Adopting the modem approach that is the point of departure to what has been known as the modem rationality and in order to preserve and prove the human's superiority on nature, the modem knowledge was initiated having characteristics, such as rationality, objectivity, realism, verifiability and Performativity. In the direction of subtlety and exactness of modem rationality and in accordance with the standards that this sort of rationality determines, modem knowledge continues its way through a reductive process to be settled down within a new equation of the information age. Relying on one of the well-known theories and emphasizing on J.F. Lyotard's analysis of the status and development of knowledge, science and technology in contemporary societies, the present study pursuits its purposes in the realm of education. Accordingly, in order to have a conscious confrontation with the challenges of the present time, education needs to provide a philosophical reflection within the frame of "return to presuppositions", to reduce the problems that arise from the accelerating and sometimes explosive movements within the domain of decision, also it needs to promote the political insights of teachers and students and equip them by deep understandings of knowledge issues and their relations to other domains.

In the functionalism paradigm, management accounting is as a neutral instrument and symbolic device addressing fair representation and ontology derived from such a paradigm is the separation of facts from accounting practices. In the new paradigms originated from postmodernity, we achieve a performative approach under which accounting accepts the roles of making territory, mediatory, judgment and making up mind for the audience by creating cognitive boundaries that make room for social practices in economic and financial theory. In this regard, based on actant-network theory, management accounting is an actant in interaction with other actants in interconnected networks of individuals, organizations and markets that can cause changes in other actants and creative Performativity can be a field for penetration and intervention, so political calculations can become manifest to persuasive arguments in management accounting ontology. In this paper, regarding a research based on philosophical, sociological and economic analysis, management accounting ontology is addressed emphasizing on Performativity and actant-network theory and its three applications in the field of social responsibility, professionalism and accountability are also mentioned. The results show that Management accounting finds identity in network intelligent processes and in real networks cannot ignore the major role of virtual and position inevitable elements of “power and ideology”.

One of the most challenging approaches toward literary works is the feminist approach. After three waves of feminism through the history of literary criticism, Judith Butler has introduced a new vision that is gender-based rather than sex-based. She has strongly influenced the domain of feminism and queer theories. In her preeminent book Gender Trouble: Feminism and the Subversion of Identity (1990), Butler sharply criticizes the former feminists for their division of men and women into two distinct groups, the latter being the underdog and the former being the superior. Butler argues that gender is a cultural and social construct. One’ s gender is performative for one’ s actions, which determine and construct his/her gender identity. The present paper aims at investigating Gillian Flynn’ s Gone Girl (2012) in terms of Butlerian concepts of gender and Performativity. The novel takes advantage of certain characters to depict the idea of gender, as performative. The current study explores the concept of gendered identity focusing on the characters of Amy Elliott Dunne, Margo Dunne, and Maureen Dunne. Further investigations of the characters, particularly Detective Rhonda Boney and Amy Elliott Dunne, illustrate the link between the concept of Performativity and the novel.

This article examines the reproduction of gender identity in Dowlatabadi’ s short story “ The Man” in the light of Judith Butler’ s theory of Gender Performativity. It investigates the cultural function of identity and the way language discursively reflects the role of the unestablished identity in the story. It also presents new outlooks towards language Performativity of the male/female dichotomy. What this article focuses on is an individual's identity, and language, exploring the concept of gender Performativity. Butler asserts that Performativity is a ritualized production and a constrained reiteration of cultural intelligibility under the compulsory prohibition pressed by the power regimes. The culturally-acquired gender is crafted based on the socially recognizable standards, which form the directionality of the self-representation. A Gender is an act that requires a repeated performance in ritual and social dramas. She declares that one is not born but rather becomes a subject whose gender is a discursive construction that defines his/her body. Moreover, the gendered subjects were subordinated to the language that interpellated them, so that each individual became a linguistically stylized occasion. Dowlatabadi’ s main character in this story undergoes transfiguration from childhood to adulthood affected by the social upheavals leading him towards his crafted and gendered identity formation. His father’ s roles are resignified through the reiteration and imitation of the gendered and naturalized regulations. Surveying “ The Man” elucidates that gender identity is an imitation, which leads the character to resignify and recontextualize the parodic gender reproductions. Therefore, the established discourses gave the agent the feasibility to establish his intelligible social existence. Springing from the discussion about gender Performativity of Dowlatabadi’ s character, the article concluded that identity is a phantasmatic construction. What an individual performes is a non-intrinsic parody of the culturally constructed regulations. It can be concluded that identity is established by the power of language that interpellates the subjects.

