces and destroy their legitimacy in the power scene. As much as the ideology reproduces itself at every moment, the subversive forces are also mocked to make their seizure of power appear illegitimate. Subversive forces are depicted in a situation where they are unable to maintain the power and the order of affairs, and the only solution is to destroy them and restore the previous order of affairs. One of the benefits of literary works is that they are cultural narratives to show the conflict of power, whose representation reaches its peak in epic and tragic genres. The stories of King Lear and “Fereydoun and his Sons”, Hamlet and “Kay Khosrow” are good grounds for comparative analysis of the tension in power and subversion. Demonstrating them and their resolutions often prevents their occurrence in reality.

Background of the Study: 

Gender, race and social class are the subject of studies that have examined the plays from 'the other' point of view. For example, numerous studies have been conducted on Shakespeare's works for gender and race (Callaghan, 2000), the status of women (Kemp, 2010), ideology and 'the other' (Henderson, 2008; Hawkes, 1996; Drakaki, 1985), etc. Of course, they lack a comparative view. Similar studies have been done about the Shahnameh, but they also do not have a comparative view. Recently, attention has been directed towards doing comparative studies between Shakespeare's and Ferdowsi's works, especially the tragic parts. Despite the tragedy-oriented and comparative studies, the place of Marxist studies seems to be few among the articles. Among this collection of articles, a comparative research with the view of cultural materialists on works was not observed. Therefore, the present research, while benefiting from the results of the articles, adds a new chapter to them.

Cultural materialism along with the comparative method compares the ideological anxieties in the power structure. Narratives in cultural materialism are a part of the cultural history of nations and intertwined with other literary and non-literary narratives. In this approach, as much as it is possible to reconstruct and recognize the facts related to the narratives, it is also possible to change and observe the changes made. For example, the status of 'the other' in race, gender and social class shows how the culture of 'the other' and 'the same' have changed since the writing of the work. On the one hand, cultural materialism examines challenges and faults and shows that power is not unified and is always subject to threats. These threats force the power to use any means, ideological (ISA) or repressive (RSA) for its survival and legitimacy. On the other hand, it goes beyond the current level of consciousness. 

This research shows that the power uses every mechanism and deceitful trick to maintain its survival. The evidences in the selected works show how subcultures and Others existed in the power structure. While writing and protecting the myths and cultures of their time, both of Shakespeare and Ferdowsi displayed the differences, gaps and the possibility of change in the opportunities they encountered. The evidence of this comparative analysis shows that there is a significant similarity between the components of ideological anxieties in these tragic works, which connects the literature of the East with the literature of the West.

