| چکیده انگلیسی مقاله |
Abstract Considering the constructive and transformative role of media across various dimensions, McLuhan categorizes media into "hot" and "cold" types. He argues that media messages profoundly influence audiences by impacting personal, social, political, mental, economic, and ethical aspects of life. This study applied McLuhan's media theories to explore the goals and motivations behind media content produced during the era of Fath Ali Shah Qajar and how it was communicated to the public. The findings indicated that poetry, paintings, inscriptions, sculptures, and the king's persona served as mediums for transmitting the values of the Qajar dynasty to its subjects. Media figures emerged in critical contexts, utilizing hot topics, such as religion and literature to equate the Shah with prophets, Imams, and revered historical figures. By emphasizing the Shah's sanctity and glory, the media sought to protect traditional viewpoints, with the primary aim of reclaiming the role of Imam Zaman's representative from the jurists and transferring it to the Shah. Keywords: McLuhan, Media, Fath Ali Shah, Legitimacy, Poetry. Introduction A significant transformation in the role and functions of media has taken place since the invention of the printing press, coinciding with the emergence of new media, such as newspapers, magazines, photography, film, radio, telegraph, and telephone. In Iran, media developments and shifts in content began during the reign of Mohammad Shah Qajar (1250–1264 AH/1834–1848 CE) with the publication of the first newspaper and these changes continued to expand during the era of Naser al-Din Shah (1264–1313 AH/1848–1896 CE). Consequently, the functions and responsibilities of media during Fath Ali Shah's reign remained largely aligned with previous practices. This study aimed to analyze Fath Ali Shah’s media behavior through the lens of Marshall McLuhan’s media theories, while also identifying traditional media and addressing the following questions: What goals and motivations underpinned the production of media content during Fath Ali Shah’s era and how was this content communicated to the subjects? Materials & Methods This study was interdisciplinary in nature. Primary data were collected from historical sources, including original documents, travelogues, and the poetry collections of Fath Ali Shah and Fath Ali Khan Kashani (Saba), as well as works by other poets from that era. The theoretical framework for this discussion was informed by McLuhan’s theories, drawing from the fields of communication studies and social sciences. Research Findings The research findings indicated that during the era of Fath Ali Shah Qajar, media served as a powerful tool for conveying the values and legitimacy of the Qajar dynasty. Through various forms of expression—such as poetry, paintings, and inscriptions—the Shah sought to establish a strong connection with his subjects, portraying himself as a divinely sanctioned ruler. The content of Fath Ali Shah's poetry revealed his intent to align his reign with sacred figures, suggesting that he viewed his lineage as a continuation of religious authority. The analysis of Fath Ali Shah's qasidas illustrated his portrayal of the Shah as a figure of immense sanctity, equating him with revered prophets and historical figures. For instance, he was described as superior to Moses and possessing the miraculous qualities associated with religious leaders. This strategy aimed to elevate the Shah's status, reinforcing the idea that he was not only a political leader, but also a spiritual one. Fath Ali Khan (Saba), the court poet, further amplified this narrative, likening the Shah to the Prophet Muhammad, thus intertwining the concepts of kingship and prophecy. Visual media played a crucial role in this narrative construction as well. The Shah's image was strategically placed alongside representations of ancient kings, reinforcing the notion that the Qajar dynasty was an extension of Iran's historical monarchies. This use of visual symbols served to legitimize the Shah's rule and connect it to a glorious past, a tactic that resonated with the populace. Based on McLuhan's media theories, the findings suggested that the era of Fath Ali Shah could be characterized as an oral culture, where communication was deeply rooted in emotions, religion, and tradition. The media produced during this time reflected the sacred nature of the messages, aligning with the characteristics of oral societies that prioritized auditory communication. Thus, literature and poetry emerged as the dominant forms of media, effectively reaching the largest