Abdolhamid Papzan; Nashmil Afsharzadeh
Volume 3, Issue 2 , January 2012, , Pages 39-56
Abstract
The aim of this study is to study the nomad women's indigenous knowledge of housing in tribes of Kalhor Kalhor. The study was a done by qualitative approach, using participatory methods PRA, and focus groups in the Gilan e Gharb city of Kermanshah province. The results were analyzed by content analysis. ...
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The aim of this study is to study the nomad women's indigenous knowledge of housing in tribes of Kalhor Kalhor. The study was a done by qualitative approach, using participatory methods PRA, and focus groups in the Gilan e Gharb city of Kermanshah province. The results were analyzed by content analysis. Purposeful sampling was used for data collection. Findings from real-life context of tribes show that black tents (Sy?mall) and Kolas are divisible by the space of the black tents divided into internal and external parts. The details come in the following article.
Seyed Maysam Motahari; Masoud Delkhah
Abstract
Although the status of women in dramatic literature of resistance has always been criticized by critics and researchers of theatre in our Country, there has been no change in the authors’ approach or their policy making. It seems that despite diagnosing the problem researchers and writers feel uncertain ...
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Although the status of women in dramatic literature of resistance has always been criticized by critics and researchers of theatre in our Country, there has been no change in the authors’ approach or their policy making. It seems that despite diagnosing the problem researchers and writers feel uncertain in how to tackle the problem and change the conditions. The main reason is the lack of knowledge about the nature of patriarchy that imposes its unwritten and unchangeable rules on dramatic literature in the form of unattainable tablets.
This article seeks to find out the patriarchy rules governing the dramatic literature of resistance, and to prove them for detailed explanation of the subject with focusing on seven specified plays named: Gabriel’s Wings Song(Tashakkori,2005/A) Beyond My Dreams(Arian¬far,2005) The Guest of Sleep Land(Yasrebi,2000) Zookh(Ashrafnejhad,1988) Repeat(Khanian,2005) Azar (Pourrezaian,2008) From Acacia(Tashakkori, 2005). Getting out of the unwritten state and clearly expressing the stated rules play a major role in violating them and transition from the previous status.
In this structuralist research, through descriptive analysis method, beside the study of women’s image in the resistance plays, the patriarchal rules and similar cases were extracted for reasoning and were arranged under each rule as facts. This paper tries to collect the patriarchal rules governing dramatic literature of resistance and to express the main and applicable methods for violating these rules. This research can influence the expression of current women’s situation in dramatic literature clearly and away from any generalization.
Fariba Alasvand
Abstract
Various factors are engaged in broadening the culture and structures related to individualism, humanism and egoism which have provided humans with a uniform lifestyle leaving the religious in confrontation with their environs. In order to get out of this situation, the principles of a religious life ...
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Various factors are engaged in broadening the culture and structures related to individualism, humanism and egoism which have provided humans with a uniform lifestyle leaving the religious in confrontation with their environs. In order to get out of this situation, the principles of a religious life must be read out and structured as ignoring any principle may have considerable qualitative and quantitative results. Considering the distinction between the sociological study and the religious dialogue about lifestyle, this paper, through a normative view deals with three principles: 1. Contentment, 2. Avoiding a Dissipating way of life, 3. Believing in the boundaries between right and wrong. As a result this article deconstructs the subject of ‘lifestyle’ and proves that without the above mentioned principles it is impossible to direct constructions based on the principles and to reform people’s mentality and education so as to establish a religious lifestyle.
cultural
Mahboubeh Paknia; Nasim Janfada
Abstract
Abstract:Focusing on two works of Iranian women from two generations, this paper aims to demonstrate Women Writing Tradition based on the views of Gynocritics point of view. Due to the complexity and the various interpretations in Feminism literary criticism, an elaborated review will be provided. Elaine ...
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Abstract:Focusing on two works of Iranian women from two generations, this paper aims to demonstrate Women Writing Tradition based on the views of Gynocritics point of view. Due to the complexity and the various interpretations in Feminism literary criticism, an elaborated review will be provided. Elaine Showalter considers three phases in women’s writing which are Femininity, Feminist and Female. In order to meet the comprehensiveness of the thesis, we took a look at the form and narration style of these works and applied them in determining the Writing Tradition of these two writers. We showed that women writing tradition in Iran had its own fluctuations and after passing the imitation/ femininity period, it passes over feminist writing toward female writing. The best example of this is the novel “I turn off the lights” by Zoya Pirzad. Although this work as an example of Female Tradition, is itself inter-textual. It can scaffold other works in future by other authors who can represent their innovations and novel styles in women writing tradition through interaction with such works.
