Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 Construction of Women Dress Aesthetics in Iranian Movies by Valueism, Constructionism and Reformism Discourses Construction of Women Dress Aesthetics in Iranian Movies by Valueism, Constructionism and Reformism Discourses 1 37 72812 10.22059/jsal.2019.277070.665725 FA Seyedeh Razieh Yasini Art Research Institute at RICAC Abdollah Bicharanlou Assistant Professor at University of Tehran Journal Article 2018 03 01 The type and aesthetics of dress in every society is identified by its culture because the culture is a part of the society structure which is integrated to other pillars of the society. The aesthetics of dress, meaning to realize aesthetic characteristics and implications of dress in a society, is affected and influenced by cultural and social factors which are reflected in artistic works including movies. Cinema as an art-media can represent different developments of society very accurately. One of the social-cultural phenomena of every society is the change of dress and clothing which is constructed and represented in movies in different ways. This paper by analyzing the dominant and competing discourses at the Valueism, Constructionism and Reformism eras (1979 -1998) in Iran and analyzing 30 movies released in those eras, responses to this question: how the effect of different discourses on the women dress aesthetics has been reflected in the movies? The mentioned movies have been selected by purposive method of sampling and have been studied in three levels: Description, Interpretation and analysis to find out the aesthetics of Iranian women dress represented and constructed in the movies by the filmmakers of three discourses: Valueism, Constructionism and Reformism Discourses. The type and aesthetics of dress in every society is identified by its culture because the culture is a part of the society structure which is integrated to other pillars of the society. The aesthetics of dress, meaning to realize aesthetic characteristics and implications of dress in a society, is affected and influenced by cultural and social factors which are reflected in artistic works including movies. Cinema as an art-media can represent different developments of society very accurately. One of the social-cultural phenomena of every society is the change of dress and clothing which is constructed and represented in movies in different ways. This paper by analyzing the dominant and competing discourses at the Valueism, Constructionism and Reformism eras (1979 -1998) in Iran and analyzing 30 movies released in those eras, responses to this question: how the effect of different discourses on the women dress aesthetics has been reflected in the movies? The mentioned movies have been selected by purposive method of sampling and have been studied in three levels: Description, Interpretation and analysis to find out the aesthetics of Iranian women dress represented and constructed in the movies by the filmmakers of three discourses: Valueism, Constructionism and Reformism Discourses.

Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 yAvant-garde tastes and cultural differentiation; an granded theory among the youth of Tehran yAvant-garde tastes and cultural differentiation; an granded theory among the youth of Tehran 39 74 72813 10.22059/jsal.2019.279500.665739 FA Ahmad Kalateh Sadati Facultyof Social Sciences of Yazd University/Iran Asal Razavi Facultyof Social Sciences of Yazd University/Iran Hamideh Ruzitalan Facultyof Social Sciences of Yazd University/Iran Journal Article 2018 04 18 The consumption of avant-garde films has various functions in social relationships. The purpose of this study is to discover the experience and experience of consumption this kind of films in young people aged 25 to 40 in Tehran in 1397. The research methodology is the granded theory of Strass and Corbin (2006). The data were collected through a deep interview with 15 people through targeted sampling. For data analysis, the open, selective, and axial coding has been used. The result of the research showed that the consumption of avant-garde films involves four categories of dissent, meaning, specific taste, and excellence. In fact, the taste of consumption these films and membership in particular groups is not related to family and family relations. The concept of the present study is cultural differentiation, which means that participants in the research have chosen the cultural field as a place for reproduction of social distinction. The concept of the constructed study is cultural differentiation, which means that participants in the research have chosen the cultural field as a place for reproduction of social distinction. In addition, the consumption of avant-garde films affects their personal and private lives and helps promote meaning in their lives. More theoretical discussions are proposed in this regard and in relation to the context of Iranian society. The consumption of avant-garde films has various functions in social relationships. The purpose of this study is to discover the experience and experience of consumption this kind of films in young people aged 25 to 40 in Tehran in 1397. The research methodology is the granded theory of Strass and Corbin (2006). The data were collected through a deep interview with 15 people through targeted sampling. For data analysis, the open, selective, and axial coding has been used. The result of the research showed that the consumption of avant-garde films involves four categories of dissent, meaning, specific taste, and excellence. In fact, the taste of consumption these films and membership in particular groups is not related to family and family relations. The concept of the present study is cultural differentiation, which means that participants in the research have chosen the cultural field as a place for reproduction of social distinction. The concept of the constructed study is cultural differentiation, which means that participants in the research have chosen the cultural field as a place for reproduction of social distinction. In addition, the consumption of avant-garde films affects their personal and private lives and helps promote meaning in their lives. More theoretical discussions are proposed in this regard and in relation to the context of Iranian society.

Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 Representation of self-identity and the other in ISIS's propaganda video in cyberspace Representation of self-identity and the other in ISIS's propaganda video in cyberspace 76 113 72814 10.22059/jsal.2019.273115.665693 FA Elaheh Shams Kooshki MSc Social Communication Masoud Dadbakhsh PHD of Islamic history of iran 0000-0002-5702-6944 Journal Article 2018 06 14 ISIS, as a reactionary and pre-modern group in the religious and social spheres, <br />seeks to self-identity through the use of cyberspace and modern communication facilities. So, by making various propaganda films and publishing them in cyberspace, he seeks to change the views of the international community, turning himself into a terrorist affiliated and reactionary group and becoming a self-contained group. And become idealistic goals.<br />The purpose of the present study is to examine how ISIS's group identifies different aspects of one's identity and another in cyberspace. Therefore, the present study seeks to answer the question of how the representation of one's own and another's identity by ISIS in propaganda films published in cyberspace, using the theory of representation and stereotyping. In this study, the qualitative description of the signs in the clips was systematically performed, and the qualitative content analysis of the films was coded in three stages.<br />The statistical population of the present study is available promotional videos that were selected from the existing samples by purposeful sampling and based on research goals. The findings extracted from the clips showed various signs and concepts that illustrated the identity of the other and the identity of the other on the basis of stereotyping, depicting the structure of the ISIS in stereotyping the right and desirable identities, as well as dealing with the enemy in a negative and biased approach. Based on the distinction of self-identity, he defined the enemy's stereotype in a format that had no boundaries in common with self-identity. ISIS, as a reactionary and pre-modern group in the religious and social spheres, <br />seeks to self-identity through the use of cyberspace and modern communication facilities. So, by making various propaganda films and publishing them in cyberspace, he seeks to change the views of the international community, turning himself into a terrorist affiliated and reactionary group and becoming a self-contained group. And become idealistic goals.<br />The purpose of the present study is to examine how ISIS's group identifies different aspects of one's identity and another in cyberspace. Therefore, the present study seeks to answer the question of how the representation of one's own and another's identity by ISIS in propaganda films published in cyberspace, using the theory of representation and stereotyping. In this study, the qualitative description of the signs in the clips was systematically performed, and the qualitative content analysis of the films was coded in three stages.<br />The statistical population of the present study is available promotional videos that were selected from the existing samples by purposeful sampling and based on research goals. The findings extracted from the clips showed various signs and concepts that illustrated the identity of the other and the identity of the other on the basis of stereotyping, depicting the structure of the ISIS in stereotyping the right and desirable identities, as well as dealing with the enemy in a negative and biased approach. Based on the distinction of self-identity, he defined the enemy's stereotype in a format that had no boundaries in common with self-identity.

Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 Probing of Social Fields Effecting on the Acts of Innovative of Seni' Olmolk (Father of Iranian press graphic) Probing of Social Fields Effecting on the Acts of Innovative of Seni' Olmolk (Father of Iranian press graphic) 115 143 72815 10.22059/jsal.2019.269752.665680 FA Nafiseh Asnaashari Assistant Professor in Art and Architecture Faculty of Avicenna University Journal Article 2018 01 07 Seni’ Olmolk played a key role in transition of this art from traditional to modern so that he can be called the Father of Iranian press graphic.The current paper is theoretically inspired by art sociology. It uses analytic methodology and library data and study of pictorial documents. This paper mainly aims at stating that although there was nothing as graphic in Qajar period, political, cultural, and industrial evolutions reflective of interactions with Europe, such as arrival and promotion of printing technique, the art of photography, European press and eventually production of Iranian press created circumstances to enable the realization of new graphics aspects specially press graphic with the endeavor of Abolhassan Ghaffari. In summary, this article tries to suggest that creation path of various arts including graphic design is not a one-dimensional process or merely based on individual efforts and genius of artists, but a social product and reflective of the society's upheavals which is complementary to symbiosis of that genius and efforts with structures of the society. According to the data from the research, it can be argued that not only has design graphic in Iran not formed at once without any background,but also it is the reflection of the implicit relations modernization of Iran happened in Gajar Era. Seni’ Olmolk played a key role in transition of this art from traditional to modern so that he can be called the Father of Iranian press graphic.The current paper is theoretically inspired by art sociology. It uses analytic methodology and library data and study of pictorial documents. This paper mainly aims at stating that although there was nothing as graphic in Qajar period, political, cultural, and industrial evolutions reflective of interactions with Europe, such as arrival and promotion of printing technique, the art of photography, European press and eventually production of Iranian press created circumstances to enable the realization of new graphics aspects specially press graphic with the endeavor of Abolhassan Ghaffari. In summary, this article tries to suggest that creation path of various arts including graphic design is not a one-dimensional process or merely based on individual efforts and genius of artists, but a social product and reflective of the society's upheavals which is complementary to symbiosis of that genius and efforts with structures of the society. According to the data from the research, it can be argued that not only has design graphic in Iran not formed at once without any background,but also it is the reflection of the implicit relations modernization of Iran happened in Gajar Era.

Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 factors Affecting the Aesthetic Perception of Art (Case Study: Two Faculties of Shiraz University in 1397) factors Affecting the Aesthetic Perception of Art (Case Study: Two Faculties of Shiraz University in 1397) 145 171 72817 10.22059/jsal.2019.273292.665695 FA Rasool Yusefi Department of Art, Faculty of Arts and Architecture, Shiraz University, Shiraz, Iran 0000-0003-4041-0824 Fatholah Zarekhalili Department of Art, Faculty of Arts and Architecture, Shiraz University, Shiraz, Iran Journal Article 2018 07 05 One of the key issues for further understanding the field of art is the explanation of issues that cause differences and similarities in the reactions of the audience of artwork. One of the influential factors in this field is the perception and reception of such works by the audience. Perception is the process of identifying and processing information that comes from sensory organs. In the field of art, the aesthetic perception plays an important role, which, along with the philosophical approach, also utilizes sociological and psychological approaches in this field. In the present study, the study of the similarities and differences between aesthetic perception among students of the School of Art & Architecture and the School of Engineering has been investigated. In fact, the purpose of this research is to determine the social factors (age, gender, social class, ethnicity, connection with the world of art) affecting the aesthetic perception. Its method, in terms of its purpose, is practical, in terms of its nature, is exploratory, and in terms of its data collection, is descriptive-survey. In this research, the Q-sort method has also been used; the research method of Q is used to understand the individuals’ minds about different subjects. One of the important findings of this research is how the students of art employed aesthetic expressions differently from other students. The resulting factor loads indicate a significant difference between the participants according to the artistic background and the presence of another person who works in the field of art in the family. One of the key issues for further understanding the field of art is the explanation of issues that cause differences and similarities in the reactions of the audience of artwork. One of the influential factors in this field is the perception and reception of such works by the audience. Perception is the process of identifying and processing information that comes from sensory organs. In the field of art, the aesthetic perception plays an important role, which, along with the philosophical approach, also utilizes sociological and psychological approaches in this field. In the present study, the study of the similarities and differences between aesthetic perception among students of the School of Art & Architecture and the School of Engineering has been investigated. In fact, the purpose of this research is to determine the social factors (age, gender, social class, ethnicity, connection with the world of art) affecting the aesthetic perception. Its method, in terms of its purpose, is practical, in terms of its nature, is exploratory, and in terms of its data collection, is descriptive-survey. In this research, the Q-sort method has also been used; the research method of Q is used to understand the individuals’ minds about different subjects. One of the important findings of this research is how the students of art employed aesthetic expressions differently from other students. The resulting factor loads indicate a significant difference between the participants according to the artistic background and the presence of another person who works in the field of art in the family.

Tehran University, Faculty of Social Science Sociology of Art and Literature 2538-5046 10 2 2019 02 20 The role of carpet in the mourning rituals of Khorasan The role of carpet in the mourning rituals of Khorasan 173 194 72818 10.22059/jsal.2019.271062.665685 FA Akram Noori alzahra university/ phd student Fateme Kuteb alzahra university/ faculty member and cheif Journal Article 2018 05 05 Rites and traditions are rooted in beliefs, culture and history, such as the rituals of the mourning of ancient beliefs. One of the mourning traditions in Khorasan is the spreading of a carpet on the grave, which occurs when people gather around the deceased grave and on the days of the occasion. Carpet as one of the most important and most important traditional arts in Iran is another aspect of this ritual which adds to its importance. The purpose and purpose of this research is the concept of carpet on the grave in the mourns of Khorasan, and these questions are raised about what the meaning of this tradition is. What does the concept of carpet on the grave bring to mind? This research has been carried out in a descriptive and historical manner, which has been gathered from library resources, internet and interviews with elderly people who are aware of this tradition. The carpet that holds many image icons in this ritual turns into an icon. In this research, it is found that carpet on the grave in Khorasan mourning rituals is the symbol of a new and eternal human home. A house where the man farewell to his friends and acquaintances for the last time. Rites and traditions are rooted in beliefs, culture and history, such as the rituals of the mourning of ancient beliefs. One of the mourning traditions in Khorasan is the spreading of a carpet on the grave, which occurs when people gather around the deceased grave and on the days of the occasion. Carpet as one of the most important and most important traditional arts in Iran is another aspect of this ritual which adds to its importance. The purpose and purpose of this research is the concept of carpet on the grave in the mourns of Khorasan, and these questions are raised about what the meaning of this tradition is. What does the concept of carpet on the grave bring to mind? This research has been carried out in a descriptive and historical manner, which has been gathered from library resources, internet and interviews with elderly people who are aware of this tradition. The carpet that holds many image icons in this ritual turns into an icon. In this research, it is found that carpet on the grave in Khorasan mourning rituals is the symbol of a new and eternal human home. A house where the man farewell to his friends and acquaintances for the last time.