Ahmad Naderi; Ali Ghashami
Abstract
Women as half of human societies have different roles in different areas of social life. So content analysis of the media is necessary in the about of women. This study uses two methods: content analysis and semiotics. So content analyzed a statistical week from the first six months of 1393 Kayhan, Iran ...
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Women as half of human societies have different roles in different areas of social life. So content analysis of the media is necessary in the about of women. This study uses two methods: content analysis and semiotics. So content analyzed a statistical week from the first six months of 1393 Kayhan, Iran and Shargh Newspapers. Then by using semiotics, printed images of women in these newspapers were analyzed. Number of Iran Newspaper writings was about one and half. The newspaper press releases about one and a half equal Shargh Newspaper writings. The number of Shargh Newspaper writings was twice equal of the Keyhan Newspaper. Iran Newspaper in front-page headlines and photographs of the position of women is better than the two other daily newspapers. In semiotics of women, representation of Iranian women in comparison with foreign women is not suitable and in front page and internal pages images of Iran Newspaper, reflection of foreign women were better than Iranian women. Of course, we can be considered the approach of Shargh Newspaper in intermediate in which images of foreign and Iranian women have been reflected suitable. Anyway, images of Iranian womens in Shargh were better than other two daily newspapers.
Women's Studies
Fahimeh Farahmand Pour; elham bahranifard
Abstract
Besides textbooks teach students, prepare them to accept their roles in accordance with their gender characteristics, as it is considered by the authors. This study is intended to represent how women’s social – political roles in both elementary and middle high school textbooks, academic ...
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Besides textbooks teach students, prepare them to accept their roles in accordance with their gender characteristics, as it is considered by the authors. This study is intended to represent how women’s social – political roles in both elementary and middle high school textbooks, academic year deal 1391-92. Research method is quantitative content analysis based on gender in education between images and text. The results indicate the defining social roles for women new look requires a lot of activities , such as care for the environment, charitable activities and public works, aid workers, and the presence of important social practice such as enjoining good and forbid the evil taking place in the new definition. Also, the categories and content analysis, descriptive and normative statements indicate that further descriptive statements and images in textbooks. But describing the role of women in social and political issues in most cases is not consistent with reality.
Mehri Bahar; Ali haji mohammadi
Volume 9, Issue 4 , March 2012, , Pages 43-72
Abstract
Portraying women in the media is one of the main social and cultural issues especially on television. Television commercials as a genre have ideas about goods and services, but it constructs a secondary discourse about society, culture and gender roles along the way. The main goal of this paper is to ...
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Portraying women in the media is one of the main social and cultural issues especially on television. Television commercials as a genre have ideas about goods and services, but it constructs a secondary discourse about society, culture and gender roles along the way. The main goal of this paper is to examine women’s readings of gender roles representation in Iranian television commercials from the cultural studies perspective. To achieve this objective, focus group interviews were used to study women readings and then their readings was analyzed. The results showed that television commercials are heedless of socio-cultural developments and the gender roles changes in different aspects in the society, but it represents dominant ideology in media and minimal status group of woman in Iranian society.
Currently, different groups of women are engaged in different discourses and they will gradually engage in other discourses. If this trend continues by different groups of women and the misrepresentation or exclusion of women doesn’t stop in the media, the audiences with different readings will become the most rethinking groups.
Azam Ravadrad; Mohammad Reza Moridi; Masoumeh Taghizadegan
Volume 8, Issue 1 , April 2010
Abstract
The aim of this article is to analyze representation of women in contemporary Iranian painting. As the approach of cultural studies shows, a representation is never a pure reflection of reality; rather, it portrays reality in a specific way in order to reproduce the dominant hidden discourse. Therefore, ...
