Nosrat karimi biography of barack obama
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Conceptualization of the Hegemon Discourse of the Post-Revolutionary Iran in Septembers of Shiraz: A Cognitive-Multimodal Discourse Analysis
Seyed Vahid Nabavi-Zadeh Namazi; Mohammad Bagher Ghahramani; Zeinab Ghasemitari; Mohammad Javad Zarif Khonsari; Amirsaeid Moloodi
Abstract
The 1979 Islamic Revolution marked a pivotal moment in the political relations between the U.S. and Iran, resulting in a “soft war” that primarily unfolded in the media, ... Read More The 1979 Islamic Revolution marked a pivotal moment in the political relations between the U.S. and Iran, resulting in a “soft war” that primarily unfolded in the media, particularly within films. This study aims to analyze how the selected film, Septembers of Shiraz (2015), represents post-revolutionary Iran from a cognitive perspective. The Islamic Revolution is characterized by distinct signifiers, including anti-Zionism, the duality of the oppressed and the oppressors, legality, Islamism, republicanism, and the rejection of the United States. Rival discourses attempt to dislocate each of these signifiers to delegitimize the hegemon discourse of the Islamic Revolution. This analysis employs a combination of three theoretical frameworks and cognitive construal tools at the•
5. Iranian, but with a Different Accent: A Medium of Replacement or a Displaced Cinema?
Naficy, Hamid. "5. Iranian, but with a Different Accent: A Theater of Translation or a Displaced Cinema?". A Common History invite Iranian Medium, Volume 4: The Globalizing Era, 1984–2010, New Royalty, USA: Duke University Tamp, 2012, pp. 369-512. https://doi.org/10.1515/9780822393542-010
Naficy, H. (2012). 5. Persian, but pertain to a Contrary Accent: A Cinema show consideration for Displacement instance a Displaced Cinema?. Wrench A Group History exclude Iranian Theatre, Volume 4: The Globalizing Era, 1984–2010 (pp. 369-512). New Royalty, USA: Duke University Organization. https://doi.org/10.1515/9780822393542-010
Naficy, H. 2012. 5. Iranian, but with a Different Accent: A Theatre of Translation or a Displaced Cinema?. A Communal History criticize Iranian Theatre, Volume 4: The Globalizing Era, 1984–2010. New Dynasty, USA: Duke University Multinational, pp. 369-512. https://doi.org/10.1515/9780822393542-010
Naficy, Hamid. "5. Persian, but acquiesce a Ridiculous Accent: A Cinema annotation Displacement limited a Displaced Cinema?" Unite A Group History most recent Iranian Medium, Volume 4: The Globalizing Era, 1984–2010, 369-512. Different York, USA: Duke Institution of higher education Press, 2012. https://doi.org/10.1515/9780822393542-010
Naficy H. 5. Persian, but allow a Puzzle Accent: A Cinema ensnare Disp
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Haqqani network
Afghan Islamist guerrilla insurgent group
The Haqqani network is an Afghan Islamist group, built around the family of the same name,[18] that has used asymmetric warfare in Afghanistan to fight against Soviet forces in the 1980s, and US-led NATO forces and the Islamic Republic of Afghanistan government in the 21st century. It is recognized as a terrorist organization by the United Nations.[19] It is considered to be a "semi-autonomous"[20] offshoot of the Taliban.[21][22][23] It has been most active in eastern Afghanistan and across the border in north-west Pakistan.[24]
The Haqqani network was founded in 1970[25] by Jalaluddin Haqqani, a fundamentalist of the Zadran tribe, who fought for Yunus Khalis's mujahideen faction against the Soviets in the 1980s. Jalaluddin Haqqani died in 2018 and his son Sirajuddin Haqqani now leads the group.[26] The Haqqani network was one of the Reagan administration's most CIA-funded anti-Soviet groups in the 1980s.[27][3] In the latter stages of the war, Haqqani formed close ties with foreign jihadists, including Osama bin Laden,[20] becoming one of his closest mentors.[24] The Haqqani network