In this article, based on Gumperz’s (1982) view of prosodies as contextualization tools, we study tone of voice in characterization. First dialogues of an actor (Javad Ezzati) are chosen from Iranian films and series, playing both positive and negative roles. Then the dialogues are transcribed in North American Phonetic Alphabet and are studied based on Jeffersonian conversational analysis symbols to categorize different prosodic characteristics of the actor’s voice in different roles. It is assumed that prosodies are one of the most important tools available to the actors to reconstruct a particular character and enliven the character in order to pursue the narrative. In all, positive roles show low volume, low pitch, breathy quality and distinct pronunciation and negative roles show high pitch, high volume, balancing speed and pause to keep the turn and to represent higher status.

In workshops and books on acting education, we have repeatedly faced the phrase “ inner dynamics. ” In Persian translations, the phrase has been perceived and translated as a combination of inner bodily forces which drive physical motions and/or emotions within us. This article is a query into how these forces may affect the actor’ s voice. The actor’ s voice, which also functions as his professional tool, is closely connected with other vital elements; senses, thoughts and body along with the voice form a quadruple combination. The absence of any of these elements or even their malfunction would result in an actor’ s faulty performance. In this study, making use of the findings of other fields (including physics, music, physiology, neurology, sociology, complementary medicine, chemistry, nutrition, sports, and geography, … ) on how voice is formed and how internal and external factors may affect it, we are after a substantial reconsideration on how the inseparable body-speech relationship is perceived in order to serve as a stern warning against improper voice trainings which are performed as so-called “ oratory” and adversely harm the delicate vocal organs as well as the trainee’ s vulnerable spirit. Each individual actor, considering his physical and mental characteristics, possesses a unique voice, hence requires his own specific exercises in order to train his voice to achieve the capability to create diverse personas. The actor is to make an individual endeavor, under the guidance of a knowledgeable trainer, to figure and devise the types of practice, which suit his own conditions. According to the ancients, "sound" is the spirit level and, in modern languages, represents our thoughts, feelings, and emotions. For example, students at the Christian Lynchlt Center in Scotland, in the first step of their education, are advised to understand the "Psychophysiology" of their voices, because this understanding allows the ways of communication which have become ordinary and routine for them, to be fundamentally repaired and rebuilt-This branch of psychology examines the relationship that may exist between the behaviors, traits and psychological functions of individuals with physiological factors in the body. Since the sound is generated from a point within the body and is not a phenomenon that is readily observable, it is necessary to study what process is in progress in the relevant limb and how sound communication with them is. This is the first step. In many parts of the world, after basic knowledge, with the help of modern scientific achievements, with the help of physical exercises, students learn to concentrate on mental and physical abilities, develop respiratory skills and many other useful practices. The effects of the body and the sound of other factors should not be overlooked; the dynamics of the earth and energy centers in the body, the effects of climate, heat and cold, the place and community, and, in general, the impact of the environment on us and, accordingly, on the sound are obvious.

The present article seeks to explain the Iraqi Kurdistan independence from the perspective of the interests and strategy of the effective actors, and utilizes the Actor Analysis Approach and MACTOR method. In this regard the main question is: what is the main convergences between interests and strategies of the main actors in Iraqi Kurdistan, and this circumstances how affects Kurdish independence? MACTOR method explicitly analyzes the relationships between actors and evaluates the relationships between actors and strategies. The main actors and strategies-including 11 main actors and 14 key strategies-were identified and then graphs were analyzed. The most important results regarding the Kurdistan independence are: the most influential actors in the subject; the actors competitiveness in the Kurdish independence; the most sensitive strategies; and the degree of convergence and divergence of actors regarding the strategies under consideration. The important result is that the sensitivity of the key actors and their relative consensus to disagree about establishment of Kurdish state and disintegration of Iraq and also concerns about creation of great Kurdistan state and as a result Increasing instability and Insecurity in the region, means that there are serious obstacles to ahead of Iraqi Kurds.

