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Integrating Critical Discourse Analysis with Grammar of Visual Design

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Integrating Critical Discourse Analysis with Grammar of Visual Design دوﻣﺎﻫﻨﺎﻣﺔ ﻋﻠﻤﻲ - ﭘﮋوﻫﺸﻲ 8د ، ش 4 (ﭘﻴﺎﭘﻲ 39 )، ﻣﻬﺮ و آﺑﺎن 1396 ، ﺻﺺ -207 238 اﺳﻼم ﻫﺮاﺳﻲ در ﺳﺮﻳﺎل ﻫﺎي ﺗﻠﻮﻳﺰﻳﻮﻧﻲ آﻣﺮﻳﻜﺎﻳﻲ: ﺗﻠﻔﻴﻖ ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن و دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي ﻋﻠﻲ ﻣﻮﺳﻮي ده ﺷﻴﺦ1 ، ﭘﺎﻛﺰاد ﻳﻮﺳﻔﻴﺎن*2 ، ﺑﻬﺮوز ﻣﺤﻤﻮدي ﺑﺨﺘﻴﺎري3 1 . داﻧﺸﺠﻮي دﻛﺘﺮي زﺑﺎن ﺷﻨﺎﺳﻲ ﻫﻤﮕﺎﻧﻲ، داﻧﺸﮕﺎه ﺳﻴﺴﺘﺎن و ﺑﻠﻮﭼﺴﺘﺎن ، زاﻫﺪان، اﻳﺮان 2 . اﺳﺘﺎدﻳﺎر زﺑﺎن ﺷﻨﺎﺳﻲ ، داﻧﺸﮕﺎه ﺳﻴﺴﺘﺎن و ﺑﻠﻮﭼﺴﺘﺎن ، زاﻫﺪان، اﻳﺮان 3 . ﻋﻀﻮ ﻫﻴﺌﺖ ﻋﻠﻤﻲ ﮔﺮوه ﻫﻨﺮﻫﺎ ي ﻧﻤﺎﻳﺸﻲ ، داﻧﺸﮕﺎه ﺗﻬﺮان ، ﺗﻬﺮان، اﻳﺮان درﻳﺎﻓﺖ: /1/1 96 ﭘﺬﻳﺮش: /19/2 96 96 ﭼﻜﻴﺪه در دﻧﻴﺎي ﻣﺪرن اﻣﺮوز، ﻧﻘﺶ رﺳﺎﻧﻪ در ﺷﻜﻞ دﻫﻲ ﻣﺴﺘﻘﻴﻢ و ﻏﻴﺮﻣﺴﺘﻘﻴﻢ ﺑﻪ اﻓﻜﺎر ﻋﻤﻮﻣﻲ اﻧﻜﺎرﻧﺎﭘﺬﻳﺮ اﺳﺖ. ازاﻳﻦ رو، ﺗﻠﻮﻳﺰﻳﻮن، ﺑﻪ ﻋﻨﻮان ﻣﻬﻢ ﺗﺮﻳﻦ و ﺑﺎﻧﻔﻮذﺗﺮﻳﻦ رﺳﺎﻧﺔ ﺟﻬﺎن، ﺗﻮﺟﻪ ﺻﺎﺣﺒﺎن ﻗﺪرت را ﺑﺮاي ﺑﻪ دﺳﺖ ﮔﺮﻓﺘﻦ اﻓﻜﺎر ﻋﻤﻮﻣﻲ ﺑﻪ ﺧﻮد ﺟﻠﺐ ﻣﻲ ﻛﻨﺪ. در اﻳﻦ ﺗﺤﻘﻴﻖ، ﻧﻘﺶ ﺳﺮﻳﺎل ﻫﺎي ﺗﻠﻮﻳﺰﻳﻮﻧﻲ آﻣﺮﻳﻜﺎﻳﻲ در ﮔﺴﺘﺮش ﭘﺪﻳﺪة اﺳﻼم ﻫﺮاﺳﻲ ﻛﻪ ﭘﺲ از وﻗﺎﻳﻊ 11 ﺳﭙﺘﺎﻣﺒﺮ ﻓﺰوﻧﻲ ﻳﺎﻓﺘﻪ، ﺑﺮرﺳﻲ ﺷﺪه اﺳﺖ. ﺑﺮاي اﻳﻦ ﻣﻨﻈﻮر، ﺳﺮﻳﺎل ﻣﻴﻬﻦ از ﺷﺒﻜﺔ ﺷ ﻮﺗﺎﻳﻢ از دو ﺟﻨﺒﺔ ﻣﻜﺎﻟﻤﺎت و ﺗﺼﺎوﻳﺮ ﺗﺤﻠﻴﻞ ﺷﺪه