Parisa Shad Ghazvini
Abstract
To find the identity, position and status of women in the early centuries of Islamic government, it is necessary to rely on reasonable documents. The pictorial resources and designs remained from artistic works of these times are among the available documents which can be studied by focussing on the ...
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To find the identity, position and status of women in the early centuries of Islamic government, it is necessary to rely on reasonable documents. The pictorial resources and designs remained from artistic works of these times are among the available documents which can be studied by focussing on the position of women in this period. The designs of figures remained from the early centuries of Islam may be investigated in the murals of Omavis’ castles, Abbasians’ palaces, f manuscripts of Abbasian age and also in the designs of other artists. In these designs, the apparent identity of woman may be recognized as sacred, governor, minstrel, mother or spouse who has been portrayed with diverse covers and make ups. The researchers may realize women’s social identity and situation at that time by analyzing their decorations, designs and covers.
It is necessary to mention that in the early centuries of Islam, art and artistic works did not have any considerable importance and value and no art was formed by Islamic beliefs. For this reason, the works remained from that time had admirable intellectual sediments with them. But from the third centuries onward, we witness considerable changes in artistic works due to the growth of Islamic beliefs. Generally, from this period onward we witness the figures being simplified as well as the growth of abstract designs due to emphasis on “prohibition of depiction” in Islamic beliefs. This depiction constraint had a deep influence on the lack of any realistic imaging during the history of Islamic art. As a result, what is dealt with in this paper regarding the designs of women’s figures (from the respect of pictorial aspect) has a decoration-oriented aspect. In the works of Islamic art, human’s figure has mostly appeared beside the designs of flowers, plants and birds it is only the cover or pictorial positions of the figures which gives a limited and definite identity to the characteristics of men and women and has given an ideal, mythological or mythical aspect to them and assists us in this research.
Ahmad Mohammadpur; Jalil Karimi; Nashmil Maaroofpur
Abstract
This paper is concerned with the representation of women in Kurdish proverbs based on social interpretive approach and through emic orientation. Considering the constitutive function of common sense to produce social knowledge, the paper aims to explore the situation given to women in Kurdish proverbs ...
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This paper is concerned with the representation of women in Kurdish proverbs based on social interpretive approach and through emic orientation. Considering the constitutive function of common sense to produce social knowledge, the paper aims to explore the situation given to women in Kurdish proverbs as a part of oral literature. In this respect, the women-related proverbs have been purposively sampled and analyzed using thematic procedures, while the in-depth interviews with informants have been conducted for further interpretations of the data.
The findings demonstrated that the Kurdish proverbs attributed a diverse and often contradictory set of locations and interpretations to women. Using thematic analysis, seven main themes were extracted from data which include: Women as irrational, as equal to men, as subordinate, as the other one, as sacred, as powerful and as a mysterious subject. All these themes are covered by a core category entitled “Kurdish woman as an Uncertain Subject”. The above main themes have been discussed and documented referring to a number of sample proverbs.
Art
Azadeh Alipour Heriss; Abolghasem Dadvar
Abstract
Several factors influenced on the presence of women in the Pahlavi era. In the new structures after the constitutionalism and along with modernism of Pahlavi, court became to the government and political figures changed to the people. In this era, the role of women in sexual approach, their changed from ...
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Several factors influenced on the presence of women in the Pahlavi era. In the new structures after the constitutionalism and along with modernism of Pahlavi, court became to the government and political figures changed to the people. In this era, the role of women in sexual approach, their changed from a class-in-itself to class-for-itself. The outgrowth of social backdrops caused that we can see a more active presence of women in second Pahlavi era compare to past periods in painting; accordingly the history of Tehran art galleries from 1949 until 1979 B.C and their activities corroborated this. Study of social backdrops that moved these women from marginalization to mainstream is the purpose of this article and it’s an attempt to answer the question what social backdrops influenced on increasing the presence of painter women in Pahlavi era? In this study, collecting of contents is based on libraries and field research and written on comparative, descriptive and analytic method and cultural and social backdrops of women painter of Pahlavi era. We can understand that the presence of supporter man in family, learning, social class, urban life, spreading culture in public trough medias and cultural institute, legal and natural presence of queen, the supports of government and cultural politics, social movements of women and change of women role in 20 century, had a effective role in rise of painter women of second Pahlavi era.
