диссертация (1169135), страница 39

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Routledge, 2003. p.61.503 503Sabet F., Safshekan R. Soft War: A new episode in the old conflict between Iran and the United States.Research supported by the Center for Global Communication Studies’ Iran Media Program. Philadelphia:University of Pennsylvania, 2013. pp. 4-26..2932 ‫خرداد‬29 .‫ خبرگزاری ایسنا‬.‫شکسته شدن قبحها با پخش سریالهای دنبالهدار‬/‫ درصد ایرانیان ماهواره دارند‬31 ‫ بیش از‬504More than 90 percent of Iranians have a satellite / death of obscenity under the influence of long running series.Iranian Students News Agency. 13.03.2015.

— Mode of access: https://www.isna.ir/news/94031307607/165displaying music and dance shows and 80 channels are allocated to fashion.Iranian sociologists believe that the attractive culture screened in satellite TVsresponds the needs of young audience providing them the western fashion, so thatthey can reconstruct a modern identity505.

Different researches prove that womenwho are identified as "bad hijabi" or inappropriately veiled watch more satelliteTVs and use more chat rooms such as Facebook506."Although hijab law remains the same today, women have steadily andrelentlessly pushed back the boundaries of the dress code. […] They resist thedemands by the hardliners to correct their hijab"507. The dressing manner of newgeneration is not the intended ideal style set in 1980 by the Islamic government.Mini transparent shiny scarves, tight short jackets, fashionable hair arrangement,accessories, made-over faces and tattooed eyebrows identify modern Iranianwomen.،3 ‫ شماره‬،‫ مطالعات رسانه های نوین‬،‫ مهمترین روشهای جذب مخاطب در سه شبکه تلویزیونی ماهوارهای سرگرمیمحور‬،‫بیچرانلو عبدهللا‬505.31-57 ‫ صص‬،2935Bicharanlu A.

Min Ways of Absorbing Audience in Three Satellite TV Channels. Motaleat-e resanehaye novin, No.33, 2016, pp.57-90.،‫ فصلنامه زنان و خانواده‬،‫ مطالعه ای ملی‬:‫ نقش عوامل فرهنگی و رسانه ای در پیش بینی حجاب زنان‬،‫ خدادادی سنگده جواد؛ احمدی خدابخش‬506.12-7 ‫ ص‬،2932 ،99 ‫شماره‬Khodadadi J. Ahmadi. Kh. The Role of Cultural Elements and Media in Women's Hijab. Zanan va KhanevadeNo.33, 2016, pp. 7-22.507Honarbin M.

Becoming Visible in Iran: Women in Contemporary Iranian Society. I.B.Tauris, 2013. p.54.166Fig. 11. Iranian women in fashion hijabEven the young generation who chose black chador, voluntarily or forced byconservative families, are not performing this practice similar to their mothers.Today, many various models of black chador have emerged. These new fashionsof back "chadors" are in response to the needs of the younger Iranian women.

Thisgeneration being provided with resources of globalized media, or academiceducation would no longer continue the traditions, as did their conservativemothers. While sustaining their religious identity, they perform the action ofveiling in a manner that identifies them different from traditional women. Theseblack chadors, though under the names such as "student chador", "nationalchador", or "Arabic chador", embody the religious identity of the wearer or herfamily who might force her to wear chador.The available resources have inspired reflexivity about dressing.Considering the confining rule of mandatory hijab, women invoke to Fashionhijab. This fashion hijab used by most urban women is not fundamentally differentfrom the dressing style of women in public after Reza Shah's unveiling decree.Both have "adoption of a western style coat and a partial covering of the head,showing more hair, neck and body shape"508.

However, while this dressing code in1930s was imposed by the state, today it is chosen by the agents as a deviatedcitation of the standard norm of veiling imposed by the state. At the same timethat the Islamic discourse attempts to construct identities of its subjects, womenbeing the subjects within these relations of power enjoy agency to "articulate[their] opposition". They are enabled by these norms to resist them. They performthe action of veiling in order to be viable subject. This is the "acquisition of beingthrough citing of power".