The present paper seeks to view language through the prism of gender as social practice as delineated by Judith Butler. Following up on the notion of gender as an entity distinguished from biological sex, she tends to base the notion of a set of normalizing practices that determine gender identity. In so doing, she believes that gender is discursively made or constructed performatively. In her view, the social discourse aligns economic power with a manly power structure where women are dismissed altogether. On the other hand, social and linguistic structures are closely inter-related and serve to perpetuate the dominance and imposed gender identity the latter one of which is actualized through imitated Performativity. The article also explores dimensions of gendered practice regarding subjectivity and repression. Butler’ s views, though quite intriguing for post-structuralists and postmodern scholars, have been criticized on the grounds that it fails to empower women, follow a political agenda, promise any moral basis.

Subjectivity (the presence of a thinking agent in utterances) as an ever-eluding dimension is an essential and inseparable part of language and communication. Especially, subjectivity in modal notions has attracted the attention of many researchers. Modality, in general, and epistemic and deontic modal notions, in particular, have to do with the expression of the speaker’ s comments about the (truth or falsity of) propositional content of an utterance. Based on a thorough review of the existing literature three different approaches to subjectivity in modality notions were identified. The first group of researchers believes that subjectivity and objectivity (as its opposite notion) are the inherent properties of certain modal types (i. e., dynamic, epistemic, and deontic modality). Another group of scholars is on the opinion that subjectivity is an intrinsic feature of certain modality forms. The third group of researchers (including some Persian researchers), however, maintain that subjectivity neither does reside in certain modal forms nor modal types, but rather is a much more subtle and context-dependent semantic dimension. Despite the fact that this latter group of researchers is on the right track regarding the realization of subjectivity in the modal notions, they have not offered any operational models for systematic identification and/or assessment of subjectivity yet. Thus, in this paper, the researcher tried to fill this gap in research by offering a synthetic operational model for definition and assessment of subjectivity in the main modal notions and, then, apply the model to gauge the degree of subjectivity of modal notions expressed by various Persian modality markers. The operational model proposed here is based on the primary distinction that Halliday (1970) makes between the ideational and interpersonal functions of modal notions and the Nuyts’ (2006) distinction between the attitudinal and non-attitudinal modal categories. According to the model, since dynamic and alethic modality (as two, obviously, non-attitudinal semantic categories) enjoy an ideational function in the economy of the Persian language, they are always objective. For example, the modal auxiliaries توانستن (literally, can) and بایستن (literally, must) in the sentences علی می­ تواند طول استخر را شنا کند and اگر دو ساعت زیر آب بوده است باید مرده باشد express dynamic possibility and alethic necessity, respectively. In addition, these notions have nothing to do with the speaker’ s comment or attitude regarding the propositional content of the sentences in which they have been used. In sharp contrast, epistemic and deontic modality (as the two main attitudinal modal categories) always bear a degree of subjectivity. For example, in the sentences فرد پشت در باید علی باشد and تو باید همین حالا از اتاق بیرون بری the modal auxiliary verb باید (literally, must) expresses epistemic necessity and deontic necessity, respectively. Both of these modal notions have to do with the speaker’ s attitude and/or comments about a certain state of affairs and, thus, have a degree of subjectivity. In the model, what determines the extent of the subjectivity of an epistemic or deontic modal notion is the degree to which a judgment and its related evidence or deontic source are shared among people. Therefore, when more people have access and/or are responsible for the judgment expressed, the degree of its intersubjectivity will be higher. In addition, the degree of subjectivity of a modal notion is, to a great extent, not a function of its intrinsic semantics but is determined more or less through three non-lexical/context-dependent elements (i. e., syntactic structure, linguistic and non-linguistic context). Thus, in the model, unlike most views on subjectivity, the researcher proposes a distinction between objectivity, subjectivity, and intersubjectivity. Furthermore, subjectivity in Persian epistemic and deontic modal notions is viewed as a scalar semantic category which (at one end) begins with total speaker-orientedness (pure subjectivity) and ends with absolute unanimity (i. e., total intersubjectivity). Our operational definition for subjectivity is: an epistemic or deontic modal notion is subjective if and only if it is related to and its evidence or deontic source originates in the speaker of a modelized utterance. Otherwise, it is viewed as more or less intersubjective. As Performativity, which is the commitment of the speaker to what he says at the moment of speaking, is independent of the subjectivity dimension, it does not have any role in the expression and realization of subjectivity in modal notions. As a result, both performative and descriptive epistemic and deontic notions can be investigated in terms of the degree of subjectivity. For example, in the sentence مدیر عامل گفت که ممکن است سال مالی خوبی پیش­ رو داشته باشیم the modal notion expressed by ممکن بودن (literally, may/might) is descriptive because, here, the speaker is reporting another person’ s attitude regarding a certain state of affairs and not his view. However, one can still analyze the degree of the subjectivity of ممکن بودن regardless of its descriptivity. Finally, the model was employed for analyzing several Persian modelized sentences taken randomly from Persian websites and blogs. These Persian sentences contained various forms of Persian modality markers such as modal auxiliary verbs, modal adverbs, modal adjectives, etc. Upon analysis of the modalized sentences through the definitions and mechanisms of the proposed model, the researcher witnessed that the proposed model could, indeed, be an efficient tool in the identification and assessment of the degree of subjectivity that the epistemic and deontic modal notions express.