اﺳﺖ. ﺑﺮاي ﺗﺤﻠﻴﻞ ﻣﻜﺎﻟﻤﺎت، از روﻳﻜﺮد ﻓﺮﻛﻼف در ﭼﺎرﭼﻮب ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن و ﺑﺮاي ﺗﺤﻠﻴﻞ ﺗﺼﺎوﻳﺮ، از روﻳﻜﺮد ﻛﺮس و ون ﻟﻴﻮون ﺑﻪ ﻧﺎم « دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي » اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ. در ﻣﻜﺎﻟﻤﺎت در ﺑﻌﺪ ﺗﻮﺻﻴﻒ، اﺑﺰارﻫﺎي ﻗﺮاﺑﺖ، ﺗﻜﺮار، ﭘﻴﺶ اﻧﮕﺎري، ﻗﺎب ﺑﻨﺪي، ﺑﺮﺟﺴﺘﻪ ﺳﺎزي، ﻛﻤﺮﻧﮓ ﺳﺎزي و ﺣﺬف درﺟﻬﺖ ﻧﻤﺎﻳﺶ ﭼﻬﺮه اي ﻣﻨﻔﻲ از اﺳﻼم ﺷﻨﺎﺳﺎﻳﻲ ﺷﺪﻧﺪ. ازﻟﺤﺎظ ﺑﺼﺮي ﻧﻴﺰ ﻣﻔﺎﻫﻴﻢ ﻓﺮآﻳﻨﺪ ﺗﺤﻠﻴﻠﻲ، ﻓﺮآﻳﻨﺪ رواﻳﻲ و ﭘﺮﺳﭙﻜﺘﻴﻮ اﻳﻦ ﻧﻘﺶ را ﺑﺮﻋﻬﺪه داﺷﺘﻨﺪ. ﻣﻮارد ﮔﻔﺘﻤﺎﻧﻲ و ﺑﺼﺮي ﺗﺤﻠﻴﻞ ﺷﺪه ﻧﺸﺎن ﻣﻲ دﻫﻨﺪ ﻛﻪ اﻳ ﻦ ﺳﺮﻳﺎل داراي ﻋﻨﺎﺻﺮي ا ﺳﺖ ﻛﻪ Downloaded from lrr.modares.ac.ir at 19:00 IRST on Friday September 24th 2021 ازﻟﺤﺎظ ﮔﻔﺘﻤﺎﻧﻲ، ﺑﺼﺮي و ﻳﺎ ﺗﺮﻛﻴﺒﻲ از ﻫﺮدو، ﻣﻤﻜﻦ اﺳﺖ ﺑﻪ ﺗﺮوﻳﺞ اﺳﻼم ﻫﺮاﺳﻲ ﻛﻤﻚ ﻛﻨﻨﺪ. ﻫﻤﭽﻨﻴﻦ، ﺗﺮﻛﻴﺒﻲ از اﻳﻦ دو روﻳﻜﺮد در ﺗﺤﻠﻴ ﻞ اﻧﺘﻘﺎدي رﺳﺎﻧﻪ ﭘﻴﺸﻨﻬﺎد ﻣﻲ ﺷﻮد. واژﮔﺎن ﻛﻠﻴﺪي : اﺳﻼم ﻫﺮاﺳﻲ، ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن، دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي، ﻣﻴﻬﻦ. ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ * ﻧﻮﻳﺴﻨﺪة ﻣﺴﺌﻮل ﻣﻘﺎﻟﻪ: E-mail: [email protected] ﻣﻘﺎﻟﻪ ﺑﺮﮔﺮﻓﺘﻪ از رﺳﺎﻟﺔ دﻛﺘﺮي اﺳﺖ. ﻋﻠﻲ ﻣﻮﺳﻮي ده ﺷﻴﺦ و ﻫﻤﻜﺎران اﺳﻼم ﻫﺮاﺳﻲ در ﺳﺮﻳﺎل ﻫﺎي ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ... 