This performativity of regulatory norms" is a "theatrical"recitation, or "rearticulatory practice" that enables the subject to resist the power508Cornine S. The Making of Modern Iran: State and Society under Riza Shah, 1921-1941. Routledge, 2003. p.168.167by "reformulation of performativity"509. The “bad hijabi” style is widespread inIran despite great efforts by the police to eliminate it…This clothing revolution isan epitome of the contemporary form of resistance in Iran"510. Fashion hijab as therecitation of Islamic hijab troubles the Islamic discourse. The subject "takes up orcites that very term as the discursive basis for an opposition"511.

The fashion hijab,as the common product of Islamic and Western discourses, is colorful weaponagainst the traditional and Islamic ideologies of the state. In fact, veiling has beenpoliticized again. This veiling evolution is called as "clothing revolution of Iran ,non-verbal form of protest, theepitomeofthecontemporaryformofresistance in Iran; if you cannot uncover, why not cover “badly"512.The outcome of this phase of women's awakening by academic educationand globalized media is not limited to their fashion hijab or bad hijabi, as theinappropriate reiteration of the norm of veiling. Some have launched to subvert thenorm and to stop the law. A media campaign set up on the Facebook page of anIranian journalist and activist in London.

Masih Alinejad posting her unveiledphoto in London and in her hometown in Iran encouraged Iranian women to followher. Soon the page had 760,000 followers. To this point, hundreds of Iranianwomen submitted their unveiled photos in public places in Iran. This page called"My Stealthy Freedom" also inspired solo singing for women through videosunder the name of "My Forbidden Song"513. Some women dare to challenge thecompulsory hijab in crowded streets of Tehran even if they might risk arrest. On acampaign, called white Wednesdays here and there a woman is standing unveiledat the top of a cement block while waving her scarf side to side.

This scarf hangingfrom a stick is similar to a flag voicing the silent protest against the mandatory law509Butler J. Bodies that matter: On the discursive limits of "sex". New York: Routledge, 1993. p. 15.Asghar T.J. Good Hijabi, Bad Hijabi: The Politics of Women’s Clothing in Iran, Journal ofUniversity-Qatar Middle Eastern Studies Student Association.18 Mar 2015. [Electronic resource].access: http://dx.doi.org/10.5339/messa.2015.1511Butler, J.

Bodies that matter: On the discursive limits of "sex". New York: Routledge, 1993. p. 232.512Asghar T.J. Good Hijabi, Bad Hijabi: The Politics of Women’s Clothing in Iran. Journal ofUniversity-Qatar Middle Eastern Studies Student Association.18 Mar 2015. [Electronic resource].access: http://dx.doi.org/10.5339/messa.2015.1513Bruns A. The Routledge Companion to Social Media and Politics. Routledge, 2015. p. 225.510Georgetown— Mode ofGeorgetown— Mode of168of veiling. Some veiled women, who willfully wear the veil but oppose thecompulsory veil, have also joined the campaign of protesting to state that theywant veil for themselves not to impose it on others514.Some women in fashion hijab wear white scarves on Wednesdays, to voicetheir resistance.Fig.

12. Iranian girls in white scarves on White WednesdaysWomen's digital uprising through media such as Facebook or their symbolicprotests demonstrates the long-established tension between the Islamic traditionaldiscourse and secularized and modern discourse of West. Each discourse seekingsubsistence subjugates women, so that women will perform in the regulatory frameof that discourse, contributing to the continuity of that very discourse.The literature on veiling by Western authors or Iranian authors in diasporararely depicts a satisfying image of veiling.

Western discourses, whether electronicor printed media, such as movies, newspapers, historical books, or literature indefying Islamic traditions, represent veiling as the most obvious symbol of Muslimwomen's oppression. Ridouani writes, "in Western media Muslims are seen as oneand unique entity of anti-rational barbaric, anti-democratic, bloodthirsty people".In regard to veiling, he believes that the facts are distorted and "Muslim women,514Kasana.

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