Papers by M.J. Yousefian Kenari
Textual Criticism of Persian Literature, Jan 15, 2010
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
نامه هنرهای نمایشی و موسیقی, Sep 21, 2019
Stigma refers to the different views of society to marred identities. In such cases, there is a d... more Stigma refers to the different views of society to marred identities. In such cases, there is a difference between the potential identity and the actual identity. Those carrying a stigma try to resist public view about themselves by ignoring their position and showing new identities and behavioral characteristics. Social stigma creates unhappiness for a labeled person or community on social grounds that tries to distinguish them, from other portions of society. Stigma can then be attached to a person, by the greater society, who differs from their cultural norms. Social stigma can result from mental disorders, physical disabilities, diseases, illegitimacy, sexuality, beliefs, principles, religion, beauty, gender identity, parenthood, education, race, ethnicity, power, reputation, wealth, occupation, class, affiliation, brainpower or criminality. Attributes associated with social stigma often vary in different societies depending on the geopolitical and corresponding sociopolitical contexts. According to Erving Goffman, there are three forms of social stigma: Obvious deformations (such as wounds), corporal signs or physical and social disability. Variation in personal traits stigmatized in this way, including falling into a school exam, working a low wage job, single parenthood, economic failure, unemployment, welfare dependency, infidelity, mental disorder, drug addiction, and wrong background. Tribal stigmas are behaviors of a tribal group, ethnic, nationality, or religion that is believed to be a deviation from the general normative civilization. Gender is a more outstanding ground in Iranian contemporary drama than other types of stigma. This paper is a gender sociological review over the selected Iranian drama by using Erving Goffman Theory of Stigma. This paper considers stigma as Hamartia and then compares and categorizes different types of stigma between men and women in selected Iranian drama by exploring the power of labeling in sexual relationships. Then, identity crisis and different ways of hiding stigma are explored: Including abiding behavior, alienation and passive manner toward others (spouse or father) among women; while men try to rebuild their identity and regain their credit. Stigma-related factors in men are more in connection with the external environment (culture, economics, and politics) and are often in interaction with their counterparts (men), while women are more stigmatized by physiological and marital relations or in interaction with the opposite sex. Omission, eject denial; ignoring privacy is the most common way of dealing with stigmatized characters. Ultimately, stigma is about public control. The consequence of this is that stigma is necessarily a social happening. Without a society, one cannot have a stigma. What this article has added to Goffman’s Theory of Stigma is what we have called Pride Mark. To have a stigma, one must have a stigmatizer and someone who is stigmatized. In Pride Mark, one who is stigmatized is a noble, enlighten intellectual man, a person who is marginalized by society because of his superiority in knowledge. Keywords: Stigma, Identity, Gender, Iranian Drama, Erving Goffman
Bookmarks Related papers MentionsView impact
The International Journal of Humanities, 2010
Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by ... more Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami a...
Bookmarks Related papers MentionsView impact
Discourse space is a key element in conveying concepts in a play text. This article will look for... more Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture, are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a...
Bookmarks Related papers MentionsView impact
Uploads
Papers by M.J. Yousefian Kenari