This paper analyzes the representation of gender relations in the novel Lullaby for the dead girl. Using Van Leeuwen’s (2008) approach to critical discourse analysis, the paper investigates how the roles of fathers, mothers, sons and daughters inside and outside of the family are represented. Different patterns of authority and gender identity will emerge from the analysis of three families depicted in the novels: (1) male domination combined with suppressed gender identity; (2) post-patriarch authority combined with passive gender identity, and (3) traditional patriarch authority combined with backgrounded gender identity. Women, in these family types are, respectively, suppressed, passive and backgrounded; men are dominating, liberal and patriarchal. The novel represents the socio-cultural discourses in specific period of contemporary Iran with all the discursive conflicts of tradition, modernity, poverty and justice. Power is active and streams among the discourses. Power reconstructs the inter-discourses meaning. Also, power includes the modernity and justice discourses; and excludes the poverty and tradition discourses within the economic and cultural concepts. Power, also, represents the ideology of patriarchy and male dominance within the cultural context of the novel. This study examines how gender relationship’s roles and identities are represented in Iranian adolescent novel Lullaby for the dead girl written by Hamidreza Shahabadi (2009). The purpose is to analyze the roles of fathers and mothers, as well as their relationship with their family members in Iranian society. Studies of language and gender (e.g., Baxter, 2003; Cameron, 2005; Mills, 2008; Sunderland, 2004) have often conceptualized language as a critical means for constructing or deconstructing gender in diverse ways. However, little attention has been paid to cultural differences in this regard. This study examines gender relationships in families as well as the role and identity of individuals inside and outside the family. In other words, this study focuses on social actors in families with an emphasis on the formative influence of the social and cultural context. This study is based on the descriptive- analytical method. Using Van Leeuwen’s social actor analysis (2008) to explore the identity and the role of the members of each (three) families, leading to the identification of three models of authority and identity. The differences between these models are explained with a focus on social actors. Finally, the social construction of these models is discussed. This research focuses on the adolescent novel, Lullaby for the dead girl, by Hamid Reza Shah-Abadi comprising three families depicted in the novels: (1) male domination combined with suppressed gender identity, (2) post-patriarch authority combined with passive gender identity, and (3) traditional patriarch authority combined with backgrounded gender identity. This novel alternates between the present and the period of Iran's Constitutional Revolution and the formation of the first National Assembly of Iran in 1906, which was a landmark in the history of Iran. This time fusion has significant implications. Iran’s Constitutional Revolution, which moved the country from authoritarian rule to constitutional monarchy, crystallizes the discourse of freedom and rule of law, achieved through the efforts of liberal elites and people fed up with the atrocities of the despotic monarchy. The social-political context depicted in the historical part of the work is related to present-day political-social developments.
Critical Discussion Of Differences in Three Models of Authority and Identity
How has Van Leeuwen’s framework for analyzing the representation of social actors helped understand these models of authority and gender identity?
Role determination has been a significant issue. All male actors in relation to other actors in the social context of families have been portrayed as active. In contrast, female agents have been represented as suppressed, and in the third model as passive in relation to male actors.
The identity of female actors in the first model is determined by actions such as doing housework, cooking, washing men’s clothes and bringing up girls with her style while in relation to the husband, they are portrayed with the technique of suppression. In the third model, female agents have been passively represented.
Fathers have been represented in three distinct ways. In the first model, they are primarily represented by means of physical identification. In the second model through functionalization and in the third model through classification. Considering that the description of physical features can refer to implicit concepts (Van Leeuwen, 2008), the physical identification in the first model connotes power, authority and dominance, and the father’s role. Based on descriptions provided in the text, father has an absolute power in the family context, who makes decisions, even for other family members, any complaint against which would lead to exclusion and rejection. The father in the second model is represented with an emphasis on functions such as participation, empathy and harmony among other actors in the small social context of the family.
The father in the third model is represented with a combination of positive functions such as his kind connection with his children, being worried for his family members and some negative actions such as making decision for the family.
Type allocation is another technique used for representing prominent differences between social actors in the three discussed models. In this regard, male actors are distinct from female actors in the first model (individualization), whereas in the second model they are assimilated and collectivized as a single, united group, with all family members having relatively identical roles. In the third model, genericization is at work, portraying the father as a prototypical patriarch and linking him to other patriarchal male actors. The male actor is here the decision-maker inside and outside the house, and the economic leader who determines the role of other members in the family, trying to legitimize his decisions with various reasons that are regarded as valid in the traditions of the culture. In all three models, the female actors are portrayed as active in domestic work while the male actors work outside the home.
In the first and third model, the father is the superior power who takes responsibility for both the domestic and the outside affairs of the family. Also, in the first model, the male actor is represented as associated with other men, and differentiated from the women in the family. In the second model, however, family members are all associated, and not differentiated (inclusion).
The mother's identity in the first model has been represented in terms of physical identification and functionalization. Her physical identity has been negatively represented, and the emphasis has been on her function as a mother and housekeeper who aims at satisfying the needs of the male family members. In the second model, the mother is represented through the technique of functionalization with an emphasis on her maternal function and on attributes such as compassion, kindness, responsibility and caring for children. However, this function has been backgrounded in the third model.
The daughter has been represented differently in the three models. In the first model, she is portrayed through the technique of passivation by family members and suppression by the father on the one hand, and activation in relation to friends and peers, on the other hand. In the second model the daughter is represented as actively and dynamically engaged with all other family members. In the third model, the daughter is activated in relation to her peers and suppressed in the domestic environment.
In all three models, differentiation is a key factor in describing the daughters’ identities. In the first model, power, authority and domination belong to male figures and female actors are marginalized and suppressed by male actors. In protest to existing conditions and in an attempt to free herself from discrimination and gain freedom, she leaves the family. In the second model, male and female actors are associated. They all adopt identical roles and functions. Unfair boundaries, discrimination and coercion give way to participation and assimilation, and negotiation replace conflict. In connection to the daughter in the third model, gender differentiation is visible in the context of society as a whole, where women are a male property that can be sold whereas in this model acceptance partially replaces the protest. As if the father decisions are the only best way to survive.
In another framework of identity expression, the daughter in the second model and the parent actors in the first and third models are over-determined through a variety of techniques such as inversion, deviation and connotation. The daughter in the first model is the symbol of today’s generation. She protests against her mother’s view of female roles and female identity and critiques her compliance and obedience to her husband. That is, she protests against the role defined for her in the traditional context. The past generation here remains committed to traditional culture and imitation of previous generations and the new generation rejects this and seeks to live according to its own standards, rather than those of the patriarchal system. In the second model, the prevailing justice and freedom discourses give actors the right to freely and openly and not implicitly express their criticism. In other words, in this family, conflict has been replaced by negotiation. Connotation is an important over-determination factor in the novel as a whole. The representation of the ‘dead girl’ in the mirror implies the persistent pain of confusion of female identity in patriarchal societies from the past to the present. This confusion of gender identity, gender discrimination, and patriarchal authority is reconstructed over time in various social and historical contexts. The research has shown that the portrayal of authority and gender identities in Iranian stories representing families is based on three models which has been affected of the various types of families in Iranian society. In the model of patriarchal authority and suppressed gender identity, men are in control and determine the role of women. The stories realize this through the techniques of gender differentiation and individualization into the two poles of “us” and “them”. We have called this model of authority and gender identity “patriarchal - male dominated”. It portrays patriarchal dominance and the suppression of female identity and represents women as obedient and compliant in serving the needs and desires of men. Women then seek to transfer this model to the next generation through the way they raise their children. In other words, the socialization of children in patriarchal families results in the reproduction of the system in future generations. Girls learn to follow in their mother’s footsteps and boys look up to their powerful fathers as their role models. In societies where authority, power and conflict dominate the public sphere, this domination system can be found in the family as well. The contradictions between the traditional patriarchal-male dominated system and the equality system can give rise to confusion, identity conflict, family tension, and social conflict.
In the ‘male liberal authority and female active gender identity’ model, men play a role both inside and outside the family. Although the woman is still home-bound, she plays a more active role and does not merely performing daily routine activities. Also, although the man is represented as the economic leader of the family, the woman is not merely at his service, but also involved in personal and individual activities. In this model, justice, freedom, support, compassion and encouragement partially replace power, domination, humiliation, violence and punishment and children experience a cooperative environment, based on negotiation, gender equality and freedom. It is an environment that empowers them to manifest their abilities and identity in a dynamic and constructive manner instead of suppressing them, so that in the face of difficulties and conflicts, they can refer to them as a deterring and preserving force. Societies in which the discourse of justice and freedom in the true sense of the word prevails, and in which the relation between the state and the citizen is characterized by interaction, smaller communities can be based on the same concepts.
In the third model, i.e. the ‘dominant patriarchy and passive female gender identity’ model, the father continues to have patriarchal power over both the male and the female members of the family, and he still determines the role of all family members in all domestic and outside affairs. But in this model, patriarchy is not necessarily dominant, though children under the influence of this model will continue to follow it in the future. Women may be subordinated to their husbands, but they are not suppressed or marginalized.
Children in this model also have a passive and receptive role and are required to perform duties assigned to them by the superior power of the family. Since in this model, there is interaction between the father and children and they receive emotional support of father in some circumstances, the contradiction between authority and compassion can make young children confused with regard to their gender identity. That is, on the one hand, they see themselves deprived of any authority and domination, choice, decision and understanding and on the other hand, compassion makes them committed to this dominance.
All three models portray authority and identity in the history of societies which are subject to constant change and reconstruction. In fact, they are the outcome of the culture and politics of these societies, which can then, through stories of this kind, play an active role in the formation of adolescent gender identity. The models and the manner of their representation in influential and widely read texts such as adolescent fiction can be pivotal in shaping socio-cultural and family models that are based on cooperation, activation, role-assignment and equality.