This article attempts to examine the cultural-social construction of the gender subject and the impossibility of gender by theories Jacques Lacan and Judith Butler on the Transsexual subject. The interplay of Lacan's orders (Imaginary, Symbolic, and Real) indicates how the Transsexual subject forms through the gap between imaginary identity (Ego ideal) and symbolic identity (Ideal ego). Lacan argues sexual difference is beyond the sexual organs and is based on linguistic signifier as normative ideals, and Butler presents it as discourse structures that shape bodies and are expressed by Performativity. The research is qualitative, data are collected through interviews and analyzed in terms of narrative research via theoretical concepts. The research field in Tehran, and research participants are seven Transsexual people who have been selected by the snowball method. Findings depict that the impossibility of realizing gender as signified represented through physical signifier by Performativity. The subject's attempt in the symbolic to align with the imaginary gender dealing with the real is an insurmountable gap. The focus of gender difference/identity on the axis’ the signifier/body in the symbolic causes the loss of gender that constructs and destroys the subject by Performativity as fantasy. Gender is linguistic and performative not immanent.

The present paper is an attempt to study Randa Abdel-Fattah’ s novel, Ten Things I Hate about Me (2006) from Judith Butler's performative perspective. The main question of the research is whether the diasporic subjectivity of the Muslim protagonist of the novel is innate, static, and finalized or rather performatively constructed. It is argued that Jamilah, as a diasporic Muslim woman, is not a being with an essentialized identity; rather she is a becoming whose identity is constructed in diaspora. It is contended that Jamilah is a discursive subject, hailed by the dominant Lebanese, Australian, and Islamic discourses. Butler's attestation of the infelicity of some performances leaves space for the resignification and reappropriation of the discourses, which attempt to interpellate the subject. The study seeks to demonstrate that Jamilah as the diasporic doer, who is constituted as a result of the performative linguistic, corporal, culinary, and artistic deeds, is not determined by any of the discourses she is immersed in, and thus becomes a hybridized liminal subject who negotiates the discourses of home and host cultures through evading the dualistic logic.

Peikar-e Farhād (The Body of Farhād), which is among the successful works of the renowned writer, Abbās Marūfi, uses a narrative configuration and a kind of relationship between its several subplots, which distinguishes this novel from other literary works. As such, Marūfi depicts a pictorial world of Hedāyat’s The Blind Owl in his novel and animates its imagery. This article analyses semiotic-semantic aspects within Peikar-e Farhād to elucidate how the inscribed "images" have been animated and have shaped the narrative frameworks of the novel. The narrator of this work is the woman within the painted tableau. These images in the novel have been verbalized, thus establishing a dimension of narrative. Through this narrative dimension and the modulation of presence and being, the painting evolves beyond a mere object or portrayal, metamorphosing into the subject of its own tale. She aspires to construct her destiny and narrative. "Seeing" entails a sensory-perceptual relationship, but in Peikar-e Farhād, it evolves into a system of reflection.  Under the gaze of the subject-viewer, the object-images undergo a fresh sense of transformation in their inner emotional states and are animated so as to experience presence in the subject's world. The utilization of this narrative framework in which painting is animated function as a medium of protest against how the presence of women in the society has been shaped. As a subject, the portrayed-painting embarks on a quest and strives to locate and meet her beloved, aiming to establish her existence and unearth meaning in her life. This gradual progression leads her to acknowledge the deficiencies of her external and genuine existence, instigating introspective uncertainty regarding her ontological status and ultimately renouncing her own presence. This process paves the way for the emergence of an alternative narrative discourse.