Tehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823“I and the Other” in the book This Street Has No Rumble Strip“I and the Other” in the book This Street Has No Rumble Strip1227318910.22059/jsal.2019.274589.665705FAJournal Article20190124“I and the Other” in the book This Street Has No Rumble Strip<br /> <br /> Abstract<br /> This Street Has No Rumble Strip is a novel which plot is based on the concerns and efforts of a woman in order to gain and maintain her personal independence. As we can guess, these efforts and struggles are posed as opposite to the other which is “man” or “masculine environment”. In this article (that based on the text analytical, I suggest two points based on the theoretical concepts and the analytic method adopted from the Bakhtinian view: (1) There are three others in three spaces instead of one in this novel, and (2) Despite the fluent charming prose of the novel and its wide reception from the public, the relationship or encounter with the multilayer others is deficient and non-dialogical. The latter problem is not only due to the non-dialogical elements in the specific relationship with the “other” but is a result of the descriptions and the linguistic failures which prevents the novel’s structure from being a novelistic structure and makes it far from the dialogical perspective of the sociology of consciousness (in the narrative world as the social world).<br /> Keywords: The Other, Interpellation, Heteroglossia, Polyphony, Exotopic“I and the Other” in the book This Street Has No Rumble Strip<br /> <br /> Abstract<br /> This Street Has No Rumble Strip is a novel which plot is based on the concerns and efforts of a woman in order to gain and maintain her personal independence. As we can guess, these efforts and struggles are posed as opposite to the other which is “man” or “masculine environment”. In this article (that based on the text analytical, I suggest two points based on the theoretical concepts and the analytic method adopted from the Bakhtinian view: (1) There are three others in three spaces instead of one in this novel, and (2) Despite the fluent charming prose of the novel and its wide reception from the public, the relationship or encounter with the multilayer others is deficient and non-dialogical. The latter problem is not only due to the non-dialogical elements in the specific relationship with the “other” but is a result of the descriptions and the linguistic failures which prevents the novel’s structure from being a novelistic structure and makes it far from the dialogical perspective of the sociology of consciousness (in the narrative world as the social world).<br /> Keywords: The Other, Interpellation, Heteroglossia, Polyphony, ExotopicTehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823Women after 'identity recovery' in contemporary short stories from the perspective of social psychologyWomen after 'identity recovery' in contemporary short stories from the perspective of social psychology23467319110.22059/jsal.2019.273687.665700FAArezoHeidariPersian Language and Literature. Faculty of Literature and Languages. Al-Zahra University. Tehran IranNasrinFaghih Malek MarzbanProfessor at Al-Zahra UniversityMortezaMonadiProfessor at Al-Zahra University. tehran. IranJournal Article20190112Studying 'women's identity' and their attempt to 'recover gender identity' as part of a lifestyle that changes their behavior and experiences, is the purpose of the present study that have accomplished with the help of social psychology and analyze a number of contemporary short stories. To achieve this, we have used the theory of social psychology Myers and Baron as well as the theory of Jenkins sociology, and we believe that, stories are a reconstructed structure of interpersonal actions and reactions derived from social realities in society and are Interchangeable with Sampling and completing a questionnaire or interview. Through the study of discourses and the subjective and linguistic monologues of the characters, and through their beliefs, behaviors, and memories, it is possible to address their attitudes toward analyzing individual and social behaviors and interactions in the behavioral system. The research population of this study was active, working , single and married female characters from the social class of 24 the selected short stories of the 1980s. After analyzing through qualitative research and content analysis, we came to the conclusion That: these women, after regaining their identity and moving away from "traditional female identity", under the influence of " Sociability, cultural commitments and values observing women's acceptable behavioral patterns and gender roles in society," prefer and choice " the gender identity and role of the spouse ". Studies also shows that one of the issues for working, educated married women of social class is gender inequality, conflict and the duality of identity beliefs caused by social influence behavioral stereotypes associated with traditional female roles.Studying 'women's identity' and their attempt to 