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.