Le présent article a pour objet de repérer les techniques et les astuces par le biais desquelles l’idéologie et la subjectivité d'un écrivain tel que Céline, se manifestent au niveau de l’énonciation. Pour ce faire, nous avons recouru aux outils linguistiques ainsi qu'aux nouvelles méthodes d’analyses élaborées par Jaap Lintvelt. Les principales questions qui constituent l'assise de cette recherche peuvent être formulées comme suit: comment et dans quelle mesure, la structure narrative d'un roman parvient à refléter l’idéologie de l’auteur, à rendre compte de l’univers affectif et subjectif de celui-ci? Quels procédés et quelles stratégies sont utilisés pour obtenir du lecteur qu'il assimile et adopte, la subjectivité du créateur du roman? Et finalement, quels sont les effets produits par ces techniques narratives sur la réception des lecteurs?

The aim of the present study is to explore manipulation in the subtitled version of ‘The Fitna’ movie released in Western mass media. To accomplish this, the film was analyzed to see how visual semiotics was applied to represent the stereotypical implications in Islam to Western audience. To define manipulation, this study drew on van Dijk's cognitive approach to manipulation in the framework of Critical Discourse Analysis (CDA) which maintains that manipulating people involves manipulating their minds, that is, people's beliefs, such as their knowledge, opinions and ideologies which, in turn, control their actions. Following the CDA approach, it is hypothesized that among the manipulative techniques available to translators, Re/De-contextualization has been widely applied to form a "preferred mental model" for Western audience through which Islam is perceived negatively in English. The results show that five translated texts of the Quran have been used in the film. The Analysis of translated texts based on hypothetical model of translational manipulation in developing news stories showed that the translated texts have been re-contextualized, spreading stereotype by constructing a new mental model.