'recover gender identity' as part of a lifestyle that changes their behavior and experiences, is the purpose of the present study that have accomplished with the help of social psychology and analyze a number of contemporary short stories. To achieve this, we have used the theory of social psychology Myers and Baron as well as the theory of Jenkins sociology, and we believe that, stories are a reconstructed structure of interpersonal actions and reactions derived from social realities in society and are Interchangeable with Sampling and completing a questionnaire or interview. Through the study of discourses and the subjective and linguistic monologues of the characters, and through their beliefs, behaviors, and memories, it is possible to address their attitudes toward analyzing individual and social behaviors and interactions in the behavioral system. The research population of this study was active, working , single and married female characters from the social class of 24 the selected short stories of the 1980s. After analyzing through qualitative research and content analysis, we came to the conclusion That: these women, after regaining their identity and moving away from "traditional female identity", under the influence of " Sociability, cultural commitments and values observing women's acceptable behavioral patterns and gender roles in society," prefer and choice " the gender identity and role of the spouse ". Studies also shows that one of the issues for working, educated married women of social class is gender inequality, conflict and the duality of identity beliefs caused by social influence behavioral stereotypes associated with traditional female roles.Tehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823a Semiotic Analysis of the poverty in the Iranian cinemaa Semiotic Analysis of the poverty in the Iranian cinema47657319210.22059/jsal.2019.282348.665757FASarehAmiriPhD student, Tehran university of artMohammad RezaMoridiAssistant Professor, Tehran University of ArtsJournal Article20190528This study aims to answer the question that how the image of the poverty is constructed in the Iranian movies? In order to achieve the purpose, a movie, which have been selected by purposive sampling method and could have been a representative for a large groups of movies, have been analyzed through the "Semiotic Analysis" method and considering the “Barthes” theory of “Myth” and “Bauman”, “Baudrillard”, “Galbraith” analysis of poor in consumer society. Some of the results show that this movie tries to naturalize the inequality and maintain status quo by constructing the myth of “irrational poor”, myth of “ guilty poor” and myth of “Scary other poor”. These myths shift the blame on the poor and reduce the poverty to a psychological issue and make it historyless. <br /> This study aims to answer the question that how the image of the poverty is constructed in the Iranian movies? In order to achieve the purpose, a movie, which have been selected by purposive sampling method and could have been a representative for a large groups of movies, have been analyzed through the "Semiotic Analysis" method and considering the “Barthes” theory of “Myth” and “Bauman”, “Baudrillard”, “Galbraith” analysis of poor in consumer society. Some of the results show that this movie tries to naturalize the inequality and maintain status quo by constructing the myth of “irrational poor”, myth of “ guilty poor” and myth of “Scary other poor”. These myths shift the blame on the poor and reduce the poverty to a psychological issue and make it historyless.This study aims to answer the question that how the image of the poverty is constructed in the Iranian movies? In order to achieve the purpose, a movie, which have been selected by purposive sampling method and could have been a representative for a large groups of movies, have been analyzed through the "Semiotic Analysis" method and considering the “Barthes” theory of “Myth” and “Bauman”, “Baudrillard”, “Galbraith” analysis of poor in consumer society. Some of the results show that this movie tries to naturalize the inequality and maintain status quo by constructing the myth of “irrational poor”, myth of “ guilty poor” and myth of “Scary other poor”. These myths shift the blame on the poor and reduce the poverty to a psychological issue and make it historyless. <br /> This study aims to answer the question that how the image of the poverty is constructed in the Iranian movies? In order to achieve the purpose, a movie, which have been selected by purposive sampling method and could have been a representative for a large groups of movies, have been analyzed through the "Semiotic Analysis" method and considering the “Barthes” theory of “Myth” and “Bauman”, “Baudrillard”, “Galbraith” analysis of poor in consumer society. Some of the results show that this movie tries to naturalize the inequality and maintain status quo by constructing the myth of “irrational poor”, myth of “ guilty poor” and myth of “Scary other poor”. These myths shift the blame on the poor and reduce the poverty to a