Among the various decision-making models, the Rational Actor Model, which is based on cost-benefit logic, provides a good framework for better understanding Trump's foreign policy behaviors that can be considered by the country's decision makers. The main premise of the rational model of decision-making is the economically rational human being who tries to choose the most desirable way to achieve the goal by following the cost-benefit logic. The main question of the research is "How can Donald Trump's foreign policy in withdrawing from international agreements and his approach to the issue of international security be analyzed in a theoretical framework? " In response to this question, the hypothesis has been put forward: "Trump's foreign policy behaviors in withdrawing from international agreements and his economy-oriented approach to the issue of international security can be explained based on the rational model of decision-making and profit maximization. " In this regard, Trump's “ America First” slogan, is a good example of utilitarianism in his foreign policy. This paper applies descriptive-analytical method to explain the American foreign policy from the perspective of the rational actor model. The data collection has been in the form of libraries, scientific journals and the use of reputable Internet sites.

Although the function of neuro-vocal system of the human body was previously suggested in the second half of the 17th century by the Italian surgeon Antonio Val Sal Va, its use in speech therapy during the past 30 years and its role have not been considered properly for teaching speech method in the schools of dramatic arts. The present study aims to shed some light on the need for paying more attention to this mechanism. This research intends to pave the way for the application of a scientific achievement in teaching artistic tasks. In order to get started in this study, we should take something important into consideration. If we accept this reality that we do not speak merely to project our voices; but we speak to amuse, inform, and also to influence another person’s behavior, we must therefore be aware that each single speech characteristics (including the quality of effectiveness and effectiveness) contain a wide range of components. Consequently these components should be included in our discussions on teaching speech to theatre students. As a matter of fact, Val Sal Va mechanism is activated by physical activities in the scene as well as the emerging emotions and passions. After discussing the specific characteristics of the above-mentioned mechanism and its effectiveness on the final dramatic speech, we will be informed that passion is basically the shared component of speech pathology and elocution, which has unfortunately been neglected in speech exercises. The direct impact of this mechanism on speech aesthetics, both in realistic performing methods and its branches (such as naturalism and impressionism), and antirealisitic and abstract forms is considerable. The process at first seems to expected to carry from the rehearsal period to the final performance on stage. However, this does not happen automatically and both the expected range of our voice and the intended level and quality of emotions and passions would be uncontrollable. Thus, the audience members who are at the end of our communication line would not be able to receive an aesthetically cohesive message. The audience would be able to understand whether Val Sal Va mechanism is formed or not by the external signals we get from the actors’ actions. When an actor is trying to depict a character and his/her emotions under the influence Val Sal Va, the true sense of the characters are not correctly exhibited and thus the portrayals would not believable for the audience members. In order to reach the ultimate goal of presenting a believable performance, an actor must have a defined technique within reach to minimize the drawbacks of Val Sal Va mechanism and make the dramatic situation plausible for the audiences. In this regard, some specific exercises for controlling the emotions and sensations are suggested in the present article. They are to make the actors prepare in the rehearsal periods in such a way to duplicate the final stage situation and help the actors in their realistic performances. In other words, the exercises are to be carried out in a virtual reality as much as possible in order minimize the intrusion of the Val Sal Va mechanism. In addition, the suggested exercises should also be helpful to address speech disorders with mental or physical roots.

Aim: In this research, the Doctoral Identity of Isfahan University students was investigated to discover what doctoral students are looking for in their definition and what factors played a role in the formation of their occupational identity. Method: The research is based on a qualitative approach, grounded theory, and charmas method. The population of this research included all Ph.D. students at Isfahan University. The theoretical and purposeful sampling method was used to select the research sample. Data was obtained through semi-structured in-depth interviews with 17 current and graduated Ph.D. students at Isfahan University. MAXQDA version 20 was used for data analysis Findings: Based on the analysis of the interview data, a conceptual model of the doctoral identity of Ph.D. students was extracted, which demonstrates the process of constructing the identity of Ph.D. students. Conclusion: The doctoral identity is the result of the cultural and social context in which students study. In the context of Iranian society, Ph.D. students define their identity as a "social actor." To develop the doctoral identity of students as a "motivated agent", there is a need for a reflective space (in the form of formal or informal courses) in the educational system of the doctoral course.