Mohammad Javad Badinfekr; hossein sarfaraz; morteza samiee
Abstract
A review of Persian translation and authorship works on the culture of fame, we find the predominance of critical views; From a semiotic point of view, Roland Barthes's critical stance on intra-cultural sign systems as ideological and mythological systems is common and especially symbolic, revealing ...
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A review of Persian translation and authorship works on the culture of fame, we find the predominance of critical views; From a semiotic point of view, Roland Barthes's critical stance on intra-cultural sign systems as ideological and mythological systems is common and especially symbolic, revealing their hidden and mostly repressive implications; While the claim of the article is the existence of celebrity cultural functions as a symbolic system and the culture of fame as a sphere, which has been tried using the theory and methodology of Yuri Lutman, the founder of the School of Cultural Semiotics, to Provide a new analysis of the culture of fame. The theoretical conclusion of this article was that culture of fame is one of the hallmarks of culture and participates in the process of demarcating the boundaries of culture. Then, using Lutman's cultural semiotics, Hassan Aghamiri's Instagram Live (Rouhani's Celebrity) with Ahlam (the singer's female celebrity), which is a celebrity-centric phenomenon of two opposing classes, is analyzed as a body of study. The results of this analysis revealed that the two celebrities finally agreed on the legal boundaries of halal and haram music on Instagram in an agreement. As a frontier in the sphere of religion, Hassan Aghamiri translates Ahlam, which is a non-religious element, into the sphere of religion. On the opposite side, Aghamiri himself finds his way to the sphere of music through Ahlam. Eventually, the coincidence of the two celebrities with each other leads to an explosion in the sign sphere.
Mohammadsadegh nasrollahi; Mohammad Javad Badinfekr
Abstract
چکیدهConcentration on social messengers in cyberspace, has dominated the part of dominant audience of media consumption in the present era. A brief analysis of the communication pattern of users in social messengers shows the usual use of emoji, so that fewer virtual conversations can be found without ...
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چکیدهConcentration on social messengers in cyberspace, has dominated the part of dominant audience of media consumption in the present era. A brief analysis of the communication pattern of users in social messengers shows the usual use of emoji, so that fewer virtual conversations can be found without emoji. The incorrect, vague, and multiple use of emoji, especially in cultures other than their productive culture, raised the question in the minds of the writers about what is the origin of this phenomenon. And how did the cultural difference between the emoji and its consumer use affect the realization of such a phenomenon? In order to address this concern, the main question of the article is that what are the referents and concepts explicit and implicit of social messengers and whether their influence on the cultural and value system of the Western world can be verified?This paper, using the methodology of semiotics and using fellowship and paradigmatic technique, has explored the explicit and implicit cultural meanings derived from selected emoji (23 emoji) in three parts: family, gender, and language. The findings of this paper show that the dominant cultural approach to emoji is pluralism and cultural relativism deriving from modernism and postmodernism. Naturally, these two approaches have led to phenomena such as cultural vacuum, cultural differences, cultural contradictions, cultural confrontation, cultural ambiguity, and cultural dissemination in consumers and audiences. Last, the emphasis is on adopting an active approach by countries to creating native emoji and in line with their culture.