psychological issue and make it historyless.Tehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823motherhood as myth to crisis of motherhood: semiotics of representation of motherhood in iranian cinemamotherhood as myth to crisis of motherhood: semiotics of representation of motherhood in iranian cinema67887319410.22059/jsal.2019.276157.665720FAKamalKhaleghpanahsociology. university of kurdistan. iranFatemehMirzavandiansociology.university of kurdistan. iranMobinRahimiuniversity of kurdistan,sanandaj,iranJournal Article20190216this study investigate representation of motherhood and its transformation in Iranian cinema with emphsizeing ideological structures of selected films. the theoritical idea of article is that motherhood is a variable concept and multiple experiences. The theoretical framework of feminist theorists dispute over the approval and denial of women's maternal instinct and applied concepts such as mother, biological mother, myth, native, native instinct, the experience of the mother, the plural motherhood. Films studied in this research include the film"mother" by ali hatami,"mother love"by kamal tabrizi,"invitation" by ebrahim hatami kia, "gilaneh" by rakhshan bani-etemad,and "I am the mother" by Feridun Jeirani. The concluding section of the film analysis using semiotics, critical method is a division of john fiske. The film emphasizes the ideological structure of society and confirms the biological mother's maternal instinct in women as the most important and most essentially feminine instinct. but semiotic analysis imply that changed representation of motherhood on the basis of society situation. from myth motherhood to crisis of motherhood. motherhood affected by external contexts not internal circumstance of women, this external structures and cultural contexts includes cultural myths, masculinity and class structure.<br /> Keywords: mother, biological mother, motherhood experience, mother nature, native myth, narrative structure, ideological structurethis study investigate representation of motherhood and its transformation in Iranian cinema with emphsizeing ideological structures of selected films. the theoritical idea of article is that motherhood is a variable concept and multiple experiences. The theoretical framework of feminist theorists dispute over the approval and denial of women's maternal instinct and applied concepts such as mother, biological mother, myth, native, native instinct, the experience of the mother, the plural motherhood. Films studied in this research include the film"mother" by ali hatami,"mother love"by kamal tabrizi,"invitation" by ebrahim hatami kia, "gilaneh" by rakhshan bani-etemad,and "I am the mother" by Feridun Jeirani. The concluding section of the film analysis using semiotics, critical method is a division of john fiske. The film emphasizes the ideological structure of society and confirms the biological mother's maternal instinct in women as the most important and most essentially feminine instinct. but semiotic analysis imply that changed representation of motherhood on the basis of society situation. from myth motherhood to crisis of motherhood. motherhood affected by external contexts not internal circumstance of women, this external structures and cultural contexts includes cultural myths, masculinity and class structure.<br /> Keywords: mother, biological mother, motherhood experience, mother nature, native myth, narrative structure, ideological structureTehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823An analysis of emergence of Modern theatre Field in Constitutional era (based on Pierre Bourdieu's theory and condition of theatre in Iran between 1901 and 1921)An analysis of emergence of Modern theatre Field in Constitutional era (based on Pierre Bourdieu's theory and condition of theatre in Iran between 1901 and 1921)891067319510.22059/jsal.2019.282829.665761FAAhooTaalimiGraduated from Master of Arts in Theatre Directing, Fine Arts University,University of TehranBehrouzMahmodi BakhtiariFaculty member of Tehran University/Advisor IIJournal Article20190603How the modern theater field of Iran’s Constitutionalism age is formed and organized and the theater poles of this age and appearance of sub-fields, is discussed in this study. The modern theater of Iran was formed a little before the beginning of Constitutionalism from 1901 to 1921 as a field. This process was result of change in the capital system and habitus of its actors that through innovating in the conventional styles and forms of play of this period, desired to use the modern theater as a tool to promote the public culture and political awareness of society. How the group made movement and activity, the status and position of the groups’ agents in terms of social and artistic situation, the type of their capital and habitus and their relationship with the governing political structure and the popular play pole of the age are among the most important questions of this research. In the end, we find that the modern theatre of the Constitutionalism era has a considerable