1 . ﻣﻘﺪﻣﻪ رﺳﺎﻧﻪ ﻧﻘﺸﻲ اﻧﻜﺎ رﻧﺎﺷﺪﻧﻲ و ﺗﻌﻴﻴﻦ ﻛﻨﻨﺪه در ﺷﻜﻞ دادن ﺑﻪ اﻓﻜﺎر ﻋﻤﻮﻣﻲ دارد. ﺑﻴﺸﺘﺮ ﻣﺮدم ﻧﺴﺒﺖ ﺑﻪ اﻳﻦ ﻣﻮﺿﻮع آﮔﺎﻫﻲ ﻧﺪارﻧﺪ ﻛﻪ ﺗﺄﺛﻴﺮ رﺳﺎﻧﻪ « ﻋﻤﺪﺗﺎً ﻗﺎﺑﻞ دﻳﺪن ﻧﻴﺴﺖ و ﺑﻪ ﻃﻮر ﻧﺎﺧﻮدآﮔﺎه ﺟﺬب ﻣﻲ ﺷﻮد » ( Kellner & Share, 2007:4 ). ﺑﻨﺎﺑﺮاﻳﻦ، ﻳﺎدﮔﻴﺮي اﻳﻦ ﻣﻮﺿﻮع ﻛﻪ رﺳﺎﻧﻪ ﭼﻄﻮر ﻣﻔﺎﻫﻴﻤﻲ ﻣﺎﻧﻨﺪ ﺗﺒﻌﻴﺾ ﻧ ﮋادي و ﻧﺎﺑﺮاﺑﺮي ﻫﺎي ﺟﻨﺴﻴﺘﻲ و ﻃﺒﻘﺎﺗﻲ را ﺑﺎزﺗﻮﻟﻴﺪ ﻣﻲ ﻛﻨﺪ، اﻫﻤﻴﺖ زﻳﺎدي دارد ( Kellner & Share, 2005 ). ﺑﺎﻳﺪ ﺑﺪاﻧﻴﻢ ﻛﻪ رﺳﺎﻧﻪ ﻫﺎ اﺻﻮل و ﻗﻮاﻋﺪي دارﻧﺪ و « ﭘﻨﺠﺮه اي رو ﺑﻪ ﺟﻬﺎن ﻧﻴﺴﺘﻨﺪ » ( Ibid : 375 ). ﻳﻜﻲ از اﺳﺎﺳﻲ ﺗﺮﻳﻦ ﻧﻤﻮدﻫﺎي ﻧﺎﺑﺮاﺑﺮي ﻛﻪ ﺑﻌﺪاز وﻗﺎﻳﻊ 11 ﺳﭙﺘﺎﻣﺒﺮ روﺑﻪ اﻓﺰا ﻳﺶ ﺑﻮده، ﺗﺒﻌﻴﺾ ﻣﺬﻫﺒﻲ اﺳﺖ ( Sheridan & Gillet, 2005 ). ﺟﺎن ال. اﺳﭙﻮزﻳﺘﻮ1 در ﻣﻘﺪﻣﻪ اش ﺑﺮ ﻛﺘﺎب ﺻﻨﻌﺖ اﺳﻼم ﻫﺮاﺳﻲ ( Lean, 2012 )، ﻣﻲ ﮔﻮﻳﺪ ﻛﻪ ﭘﺲ از 11 ﺳﭙﺘﺎﻣﺒﺮ، اﺳﻼم ﻫﺮاﺳﻲ ﺷﺪﻳﺪﺗﺮ ﺷﺪه و « اﺳﻼم و ﻣﺴﻠﻤﻴﻦ ﮔﻨﺎﻫﻜﺎر درﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﻲ ﺷﻮﻧﺪ؛ ﻣﮕﺮ اﻳﻨﻜﻪ ﺧﻼف آن ﺛﺎﺑﺖ ﺷﻮد ». ﻣﻤﻜﻦ اﺳ ﺖ ﻣﻨﺒﻊ اﺻﻠﻲ ﭼﻨﻴﻦ رﻓﺘﺎرﻫﺎﻳﻲ ﺗﻠﻮﻳﺰﻳﻮن ﺑﺎﺷﺪ ﻛﻪ « ﺑﻪ ﭼﻨﺎن ﻣﻨﺒﻊ ﻣﻬﻤﻲ ﺑﺮاي اﻃﻼﻋﺎت و ﺳﺮﮔﺮﻣﻲ ﺗﺒﺪﻳﻞ ﺷﺪه اﺳﺖ ﻛﻪ ﺑﻴﻨﻨﺪﮔﺎن ﻧﻤﻲ ﺗﻮاﻧﻨﺪ از ﻧﻔﻮذ و ﺳﻠﻄﺔ ﺗﺪرﻳﺠﻲ آن ﺑﺮ زﻧﺪﮔﻲ روزﻣﺮه ﺷﺎن ﺑﮕﺮﻳﺰﻧﺪ » ( Laughey, 2007:20 ). از آﻧﺠﺎ ﻛﻪ ﻫﺪف ﺗﻠﻮﻳﺰﻳﻮن ﺟﺬب ﻃﻴﻒ ﮔﺴﺘﺮده اي از ﻣﺨﺎﻃﺒﺎن اﺳﺖ، اﺛ ﺮات آن در ﺷﻜﻞ دﻫﻲ ﺑﻪ ﺧﻂ ﻓﻜﺮي اﻓﺮاد ﻣﻤﻜﻦ اﺳﺖ ﺑﻪ « ﻫﻤﮕﻮن ﺳﺎزي دﻳﺪﮔﺎه ﻫﺎي ﻧﺎﻫﻤﮕﻮن » ﻣﻨﺠﺮ ﺷﻮد ( Ibid : 21 ). اﻳﻦ وﺳﻴﻠﺔ ارﺗﺒﺎﻃﻲ ﻣﻤﻜﻦ اﺳﺖ اﺑﺰاري ﻣﻔﻴﺪ و ﻣﺆﺛﺮ در دﺳﺘﺎن ﺻﺎﺣﺒﺎﻧﺶ ﺑﺎﺷﺪ ﺗﺎ ﺑﻴﻨﻨﺪﮔﺎن را ﺑﻔﺮﻳﺒﻨﺪ و ﻛﺎري ﻛﻨﻨﺪ ﻛﻪ آن ﻫﺎ ﺑﻪ ﭼﻴﺰي اﻳﻤﺎن داﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻛﻪ ﻣﻄﻠﻮب ﺧﻮدﺷﺎن اﺳ ﺖ. ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﻣﻌﺮوﻓﻴﺖ و ﻣﺤﺒﻮﺑﻴﺖ ﺟﻬﺎﻧﻲ ﺳﺮﻳﺎل ﻫﺎي ﺗﻠﻮﻳﺰﻳﻮﻧﻲ آﻣﺮﻳﻜﺎﻳﻲ، ﭼﺮا ﻧﺒﺎﻳﺪ آن ﻫﺎ از اﻳﻦ اﺑﺰار ﺑﻬﺮه ﺑﺒﺮﻧﺪ؟ در اﻳﻦ ﻣﻘﺎﻟﻪ، ﻣﻲ ﻛﻮﺷﻴﻢ ﺑﺎ ﺑﺮرﺳﻲ ﺳﺮﻳﺎل آﻣﺮﻳﻜﺎﻳﻲ ﻣﻴﻬﻦ2، ﻣﺸﺨﺺ ﻛﻨﻴ ﻢ ﻛﻪ آن ﻫﺎ ﺑﻪ دﻧﺒﺎل ﮔﺴﺘﺮش و ﺑﺪﺗﺮ ﻛﺮدن اﺳﻼم ﻫﺮاﺳﻲ ﻫﺴﺘﻨﺪ ﻳﺎ ﻧﻪ. ﺑﺮاي رﺳﻴﺪن ﺑﻪ اﻳﻦ ﻫﺪف، ﻣﻜﺎﻟﻤﺎت و ﺗﺼﺎوﻳﺮ اﻳﻦ ﺳﺮﻳﺎل را ﺑﻪ ﺗﺮﺗﻴﺐ در ﭼﺎرﭼﻮب روﻳﻜﺮد ﻧﻮرﻣﻦ ﻓﺮﻛﻼف (a 1992 ، 1995 ، 2001 ) ﺑﻪ ﺗﺤﻠﻴﻞ Downloaded from lrr.modares.ac.ir at 19:00 IRST on Friday September 24th 2021 اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن3 و روﻳﻜﺮد ﻛﺮس و ون ﻟﻴﻮون ( 2006 ) ﺑﻪ ﻧﺎم دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي4 ﺗﺤﻠﻴﻞ ﻣﻲ ﻛﻨﻴﻢ. اﻳﻦ دو روﻳﻜﺮد را ﺑﻪ اﻳﻦ دﻟﻴﻞ اﻧﺘﺨﺎب ﻛﺮدﻳﻢ ﻛﻪ اﻧﺴﺠﺎم و ﻛﺎرآﻣﺪ ﺑﻮدﻧﺸﺎن در ﭼ ﻨﺪﻳﻦ ﭘﮋوﻫﺶ دﻳﮕﺮ، ازﺟﻤﻠﻪ ﻫﺎﻛﻴﻦ ( 1997 ، 2002 )، ﺟﻨﻜﺲ ( 1997 )، ﻻك ( 2004 )، ﭼِﻬﺎد ( 2012 )، ﻓﻨﮓ و اوﻫﺎﻟﻮران ( 2012 ) و ﺑِﻴﺘﻤﻦ و واﻳﻠﺪﻓﻮﺋﺮ ( 2014 )، ﺛﺎﺑﺖ ﺷﺪه اﺳﺖ. ﺑﺎ اﻳﻦ ﺣﺎل، ﺗﺎ ﺟﺎﻳﻲ ﻛﻪ اﻃﻼع 4321 GramCriticalHomelandJohn L. mar DiscourseE sposito of Visual Analy Design sis 208 ﺟﺴﺘﺎ رﻫﺎي زﺑﺎﻧﻲ دورة 8 ، ﺷﻤﺎرة 4 (ﭘﻴﺎﭘﻲ 39 )، ﻣﻬﺮ و آﺑﺎن 1396 ﻳدار ﻢ، ﺗﺎﻛﻨﻮن ﻫﻴﭻ ﮔﺎه اﻳﻦ دو روﻳﻜﺮد