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The aim of this article is to analyze representation of women in contemporary Iranian painting. As the approach of cultural studies shows, a representation is never a pure reflection of reality; rather, it portrays reality in a specific way in order to reproduce the dominant hidden discourse. Therefore, this research aims to decode women’s portrayals in order to discover the hidden ideology in works of male and female painters. The theoretical approach of this article is based on studying the strategies which women use in their paintings in order to prevent becoming, in Foucault’s words, a subject of the male discourse. These strategies include visual techniques which challenge the expected ideas in facing women’s portraits. The study includes decoding the portraits drawn by women and men, and emphasizing on the meaning layers of power and resistance in the works. The methodological approach of this article is semiotics, and its method is content analysis using the technique of a reversed questionnaire which was designed according to binary oppositions of meanings used in the works. The questionnaire is designed based on decoding explicit and implicit significations in paintings about women, which includes undertaking a semiotic analysis of male and female painters. Thus the meanings are arranged based on the binary opposition, which is an experimental study of paintings based on counting the repetition of meanings in the works of male and female painters. The research statistical sample includes 142 paintings portraying women exhibited during the last two years in active galleries of Tehran. The main hypothesis of this article is about the existence of a meaningful difference between the paintings drawn by female and male painters. The strategies which explain two different masculine and feminine subjectivities are examined in 9 categories and 30 binaries including: sexual performance/desexualized performance, subjective strategies/objective strategies, descriptive/explanatory, natural/cultural, generalized/particularized. Probing into such binaries poses the question of how men using descriptive signs in representing women reproduce their masculine dominant discourse of culture with sexualized, subjective, naturalistic, generalized visual strategies. On the other hand, the issue as to how women using explanatory signs resist the masculine discourse with desexualized, objective, particularized visual strategies is examined. The findings show that the portrait of women in the paintings created by men is based on a system of descriptive, iconic and stereotypical signs, while women painters have an explanatory, non-stereotypical, an interpretive vision towards characteristics and the real conditions of women. In paintings of men the reference to women is an implicational, symbolic, and mythic reference which does not aim at femininity, but rather points to feminine characteristics and the implicit meaning and subjectivity of being a woman; and thus portray woman’s beauty and elegance. On the contrary in women’s paintings, the representation of women is based on feminine experience explaining the shortcomings of women’s life-world, while men’s paintings disregard these conditions and portray women in an imaginary space. The study of Iran’s contemporary paintings show that for women, a woman’s painting is a field of resistance against the masculine subjectivity and, in Foucault’s words, is a war against subjectivization of the woman. Women painters attempt to deconstruct the visual form which men have constructed about women. They resist subjectivization, and using new visual strategies, create gaps in the reproduction of masculine dominant culture.
Volume 5, Issue 1 , September 2007
Abstract
This article is concerned with women's representation in a Television Advertisement. The main question posed here is the manner of representing a female's image so that her cultural reproduction leads to "symbolic annihilation" in the society.
A great part of representations in the advertisements depict ...
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This article is concerned with women's representation in a Television Advertisement. The main question posed here is the manner of representing a female's image so that her cultural reproduction leads to "symbolic annihilation" in the society.
A great part of representations in the advertisements depict women as stock cultural roles.
In this article, we studied an advertisement which unlike other commercials represented women in new roles, and at the same time; in this form of representation we were encountered with a troubled woman.
Thus, a subject (concept) of "Iranian modern woman" is constructed which corresponds, fully, to the "Iranian traditional woman" subject conditions.
As a result, in spite of superficial transformations in women's life, the womanhood is still, accordingly, defined as "otherness of manhood".
Volume 2, Issue 3 , September 2003
Abstract
The history of Iranian cinema has links to gender relations. The changes that Iranian cinema has experienced in area of gender are indicator of social evolution. In this study, forms of gender relations in Iranian films can be explained through tradition and modernity. Based on content analysis, this ...
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The history of Iranian cinema has links to gender relations. The changes that Iranian cinema has experienced in area of gender are indicator of social evolution. In this study, forms of gender relations in Iranian films can be explained through tradition and modernity. Based on content analysis, this research tries to follow conditions of modernity in Iranian society by searching the quality of representing gender relations in Iranian cinema after the Islamic revolution.
The main hypothesis of this research is that gender relations in Iranian cinema after the revolution have changed from patriarchal to more egalitarian ones. The theoretical framework in the research is the liberal feminism theory. The theory helps researchers to explain the affinity of feminism and modernity.