Great changes including Islamic revolution and war have been happened in Iran, during Seventies to nineties; and it has an unbreakable bond with the intellectuals who act as key player of these changes. This research attempts to review the intellectual person that represented by the cinema in this era, and to interpret the social relations nurturing him.
In order to achieve the purpose, selected movies from mentioned decades have been analyzed in-textually and hyper-textually through the "narrative analysis" method and considering the intellectual theory of "Gramsci" and theory of "representation" in the media studies. therefore the relationship between each of represented intellectuals with their social context, the relationship he does with the power and the ideology of observing him, have been revealed.
It has been concluded that, the intellectuals in the movies act belong to special social classes; and also the ideology of looking at him in each movies has been tied to particular ideologies in its era. Finally, it has been revealed through comparing this process, the represented intellectuals have been related to ''political issue", and their freedom of actions has been limited or developed by moving away or approaching the power ideology in the decade leading up to the Islamic revolution and the first decade after that, but the intellectual of nineties decade has been looked for a new role and has been related to "social issues" after passing the first decade of the revolution and war ending and fading the revolutionary ideals.

This research uses descriptive-analytic method to study the interaction and correlation of the time element in the form of coding layers with other tag systems in al-moharraj by Mohammad al-maghout. The purpose of this research is to discover the most important signs of time and how they represent them, as well as to examine the function of other levels of the dealer in explaining and promoting these types of symptoms. The findings of the research show that in the play of Mehrj, time as a social subculture plays a very important role in identifying the intangible talents of the text, the secondary concepts and the ideology governing it, and has a close and meaningful relationship with the other layers of the other, On the other hand, a vast network of textual levels such as location, characterization, conflict, and action implicitly and implicitly implies the concept of time. Also, in the display space, there is a kind of non-linear and discrete time that, as a result of turmoil in the world today, the contradiction and rule-of-factness of social-cultural norms has arisen.

By increasing access to social media in Iran, the clerics as well have used these media. They not only use these media for religious content production; but also they use social media such as Instagram to present non-religious content to attract attention. In this study, based on purposeful sampling method 71 Instagram posts of 5 clergymen were analyzed.Results show that non-religious content in 2 themes have been articulated: "liquidity of Instagram clergy" and "transition from privacy to spectacle environment" By re-presenting their political attitudes, sport activities, their home, companionship with celebrities, cultural consumption, and on other hand, self re-presentation, the clergymen have expressed various issues to get attention of users on their pages. Relation of this style of self-expression with celebrity culture is siginifies the resemblance with celebrities activities, such as showing everyday life, privacy and various comments that are based on attention communication model, seeking fame promotion on instagram and gaining more attiention captial. Thus clergy transition from re-presentation of religious and non-religious content to the non-religious re-presentation has occured to gain greater fame; to turn them into "show clergy" according to the components of a semi-celebrity.

The purpose of this article is to examine the various positions regarding to the relationship between ideology, education, and curriculum. In this view, diverse perspectives on the relationship between ideology, education, and curriculum have been raised in scientific and educational forums specially in Iran, each expressing particular beliefs and interpretations. The general analyses indicate that these positions can be summarized within a spectrum of perspectives that include anti-ideology, de-ideologization, and pro-ideology. From the perspective of anti-ideology and de-ideologization, making education and curriculum ideological have no validity, and education should not be dependent on ideological perspectives. In contrast, ideologues believe that education is inherently ideological, and anti-ideology and de-ideologization cannot be removed from the essence of education and curriculum. From the perspective of ideologues, de-ideologization approaches, which often align with critical left-wing and positivistic-secularistic intellectual paradigms in education, themselves promote and advocate for alternative and substitute ideologies within the domain of education and curriculum. Initially, the concept of ideology is defined from the perspective of various scholars, and its position in the field of education is elucidated. Subsequently, drawing on the views of Eisner, Ornstein, Hopkins, and other experts, it is argued that education and curriculum are inherently ideological and cannot be abstracted from ideology; as every educational theory or ideology is based on a specific philosophical framework and value system that guides it. Furthermore, three main perspectives on the relationship between ideology and education, including antiideology, de-ideologization, and pro-ideology, are introduced and examined. The anti-ideology and de-ideologization views, which claim that making education and curriculum ideological have no validity, are logically refuted; as education and curriculum are intrinsically and necessarily ideological, and it is impossible to eliminate this inherent characteristic from them. It is also argued that proponents of these two views are often influenced by the critical-Marxist and positivistic-secularistic paradigm and are themselves indebted to an alternative and substitute ideology. In contrast, the pro-ideology approach, which emphasizes the inherent ideological nature of education, is endorsed. Accordingly, any education must necessarily be ideological and explicitly articulate its specific ideological orientation. Finally, the importance and position of ideology in the religious education system are discussed, presenting ideology as the factor that links faith and religious practice and realizes the guiding function of religion.