distinction from the popular play of that time and is result of the cultural, social and symbolic capitals evolved from the Constitutionalism movement, a distinction that sets it in a path wholly different from the popular play of this time. This study has utilized Pierre Bourdieu's formative structuralism, in particular, the concepts of distinction, field and capital for its content analysis.How the modern theater field of Iran’s Constitutionalism age is formed and organized and the theater poles of this age and appearance of sub-fields, is discussed in this study. The modern theater of Iran was formed a little before the beginning of Constitutionalism from 1901 to 1921 as a field. This process was result of change in the capital system and habitus of its actors that through innovating in the conventional styles and forms of play of this period, desired to use the modern theater as a tool to promote the public culture and political awareness of society. How the group made movement and activity, the status and position of the groups’ agents in terms of social and artistic situation, the type of their capital and habitus and their relationship with the governing political structure and the popular play pole of the age are among the most important questions of this research. In the end, we find that the modern theatre of the Constitutionalism era has a considerable distinction from the popular play of that time and is result of the cultural, social and symbolic capitals evolved from the Constitutionalism movement, a distinction that sets it in a path wholly different from the popular play of this time. This study has utilized Pierre Bourdieu's formative structuralism, in particular, the concepts of distinction, field and capital for its content analysis.Tehran University, Faculty of Social ScienceSociology of Art and Literature2538-504611120190823Art History as Political History, a critique of the political approach in Islamic Art HistoriographyArt History as Political History, a critique of the political approach in Islamic Art Historiography1071277319610.22059/jsal.2019.284100.665769FALeilaTabatabayi YazdiPhD. student in Islamic Art, Tarbiat Modares UniversityMahnazShayestefarAssociate Professor of Islamic Art at tarbiat Modares UniversitySaraShariatiTehran universityJournal Article20190623The dominance of political approach in historiography was challenged in late 19th century and contemporary to the emergence of the new approaches in historiography. In their attempt to challenge traditional paradigm of historiography, historians presented some new models and approaches in historiography which are called “new history”. Different sources of Islamic art and architecture, after nearly two centuries of the emergence of this field of study and one year of its entrance into the academy which led into the production of many texts on the artistic heritage of Islamic civilization, has formed a specific historiographical tradition called “Islamic art historiographical tradition” by the authors of this paper. Had we criticize this historiographical tradition according to the “new history” paradigm, we would come into significant results. This research seeks to reveal the political approach in Islamic art historiography and criticize its dominant traditional historiographical paradigm. This is a qualitative study. Data are gathered from library and are analyzed with thematic analysis technique. Results show that the main sources and texts of Islamic art history had almost chosen political perspective for their historical narration of the story of art in Islamic countries and thus have marginalized great parts of the artistic heritage of Islamic civilization.The dominance of political approach in historiography was challenged in late 19th century and contemporary to the emergence of the new approaches in historiography. In their attempt to challenge traditional paradigm of historiography, historians presented some new models and approaches in historiography which are called “new history”. Different sources of Islamic art and architecture, after nearly two centuries of the emergence of this field of study and one year of its entrance into the academy which led into the production of many texts on the artistic heritage of Islamic civilization, has formed a specific historiographical tradition called “Islamic art historiographical tradition” by the authors of this paper. Had we criticize this historiographical tradition according to the “new history” paradigm, we would come into significant results. This research seeks to reveal the political approach in Islamic art historiography and criticize its dominant traditional historiographical paradigm. This is a qualitative study. Data are gathered from library and are analyzed with thematic analysis technique. Results show that the main sources and texts of Islamic art history had almost chosen political perspective for their historical narration of the story of art in Islamic countries and thus have marginalized great parts of the artistic heritage of Islamic civilization.