ﺑﻪ ﻃﻮر ﻫﻢ زﻣﺎن ﺑﺮاي ﺗﺤﻠﻴﻞ ﻓﻴﻠﻢ ﻳﺎ ﺳﺮﻳﺎل ﺑﻪ ﻛﺎر ﻧﺮﻓﺘﻪ اﻧﺪ. در اﻳﻦ ﻣﻘﺎﻟﻪ، ﺑﻪ دﻧﺒﺎل ﻳ ﺎﻓﺘﻦ ﭘﺎﺳﺨﻲ ﺑﺮاي ﺳﺆاﻻت زﻳﺮ ﻫﺴﺘﻴﻢ: 1 . آﻳﺎ ﺑﺮاﺳﺎس روﻳﻜﺮد ﻓﺮﻛﻼف (a 1992 ، 1995 ، 2001 )، ﺑﺨﺶ يﻫﺎ ﺗﺤﻠﻴﻞ ﺷﺪه از ﺳﺮﻳﺎل ﻣﻴﻬﻦ داراي ﻋﻨﺎﺻﺮي ﻫﺴﺘﻨﺪ ﻛﻪ از اﺳﻼم ﭼﻬﺮه اي ﻣﻨﻔﻲ ﺗﺮﺳﻴﻢ ﻛﻨﻨﺪ؟ 2 . آﻳﺎ در ﭼﺎرﭼﻮب روﻳﻜﺮد دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي، ﺑﺨﺶ يﻫﺎ ﺗﺤﻠﻴﻞ ﺷﺪه از ﺳﺮﻳﺎل ﻣﻴﻬﻦ داراي ﻋﻨﺎﺻﺮي ﻫﺴﺘﻨﺪ ﻛﻪ از اﺳﻼم ﭼﻬﺮه اي ﻣﻨﻔﻲ ﺗﺮﺳﻴﻢ ﻛﻨﻨﺪ؟ 3 . آﻳﺎ در ﺑﺨﺶ يﻫﺎ ﺗﺤﻠﻴﻞ ﺷﺪه از ﺳﺮﻳﺎل ﻣﻴﻬﻦ ، ﺗﺮﻛﻴﺒﻲ از ﻋﻨﺎﺻﺮ ﮔﻔﺘﻤﺎﻧﻲ و ﺑﺼﺮي ﺑﺮاي ﺗﺮوﻳﺞ اﺳﻼم ﻫﺮاﺳﻲ وﺟﻮد دارد ﻛﻪ ﺗﺤﻠﻴﻞ آن ﺑﺎ ﺗﻠﻔﻴﻖ روﻳﻜﺮدﻫﺎي ﻓﺮﻛﻼف (a 1992 ، 1995 ، 2001 ) و دﺳﺘﻮ ر ﻃﺮح ﺑﺼﺮي ﻣﻤﻜﻦ ﺑﺎﺷﺪ؟ 2 . ﭘﻴﺸﻴﻨﺔ ﺗﺤﻘﻴﻖ در اﻳﻦ ﺑﺨﺶ، ازﺑﻴﻦ ﻣﻄﺎﻟﻌﺎت ﻣﺘﻌﺪد اﻧﺠﺎم ﺷﺪه در داﺧﻞ و ﺧﺎرج اﻳﺮان، آﺛﺎري را ﻣﺮور ﻣﻲ ﻛﻨﻴﻢ ﻛﻪ ﺑﺎ ﻣﻮﺿﻮع ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ارﺗﺒﺎط ﺑﻴﺸﺘﺮي دارﻧﺪ. ﻏﻴﺎﺛﻴﺎن ( 1386 ) ﺑﺎ اﺳﺘﻔﺎده از روﻳﻜﺮد ﺗﺤﻠﻴﻞ ﻣﺘﻦ ﮔﺬراﻳﻲ ﻫﺎﻟﻴﺪي ( 1985 ) و ﺷﺒﻜﺔ ﻧﻈﺎم ﻣﻨﺪ ون ﻟ ﻴﻮون ( 1996 )، ﻧﻘﺶ ﻣﻄﺒﻮﻋﺎت را در ﺗﺮﺳﻴﻢ ﭼﻬﺮه اي ﻣﻨﻔﻲ از اﺳﻼم و ﻣﺴﻠﻤﺎﻧﺎن، ﻗﺒﻞ و ﺑﻌﺪ از 11 11 ﺳﭙﺘﺎﻣﺒﺮ، ﺑﺮرﺳﻲ ﻛﺮده اﺳﺖ. او ﭘﺲ از ﺗﺤﻠﻴﻞ ﻫﺸﺘﺎد ﻣﻘﺎﻟﻪ از روزﻧﺎﻣﻪ ﻫﺎي دﻳﻠﻲ ﺗﻠﮕﺮاف و ﮔﺎردﻳﻦ و ﻣﺠﻼت ﺗﺎﻳﻢ و ﻧﻴﻮزوﻳﻚ، ﻧﺘﻴﺠﻪ ﮔﺮﻓﺖ ﻛﻪ ﻫﻢ ﻗﺒﻞ و ﻫﻢ ﺑﻌﺪ از 11 ﺳﭙﺘﺎﻣﺒﺮ، اﺳﻼم و ﻣﺴﻠﻤ ﺎﻧﺎن ﺑﻪ ﺻﻮرت ﻣﻨﻔﻲ ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺪه اﻧﺪ و اﻳﻦ ﻛﺎر ﭘﺲ از 11 ﺳﭙﺘﺎﻣﺒﺮ، ﺷﺪﻳﺪﺗﺮ و ﺑﻴﺸﺘﺮ ﺷﺪه اﺳﺖ. ﻛﺒﮕﺎﻧﻲ ( 2011 ) ﺑﺮاﺳﺎس دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي ﻛﺮس و ون ﻟﻴﻮون ( 2006 )، درﻣﺠﻤﻮع ﺷﺶ ﺗﺼﻮﻳﺮ از ﺳﺮي ﻛﺘﺎب ﻫﺎي Top Notch را ﺑﺎ ﻫﺪف ﺑﺮﻣﻼ ﻛﺮدن اﻳﺪﺋﻮﻟﻮژي ﭘﻨﻬﺎن در آن ﻫﺎ Downloaded from lrr.modares.ac.ir at 19:00 IRST on Friday September 24th 2021 ﺗﺤﻠﻴﻞ ﻛﺮد و درﻳﺎﻓﺖ ﻛﻪ در ﻣﻮارد ﺗﺤﻠﻴﻞ ﺷﺪه، ﺑﻪ ﻫﺮدو ﺟﻨﺴﻴﺖ ﻣﺮد و زن ﻧﻘﺶ اﺟﺘﻤﺎﻋﻲ ﺑﺮاﺑﺮي داده ﺷﺪه اﺳﺖ. ﻧﺠﻔﻴﺎن و ﻛﺘﺎﺑﻲ ( 2011 ) ﻛﺎرﺑﺮد ﻫﻢ زﻣﺎن روﻳﻜﺮد ﻓﺮﻛﻼف ( 2003 ) در ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن و دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي ﻛﺮس و ون ﻟﻴﻮون ( 2006 ) را در ﺗﺤﻠﻴﻞ ﮔﻔﺘﻤﺎن ﺗﺒﻠﻴﻐﺎت، آزﻣﻮده اﻧﺪ. آن ﻫﺎ اﻳﻦ روﻳﻜﺮد ﺗ ﺮﻛﻴﺒﻲ را روي دو ﻧﻤﻮﻧﻪ ﺗﺒﻠﻴﻎ ﺑﺮﮔﺮﻓﺘﻪ از ﻣﺠﻠﺔ ﺗﺎﻳﻢ در ﺳﺎل ﻫﺎي 2000 و 2001 اﻋﻤﺎل ﻛﺮدﻧﺪ و دو ﻧﺘﻴﺠﻪ ﮔﺮﻓﺘﻨﺪ؛ اول اﻳﻨﻜﻪ ﺗﺒﻠﻴﻐﺎت ﻋﺎﻣﻠﻲ اﺛﺮﮔﺬار در ﺗﺮوﻳﺞ ارزش ﻫﺎي 209 ﻋﻠﻲ ﻣﻮﺳﻮي ده ﺷﻴﺦ و ﻫﻤﻜﺎران اﺳﻼم ﻫﺮاﺳﻲ در ﺳﺮﻳﺎل ﻫﺎي ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ... ﻳا ﺪﺋﻮﻟﻮژﻳﻚ در ﮔﻔﺘﻤﺎن اﺟﺘﻤﺎﻋﻲ اﺳﺖ و دﻳﮕﺮ اﻳﻨﻜﻪ ﮔﻔﺘﻤﺎن ﻣﺬﻛﻮر ﺑﻪ ﻫﻴﭻ وﺟﻪ ﺧﻨﺜﻲ ﻧﻴﺴﺖ. درﺑﻴﻦ آﺛﺎري ﻛﻪ ﺑﺮرﺳﻲ ﻛ ﺮدﻳﻢ، ﺗﻨﻬﺎ در اﻳﻦ ﻣﻘﺎﻟﻪ ﻣﺎﻧﻨﺪ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺑﻪ ﻃﻮر ﻫﻢ زﻣﺎن ﺑﺮاي ﺗﺤﻠﻴﻞ، از ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن و دﺳﺘﻮر ﻃﺮح ﺑﺼﺮي اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ. دروﻳﺸﻲ ( 1392 ) ﭼﮕﻮﻧﮕﻲ ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺮق اﺳﻼﻣﻲ در ﺳﻴﻨﻤﺎي ﻫﺎﻟﻴﻮود را در ﺑﺴﺘﺮ ﮔﻔﺘﻤﺎن ﺷﺮق ﺷﻨﺎﺳﻲ و ﻧﻮﺷﺮق ﺷﻨﺎﺳﻲ ﺑﺮرﺳﻲ ﻛﺮده اﺳﺖ. ﺑﻪ دﻟﻴﻞ اﻫﻤﻴﺖ و ﺗﺄﺛﻴﺮﮔﺬاري ﺣﺎدﺛﺔ 11 11 ﺳﭙﺘﺎﻣﺒﺮ، او ﭘﻨﺞ ﻓﻴﻠﻢ ﻫﺎﻟﻴﻮودي ﺑﻴﻦ ﺳﺎل ﻫﺎي 2000 ﺗﺎ 2012 را ﻛﻪ ﺑﻪ ﻣﻮﺿﻮع ﺷﺮق اﺳﻼﻣﻲ ﺗﻮﺟﻪ ﻛﺮده اﻧﺪ، ﺑﻪ ﻋﻨﻮان ﻧﻤﻮﻧﺔ آﻣﺎري ﺗﺤﻠﻴﻞ ﻛﺮد. ﻧﺘﺎﻳﺞ اﻳﻦ ﺗﺤﻠﻴﻞ ﻧﺸﺎن ﻣﻲ دﻫﺪ ﻛﻪ ﺷﺮق ﺑﻪ ﻋﻨﻮان « دﻳﮕﺮي » ﻓﺮودﺳﺖ ﻏﺮب در اﻳﻦ ﻓﻴﻠﻢ ﻫﺎ ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺪه و ﺟﺎﻳﮕﺎﻫﻲ ﺣﺎﺷ ﻴﻪ اي درﺑﺮاﺑﺮ ﻏﺮب دارد ﻛﻪ در ﻛﺎﻧﻮن ﻗﺪرت و ﻣﺴﻠﻂ ﺑﺮ ﺷﺮق دﻳﺪه ﻣﻲ ﺷﻮد. 3 . ﭼﺎرﭼﻮب ﻧﻈﺮي 1 3- . روﻳﻜﺮد ﻓﺮﻛﻼف ﺑﻪ ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن ﻛﻮﭘﻠﻨﺪ و ژاورﺳﻜﻲ ﻣﻌﺘﻘﺪﻧﺪ ﻛﻪ ﺑﻴﻦ ﻫﻤﺔ روﻳﻜﺮدﻫﺎي دﻳﮕﺮ ﺑﻪ ﮔﻔﺘﻤﺎن، ﻧﺎﻓﺬﺗﺮﻳﻦ روﻳﻜﺮدﻫﺎ « آن ﻫﺎﻳﻲ ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﺤﻠﻴﻞ ﺟﺰﺋﻲ و دﻗﻴﻖ زﺑﺎن، ﺑﻪ وﻳﮋه ﻣﻮاردي از ﻛﺎرﺑﺮد آن را ﺑﺎ ﺗﺤﻠﻴﻞ ﺳﺎﺧﺘﺎر اﺟﺘﻤﺎﻋﻲ و ﻋﻤﻞ ﻓﺮﻫﻨﮕﻲ درﻣﻲ آﻣﻴﺰﻧﺪ » ( Coupland & Jaworski, 2001: 134 ). ﻣﻌﻤﻮﻻً اﻳﻦ ﮔﻮﻧﻪ روﻳﻜﺮدﻫﺎ را ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن ﻣﻲﻧﺎﻣﻨﺪ. ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن ﺑﺮ اﻳﻦ ﻧﮕﺎه اﺳﺘﻮار اﺳﺖ ﻛﻪ ﻗﺪرت ﻫﻤﻮاره در ﮔﻔﺘﻤﺎن و ﻣﺘﻦ ﺣﻀﻮر دارد و ﻫ ﻤﭽﻨﻴﻦ ﻣﻲ ﻛﻮﺷﺪ ﻛﻪ ﺧﻮد را ﭘﻨﻬﺎن ﻧﮕﻪ دارد. ﺑﻨﺎﺑﺮاﻳﻦ، ﻫﺪف ﻋﻤﺪة ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن ﻓﻬﻤﻴﺪن و آﺷﻜﺎر ﺳﺎﺧﺘﻦ ﻓﺮآﻳﻨﺪﻫﺎ و اﻋﻤﺎل ﮔﻔﺘﻤﺎﻧﻲ اﺳﺖ ﻛﻪ ﻗﺪرت درﭘﺲ آﻧﺎن ﻣﺨﻔﻲ ﻣﻲ ﺷﻮد ( Chehade, 2012 ). ). ﻧﻮرﻣﻦ ﻓﺮﻛﻼف (a 1992 ، 1995 ، 2001 ) ﭼﺎرﭼﻮب ﻛﺎرآﻣﺪي را اﻳﺠﺎد ﻛﺮده اﺳﺖ ﻛﻪ ﺷﺎﻣﻞ Downloaded from lrr.modares.ac.ir at 19:00 IRST on Friday September 24th 2021 ﻣﻔﺎﻫﻴ ﻤﻲ ﻣﺮﺗﺒﻂ درﻗﺎﻟﺐ ﻣﺪﻟﻲ ﺳﻪ ﺑﻌﺪي اﺳﺖ ( Jørgensen & Phillips, 2002 ). اﻳﻦ ﻣﺪل در ﻧﻤﻮدار زﻳﺮ ﺑﺎزﺗﻮﻟﻴﺪ ﺷﺪه اﺳﺖ: 210 ﺟﺴﺘﺎ رﻫﺎي زﺑﺎﻧﻲ دورة 8 ، ﺷﻤﺎرة 4 (ﭘﻴﺎﭘﻲ 39 )، ﻣﻬﺮ و آﺑﺎن 1396 ﻧﻤﻮدار :1 ﻣﺪل ﺳﻪ ﺑﻌﺪي ﻓﺮﻛﻼف Diagram1 . Fairclough’s Three-Dimensional Model (Fairclough, 1992a: 73) ﻓﺮﻛﻼف در ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن، ﺑﻴﻦ ﺳﻪ ﺑﻌﺪ ﺗﻮﺻﻴﻒ، ﺗﻔﺴﻴﺮ و ﺗﺒﻴﻴﻦ ﺗﻤﺎﻳﺰ ﻗﺎﺋﻞ ﻣﻲ ﺷﻮد ( Fairclough, 1992a, 1995, 2001 ). در ﺑﻌﺪ ﺗﻮﺻﻴﻒ ﺳﻌﻲ ﻣﻲ ﺷﻮد وﻳﮋﮔﻲ ﻫﺎي ﺻﻮري ﻣﺘﻦ ﺗﻮﺻﻴﻒ ﺷﻮد، در ﺑﻌﺪ دوم ﻓﺮآﻳﻨﺪﻫﺎي ﺗﻮﻟﻴﺪ و ﻣﺼﺮف ﻣﺘﻦ ﺗﻔﺴﻴﺮ ﻣﻲ ﺷﻮد و در ﺑﻌﺪ ﺳﻮم ﺗﻼش ﻣﻲ ﺷﻮد ﻛﻪ ﺗﺤﻠﻴﻠﻲ اﺟﺘﻤﺎﻋﻲ از ﺑﺎﻓﺖ و اﻋﻤﺎل اﺟﺘﻤﺎﻋﻲ اراﺋﻪ ﺷﻮد ﻛﻪ اﻳﻦ ﻓﺮآﻳﻨﺪﻫﺎ در آن ﻫﺎ رخ ﻣﻲ دﻫﻨﺪ ( Chehade, 2012 ). در اﻳﻦ ﻣﻴﺎن، ﻣﻬﻢ اﺳﺖ ﻛﻪ ﺗﺤﻠﻴﻠﮕﺮ ﻣﻘﻬﻮر ﻗﺪرت ﻣﺘﻦ ﻧﺸﻮد و درﺑﺮاﺑﺮ ﻃﺒﻴﻌﻲ ﺟﻠﻮه ﻛﺮدن ﻣﺘﻦ ﻣﻘﺎوﻣﺖ ﻧﺸﺎن دﻫﺪ. ﺗﺤﻠﻴﻞ اﻧﺘﻘﺎدي ﮔﻔﺘﻤﺎن ﻣﺠﻤﻮﻋﻪ راﻫﺒﺮدﻫﺎ و اﺑﺰارﻫﺎﻳﻲ را ﺑﺮاي اﻳﺠﺎد ﺧﻮاﻧﺸﻲ درﺟﻬﺖ ﻣﺨﺎﻟﻒ ﻣﺘﻦ اراﺋﻪ ﻣﻲ ﻛﻨﺪ.
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