نشریه جامعه شناسی فرهنگ و هنر
سال سوم شماره 3 (پاییز 1400)

The concept of “Kolbari (Back Carrying)” has its roots in the economic relations in recent decades, and is the product of human society. This study intended to inspect the phenomenon of Kolbari and how it was interpreted from the perspective of active Kolbaran (Back Carriers) in the border region of Paveh City. The data of this qualitative study were collected through interviews, participatory observation and documentation, and the grounded theory method was used for data analysis. With the aim of obtaining theoretical saturation and using qualitative, theoretical, and purposeful sampling, 30 informed individuals were interviewed. The collected data were coded and categorized into 31 concepts, six main categories, and one core category. The six main categories were “ecology of the region”, “negligence of the relevant organizations”, “economic disorganization in the border region”, “pressures from the external structure”, “weakening of traditional modes of production”, and “kinship and cultural closeness”, and the core category, which included other categories, was “underdevelopment and lack of economic growth”. The results showed that Kolbari phenomenon as a historical and contextual issue can be the result of responding to economic, geographical, political, and cultural and livelihood facility deprivations and restrictions and unintended demarcations. The frontiers’ inference of the Kolbari phenomenon can be understood and interpreted as the only inevitable way to respond to underdevelopment and lack of economic growth in various dimensions of economic status, kinship and cultural affinity of the region.

The present study was conducted using a qualitative method. Study fileds is three TV series of the Local Channel of Ilam Broadcasting Center, in the period of 88 to 92 including: “Ghal va Ghawala”, “Bera va bash”, “Har ka ra khoye”. Sampling is purposeful. Semiotics was used to analyze the data. Findings show that in these serials, three types of traditional, intermediate and modern lifestyles are introduced and represented. However, the traditional life style is at the center of the text and the modern and intermediate way of life is marginalized. the Local Channel of Ilam Broadcasting Center, by representing a certain form of lifestyle as the dominant style, emphasizes the acceptance the traditional lifestyle and resists other styles in the society and mentions other lifestyles as abnormal and uncommon kind.

Iranian's today art is an art that has been formed in the contexts of contemporary art, and its concepts and structures are subject to the requirements of this larger paradigm. This new world, like the world of religion, is made up of the apparatuses of power and its agents. In our study, religion and art are considered as two identical texts. The main purpose of this study is to matching the structure of the religious world and its spiritual system in constructing the dominant model of the era with the world of contemporary art. The structure of the religious world has a direct impact on the dominant ideas of the time, their factors and actions. To this end, the realms of religion and art and their inner spiritual system must be revealed as a field of idea circulation, and by expressing the relation of each of them with the structure of power, based on the Weber's sociology of religion, try to achieved a classification of the institution of art and its agents.Our goal is to answer to this question: How does institutional structures of contemporary art such as galleries, shape the cultural policies of Iranian contemporary art? In order to achieve this goal, the present research has studied the HOMA Gallery as one of the influential centers in Iranian art today. Among these, the constructed texts by this gallery are the most important tools of our analysis.

Women are one of the active audiences of music consumption and music is always present in their everyday life experiences. The present study tries to answer the main question that what is the musical taste of women? And what typology of women's musical tastes can be formulated? This question has been done by qualitative research method. The data collection tool is semi-structured interviews with 28 women with different levels of education, social status, and age groups in Tehran, which have been selected by purposive sampling and theoretical sampling that are common in qualitative research. The results narrate that women are heterogeneous and this heterogeneity is also seen in their musical taste. Women in music consumption are seen as a random and scattered audience, leisure-seeker audience to identity-seeker audience, protest audience, skilled audience, and semantic audience. Women don't have a single musical taste, but their tastes are different based on their individual and social backgrounds; this means that the musical taste is social and it depends on social and cultural backgrounds. At the same time, due to the variety of musical functions in everyday life, women's musical taste moving towards integration and combination (Combined consumption of elite and popular music). Also, in the musical consumption of women, the functional aspects of music dominance on the aesthetic and semantic aspects.

As people use social networking sites (SNS) more than ever before, disclosing personal information continues to be an issue of increasing concern both for practice and research. In spite of existing privacy concerns, people paradoxically continue to disclose personal information. Information Systems (IS) literature has provided partial explanations for this paradox. However, recent studies have recommended the consideration of spontaneous privacy-related behaviors. The emerging research on IT identity (ITID) – the extent to which an individual views use of an IT as integral to his or her sense of self – has opened a new window on better explaining IT use behaviors. This study aims to investigate the role of ITID in self-disclosure behavior of SNS users. To meet this end, a survey was administered among 467 students at University of Tehran who were also Instagram users. The results of this research, shows that ITID is positively associated with self-disclosure behavior on SNS. Furthermore, it also shows that ITID is indirectly associated with self-disclosure behavior through the mediating constructs of trust, perceived benefits and risks. This study contributes to the research by providing a better explanation of privacy paradox phenomenon and considering the role of ITID in predicting privacy-related behaviors.

Cultural consumption is one of the indicators of lifestyle, which simply means the use of goods produced by the cultural system, and also determines the type of consumer taste. According to Bourdieu's theory, the consumption of cultural goods is related to the cultural capital of individuals. In this study, meanwhile generational comparison of consumption of cultural goods in Rasht, their cultural capital has also been studied by survey method and 400 people as a sample have been asked questions. Analytical results based on statistical tests indicate that the average consumption of cultural goods in the third generation (after the revolution) is higher than the second generation (before the revolution). In fact, the third generation has a higher average cultural capital than the second generation. In fact, the third generation has a higher average cultural capital than the second generation. Another hypothesis of research on the relationship between cultural capital and the consumption of cultural goods has also been proven. Regression analysis also shows that all dimensions of cultural capital, including embodied, objectified and institutional ones, have a significant relationship with the consumption of cultural goods. The institutional dimension with a beta of 0.32 shows the strongest relationship with the consumption of cultural goods. Also, according to the value of the coefficient of determination, it can be said that 54% of the changes in the variable of consumption of cultural goods are explained by the three variables of cultural capital, including embodied, objectified and institutional ones.