CIVILICA We Respect the Science
(ناشر تخصصی کنفرانسهای کشور / شماره مجوز انتشارات از وزارت فرهنگ و ارشاد اسلامی: ۸۹۷۱)

گواهی نمایه سازی مقاله An Investigation into the Generic Structure of Persian Graffiti

عنوان مقاله: An Investigation into the Generic Structure of Persian Graffiti
شناسه (COI) مقاله: TELT01_210
منتشر شده در اولین کنفرانس ملی آموزش زبان انگلیسی، ادبیات و مترجمی در سال ۱۳۹۲
مشخصات نویسندگان مقاله:

MohammadJavad Mohammadi -
Bamshad Hekmat Shoar Tabari -
Saeed Khazaie -

خلاصه مقاله:
Graffiti abounds in the world around us. Conscious attention at the surfaces of many walls indicates that walls are not just used to separate a section from other section rather they are convenient surfaces to express feelings, attitudes, viewpoints, and interests. The writings found on the surfaces of the walls vary according to gender, cultural backgrounds, and social structures. Universities which are places for gathering of different people with various cultural and social background can be thought of sites that represent a microcosm of the society in which the individual live. Thus, the walls in these sites can be viewed as wide screens or blank papers which individuals use to write for different reasons. Therefore, the present study, in the first phase, examined this genre to extract a general framework of different categories of the graffiti in Iranian universities. Findings uncovered that these writings fall into nine distinct groups known as: poetic, slogans, warning, religious, cheating, memoir, humorous, amorous, and ambiguous. Results revealed that amorous type was of the highest frequency among different categories of wall writings in Iran. In the second phase, drawing on the genre theory posited by Swales (1990), a general move structure for the amorous type of graffiti as the most frequent one in Iranian universities was depicted. The extracted generic structure was composed of four moves, namely, as salutation, warming up, peak point, cooling down, and complementary close and signature. And in the last phase, relying on the politeness theory proposed by Arundale (2006), different politeness strategies exploited in these graffiti were scrutinized. Results of this stage of the study unveiled that nearly 70 percent of the moves employed by the writers of the amorous type of graffiti function as connection face since they were apparent as unity, interdependence, solidarity, association, congruence, and more, between the writer and reader/s. However, the remaining 30 percent of the moves applied by the writers functioned as separation face since they voiced as differentiation, independence, autonomy, dissociation, divergence, and so on between the relational partners.

کلمات کلیدی:
Generic structure, graffiti, Faculties, Politeness

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