Journal of Sociology of Art and Literature

Journal of Sociology of Art and Literature

Number of Articles 295
Article View 553350
View Per Article 1875.76
PDF Download Per Article 1611.69
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Number of Submissions 1,415
Acceptance Rate 15
Number of Reviewers 384

Journal of Sociology of Art and Literature (JSAL)

The Journal of the Sociology of Art and Literature is a biannual, open-access journal (providing free full-text access to all published articles) published by the Faculty of Social Sciences at the University of Tehran. The journal is dedicated to exploring the relationship between art, literature, and society.


The journal adheres to the ethical principles and standards of the Committee on Publication Ethics (COPE) in the review and publication of scholarly articles. All submitted manuscripts are screened using the Samim Noor plagiarism detection software to ensure their originality before undergoing a rigorous double-blind peer review by qualified and experienced reviewers. The journal welcomes and evaluates original research articles within its thematic scope.


All published articles are freely accessible to the public.

This work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0).


According to the latest ranking of the Ministry of Science, Research and Technology of Iran (2024–2025 / 1403 SH), the Journal of the Sociology of Art and Literature has been awarded a Grade B ranking.


Journal Information

  • Place of Publication: Tehran, Iran
  • Publisher: University of Tehran
  • Disciplinary Scope: Sociological studies of art and literature
  • Journal Type: Peer-reviewed Scientific Research Journal
  • Ministry Ranking: Grade B
  • Language: Bilingual (Persian, with extended abstracts in English)
  • Publication Frequency: Biannual
  • Publication Format: Online
  • Article Processing Charge (APC): 1,150,000 IRR
  • Peer Review Process: Double-blind review by at least two reviewers
  • Plagiarism Screening: Yes (using Samim Noor)
  • Access Policy: Open Access (Free)
  • Email: jsal@ut.ac.ir

Important Notices for Authors

Current Issue: Volume 18, Issue 1, September 2026, Pages 1-250 ((spring & Summer 2026)) 

Publication Information

Publisher

Director-in-Charge
Editor-in-Chief
Editorial Board
International Editorial Board
Indexing Advisor
Page Designer

Frequency
Semiannual
Print ISSN
Online ISSN

Indexing and Abstracting

Keywords Cloud

  • Representation
  • Cinema
  • Iran
  • Painting
  • discourse
  • Novel
  • sociology
  • iranian cinema
  • Identity
  • Art
  • critical discourse analysis
  • sociology of art
  • Music
  • Modernity
  • Discourse analysis
  • Cultural Capital
  • Women
  • Pierre Bourdieu
  • reflection approach
  • habitus
  • Qajar
  • Anthropology of Art
  • Narrative
  • Narrative Analysis
  • Ideology
  • Genetic Structuralism
  • National Identity
  • Popular music
  • Iranian painting
  • distinction
  • Sociology of Literature
  • Tradition
  • Society
  • Bourdieu
  • Culture
  • field
  • Neoliberalism
  • Tehran
  • Reflection
  • family
  • Semiotics
  • social criticism
  • Colonialism
  • sociology of cinema
  • city
  • Realism
  • feminist criticism
  • Play
  • Miniature
  • Norman Fairclough
  • Conflict
  • Consumption
  • Social semiotics
  • Islamic Revolution
  • Popular Literature
  • chronotope
  • power
  • Discourse theory
  • Safavid
  • Dominant Culture
  • trajectory
  • Committed Art
  • phenomenology
  • Independent Pole
  • woman
  • carpet
  • postcolonial theory
  • Short story
  • Sign
  • liquid love
  • Creativity
  • Tudeh Party
  • Utopia
  • discourse semiotics
  • literature
  • Goldmann
  • Sadegh Hedayat
  • television
  • reflection theory
  • Aesthetics
  • Roland Barthes
  • Social capital
  • Form
  • Analysis
  • social context
  • Contemporary Art of Iran
  • Carnival
  • taste
  • reception
  • Religious Cinema
  • Dependent Pole
  • Gabbeh
  • ISIS
  • reflective approach
  • Otherness
  • the love of art
  • literary creation
  • Iranian contemporary painting
  • Collective Memory
  • Migration
  • history
  • class
  • Movie
  • Modern Art
  • time
  • Safavid art
  • Lucien Goldman
  • Content
  • Cultural consumption
  • Iranian Islamic architecture
  • Social Issues
  • Accumulation of Artistic Behaviors
  • Love
  • Film
  • Safavid dynasty
  • capital
  • Isfahan
  • Rap
  • symbol
  • youth
  • cultural studies
  • active audience
  • Postmodernism
  • artists
  • Islamic art
  • construction
  • Dystopia
  • orientalism
  • Intellectuals
  • Qi Method
  • Mysticism
  • modernist painting
  • Marvel Cinematic Universe (MCU)
  • Painting Biennale
  • \"Spirit of the Time\"
  • Femininity
  • Shiites art
  • Michel Foucault
  • gender\'s appropriateness
  • Persian carpet
  • cinematic tastes
  • Creative Drama
  • Children\'s picturebook
  • ُSynaesthesia
  • Difference
  • Folklore
  • semantic appropriation
  • current female painters
  • conflict between good and evil
  • Sociability
  • Iran Modern Art
  • mothers of missing martyrs
  • space- myth
  • Watercolor
  • Designer
  • ‘Carpet weaving women’
  • general audience
  • Laclau and Mouffe
  • folk arts
  • Taziye
  • Kimiai
  • theoretical research
  • sign-semantics
  • Iranian New Wave
  • Persian Novel
  • Discourse Semiotic
  • Mashhad School
  • Other Identities
  • Mantegh-Al-tair
  • Mercantilism
  • Todorov
  • Mediated Orientalism
  • sensuousness
  • Kamal-al-Molk
  • playwrights
  • fascism
  • musical taste
  • The other
  • Elements
  • mughal india
  • Discursive Institutionalism
  • handicrafts network Market
  • دوسالانه‌ی جهانی پوستر‌
  • Harun Al-Rashid
  • functions of cinema
  • Multi-modal discourse
  • artworks consumption
  • fasle akhare sal ast
  • Iranian New Wave Cinema
  • Religious Representation
  • Social Biography
  • historical context
  • Youth
  • social practic
  • traditional music
  • Shahnameh Tahmasebi
  • Molecular
  • galleries and arts stores
  • Spiritual ability
  • urban middle class