audience and reinforcing the Shah's divine legitimacy. Overall, the research underscored the transformative role of media in shaping public perception and legitimizing authority during the Qajar period, illustrating the intricate relationship between media, culture, and power. Discussion of Results & Conclusion The content of Fath Ali Shah Qajar’s poetry revealed his intention to use the poetic form to convey political objectives. It was widely believed that, as the Qajars were establishing their reign, the Shah sought to position his uncle, Agha Mohammad Khan, as a Mahdi-like figure—a savior armed with a sword to revive true religion (Shi’ism) and establish justice. The opening couplet of one of Fath Ali Shah’s qasidas stated: “If a sword guarantees conquest, it shall be the sword of the King of the World.” The same qasida concluded with the line: “He repels the corruption of tyranny from the world and is the deputy of the Owner of the Time” (Fath Ali Shah, 1965, p. 13-14). In his qasidas (Fath Ali Shah, 1965, p. 13-23), the Shah was attributed the highest degree of sanctity. In his communications with his subjects, he was depicted as equal to the prophets endowed with their miraculous qualities. He was portrayed as superior to Moses (Fath Ali Shah, 1965, p. 20), bearing the visage of Joseph (Fath Ali Shah, 1965, p. 26), comparable to Abraham with the phrase “O idol breaker” (Fath Ali Shah, 1965, p. 20), and akin to the “Lion of God”, Ali (Fath Ali Shah, 1965, p. 21). He was described not only as the “Shadow of the Almighty”, but also “as if his essence is that of the Almighty Himself” (Fath Ali Shah, 1965, p. 21), as a figure who belittles and surpasses the clergy (Fath Ali Shah, 1965, p. 21), and even higher than Jesus (Fath Ali Shah, 1965, p. 22), possessing “the seal of kingship like the seal of prophethood” and “the majesty of prophethood” (Fath Ali Shah, 1965, p. 22-23). These examples reflected the Shah-poet’s efforts to align the Qajars with sacred figures, thereby elevating their status to be comparable to these revered personalities in the eyes of their subjects. Fath Ali Khan (Saba), the poet laureate of Fath Ali Shah’s court, conveyed messages of sanctity and the divine shadow (Zillullah) attributed to his master, aligning his words not only with the Shah, but elevating them beyond him. In Saba’s poetry, the Shah was compared to Ahmad, the Seal of the Prophets: “In creation, he is the first and in resurrection, the last indeed; like Ahmad the Messenger, the end and the beginning” (Fath Ali Khan Saba, 1962, p. 12). He further emphasized the equality of the prophet and the king, stating: “Especially the two kings of the world, the seal in religion and dominion; From these two, creation is eternally established: Ahmad, who adorned the throne with his glory, and the Khagan, who made the heavens revolve by his power.” (Fath Ali Khan Saba, 1962, p. 13). The Shah and his courtiers employed visual media, such as paintings, plaques, and royal statues, as political instruments. This strategy was evident in the placement of the Shah’s image alongside ancient artifacts in prominent locations, alongside the images, statues, and inscriptions of historical kings. In this way, the royal media apparatus illustrated that kingship in the Qajar dynasty was a continuation of the legacy of ancient Iranian monarchies (Flandin, 1977, p. 113; Fraser, 1985, p. 150; Ducerceau, 1983, p. 15). Marshall McLuhan, through his media theories, categorized media into two types—hot and cool—and classified human culture into three distinct periods: oral, visual, and electric. He provided a fresh perspective on media, suggesting that any tool could serve as a channel for transmitting messages, with the essence of the process lying in the "messages" themselves. According to McLuhan, the era of Fath Ali Shah aligned with an oral culture characterized by emotions, religion, and tradition, where media communication and message reception primarily occurred through auditory means. He viewed oral culture as typical of Eastern societies and pre-print European societies, emphasizing that people in such cultures were deeply connected to the land with space considered sacred. In contrast, visual culture emphasized literacy, reading, and writing. Given the nature of Iranian culture at the beginning of the Qajar era, the messages produced and disseminated were predominantly religious and sacred, reflecting the characteristics of oral culture. Additionally, literature and poetry were utilized as media because they reached the largest audiences in Iran’s oral culture, both before and during the Qajar period. |