Journal of Studies in Applied Language (JSAL)
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1- Department of Linguistics, Central Tehran Branch, Islamic Azad University, Tehran, Iran
2- Department of Linguistics, Central Tehran Branch, Islamic Azad University, Tehran, Iran , f.kazemi86@yahoo.com
2- Department of Linguistics, Central Tehran Branch, Islamic Azad University, Tehran, Iran , f.kazemi86@yahoo.com
Abstract: (188 Views)
The present research has investigated the linguistic power of women's speech in the works of two female directors whose gender was proportional to the main characters of the films. The purpose of this research is the linguistic investigation of verbal power, which has a very important role in communication interactions and is effective on appropriate verbal behaviour. In this regard, cinema can play an inseparable role in the production of attitudes and beliefs and intellectual and behavioural changes in the structure of the social system. How women appear in the mass media of cinema can expose the inequalities of verbal power between male and female characters. Therefore, this research has been conducted using the qualitative content method and based on the theory of Robin Tolmach Lakoff (1975), which can be read from the perspective of the representation of linguistic power. The data are the speech of the two films "Nahid" by Ayda Panahandeh and "Shiar 143" by Narges Abyar, which have been analyzed at three levels: lexical, grammatical and phonetic. The results of the research show that verbal linguistic strategies are used in a wide range among the male and female characters of both films, which include swear words, color terms, taboo words, emotional expressions, Intensifiers, hedges and fillers, repetition and rising tone, interrogative sentences and question tags that reflect the different linguistic power of the characters and have been used in order to apply the pattern of exercising power. The reviews of the two works show the fact that in the context of both films, women's speech has more feminine emotional color and ultimately less verbal power, and both directors have depicted and represented a feminine speech space. Among the aspects of the difference in these two films, we can mention the difference in the use of taboo words and address words. In this way, in the movie Nahid, taboo words and address words are used, which cause more anger and distance, but in the movie Abyar, address words are used that include solidarity and intimacy. Another aspect of the difference between the two films is the use of repetition and rising tone strategies, which were also have used by men in the film shiar 143 except for women.The results of this research can be of interest to linguistics experts and researchers, social science analysts, media and movie critics.
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