This study intends to answer a question that how can drama-as a literal framework-be a representation of surrounding discourse of historical and social issues. It seems that a necessity beyond history which is a thoughtful attention of the history and its comprehension is the primary path to connect the author’s mindset and his audience towards past and present events. This study is done with a purpose and identification of patterns on dramatic discourse in terms of history and social issues from the Hayden White’s Metahistory perspective. Since storification and language capacity are considered as discourse paradigms in Metahistorical theory, the hypothesis claims that drama enables historic discourse to be felt at the present time by

Stigma refers to the different view of society to t 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 labelled person or community on social grounds that tries to distinguish them, from other portions of society. Stigma then can be attached to a person, by the greater society, who differs from their cultural norms. Social stigma can result from mental disorder, physical disabilities, diseases, illegitimacy, sexuality, beliefs, principles, religion, beauty, gender identity, parenthood, educat

The concept of diegesis (telling or recounting a story) originally appeared in Plato’s thesis as opposed to mimesis (showing or enacting a story). In the current era, the notions of diegesis and mimesis, developed as key elements for differentiating verbal narratives from drama, have been reconsidered by narratologists who argue that in a play, an actor presents the sequence of events that is generally mediated through a given narrator in a fiction. In Stage Fright: Modernism, Anti-Theatricality, and Drama (2002), Marin Puchner coined the term “digetic theatre”. Digetic theatre focuses on a type of theatre that uses narrative and discourse techniques to deviate the audience’s attention from actors’ performance to words. Puchner us

iranian cinema is well-known in international movie festivals. A lot of internal and external researchers have conducted many researches about Iranian cinema and its filmmakers. Usually these researches are affected by cultural studies and have the same approach to content and meaning. This has become the reason that we have few researches about visual aspects and cinematic structures in Iranian cinema. One of the neglected issues of visual aesthetics analysis in Iranian cinema is the dialogic moments: scene in which two or more characters talk to each other. Since dialogic moments have been used frequently in movies, its use has become conventional, and almost no movie can be found without them. One of the dominant conventions in directing

Aproximaci?n al concepto de cine inacabado , sus razones y clasificaci?n a trav?s de los distintos ejemplos y cineastas que lo ejercieron o sufrieron.

The present research analyzes the location and its relation to the other dramatic elements in the play “Melody of a Rainy City” composed by Akbar Radi using a descriptive-analytic method and place semiotics. The main purpose of this research is to find, classify and dramatically study the most important locational indicators in the given play. This research intends to analyze and examine the location, according to a semiotic approach, in order to show the implicit and explicit relationships between locations and the different dramatic elements such as characterization, action and plot. In order to analyze the location in this play, Verbal localization (stage direction, verbal indicators, dialogue), non-verbal localization (relationships

The present article attempts to study the main effects of couple relationships in dramatic literature of the recent decade in Iran. This is a descriptive–analytical study. The contents of this research include family and theater studies. In this regard, we have selected a number of important dramas of this period and analyzed and compared them, using a conceptual framework farmed mainly based on the theories of Giddens, McCarthy and Edwards as well as dramatic elements consist of characters, dialogue, conflict, mise-en-scene and theme. Based on the conceptual factors in family relationships defined in this study as anomalous relations, drama elements reflect the couple relationships during performance. The findings of this study reveal th

IN THIS RESEARCH, IT IS ATTEMPTED TO STUDY JAKOBSON'S FUNCTIONS OF LANGUAGE, FOCUSING ON TWO IRANIAN PLAYS. MONOLOGUE AND DIALOGUE ARE TWO ULTIMATE FORMS OF DRAMATIC SPEECH BETWEEN WHICH EXIST OTHER FORMS OF SPEECH, FOR INSTANCE SOLILOQUY. IN SOME CASES THESE TWO FORMS ARE INTERRELATED AND REFLECT SOME FEATURES OF EACH OTHER. OPERATING JAKOBSON'S FUNCTIONS OF LANGUAGE HELPS TO FIND OUT WHICH FORM OF DRAMATIC SPEECH IS DOMINANT IN A LITERARY TEXT. BESIDES THE NOTION SELF-CHARACTERIZATION IS A RESOURCE BY WHICH IT IS POSSIBLE TO RECOGNIZE MONOLOGICITY LEVEL OF SPEECH IN A DRAMATIC TEXT, SUGGESTED BY MANFRED PFISTER. IN THIS STUDY THE JAKOBSON'S MODEL AND THE NOTION OF PFISTER HAVE BEEN COMPLICATED TO ACHIEVE AN UNPRECEDENTED COMPREHENSION OF