Sociology
Ehsan Aqababaee; Mahvash Khademolfogharaei
Abstract
Family is a widespread social institution through which the early universe and its phenomena are understood. It seems that family and intra family relationships has changed these years and has taken a new form. Iranian cinema by creating stereotypes of relationships, personality and positions plays an ...
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Family is a widespread social institution through which the early universe and its phenomena are understood. It seems that family and intra family relationships has changed these years and has taken a new form. Iranian cinema by creating stereotypes of relationships, personality and positions plays an important role in Iranian people’s mental construction of family and its relations. In this regard, this research seeks to describe the representation of vertical and horizontal relationships of family members in the movies, interpret the actions of family members in crisis situations and problem solving and interpret the link of family on movies with social and political conditions in 2000s. The method used in this research was narrative analysis with Chatman theory. Five films named The Last Supper (1380), Fever (1382), Wet Dream (1384), Canaan (1386) and Seven Minutes to Fall (1388) were selected from the 2000s movies. The results indicate that represented family is in crisis. Family crisis is rooted in individualism and unclear roles and relationships between family members and in most cases leads to divorce. Meanwhile, Iranian cinema in a crisis situation either temporarily delays the crisis by returning to traditions or reinforces the crisis by creating ambiguity in the relationships and roles, instead of solving the problems under study.
Art
Fateme Shahroodi
Abstract
The present study was conducted with the aim to analyze the female characters of the movie of "Invitation" (2008) directed by Ibrahim Hatami Kia from the view point of Jean Shinoda Bolen theory. The film is the first non-war cinematic movie by Hatamikia. It is composed of five episodes, each with an ...
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The present study was conducted with the aim to analyze the female characters of the movie of "Invitation" (2008) directed by Ibrahim Hatami Kia from the view point of Jean Shinoda Bolen theory. The film is the first non-war cinematic movie by Hatamikia. It is composed of five episodes, each with an independent storyline, but the commonality of them is the main character of the woman of every story that faces unwanted pregnancy and for reasons one of the couples in each episode intends to abortion. In fact, the audience of the movie of Invitation is watching different reactions of five women in different social and cultural situations in relation to unwanted pregnancy and their decision to abort their children. The research method is descriptive-analytical and its information is based on library method, as well as field study, relying on watching the movie and reviewing the speech and acting of its main characters. In her approach, Bolen inspired by Greek mythology, points to the seven archetypes including Hera, Demeter, Persephone, Athena, Artemis, Hestia and Aphrodite. These types emphasize a number of personality characteristics of women such as the desire to marry, motherly feelings, the desire for innocence and the girl's obedience, or desire for effort and progress. According to Bolen, there is energy and archetypes of the discussed patterns in today's women and their actions and reactions are affected by the pattern. The results of this study show that in the five episodes of the movie, respectively, the archetypes of Athena, Persephone, Dimitri, Hera and Athena are recognizable and interpretable on the basis of the acts and speeches of the movie characters. But at the end of all episodes, with the overriding domination of Dimitri's archetype, all women have avoided their abortion. This was more evident in the last episode.
Art
Mahin Sohrabi; Bahman Namvar Motlagh; Fatemeh Mehrabi
Abstract
The dominant archimyth of the culture and the arts of each society formulate dialogues that direct cultural trends and artistic creation in that society. During the Qajar period, the arrival and promotion of Farang archimyth in Iran caused a significant development in the field of culture and art. One ...
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The dominant archimyth of the culture and the arts of each society formulate dialogues that direct cultural trends and artistic creation in that society. During the Qajar period, the arrival and promotion of Farang archimyth in Iran caused a significant development in the field of culture and art. One of the most frequent and influential manifestations of such a transformation in illustration, and especially in women illustration, was the "other" concept of this period. Therefore, this study chose the character of "Shirin", who is a personality with high-capacity for becoming "other" and "Farangi" in that period, studied the dialogue (Bakhtin) of the dominant archimyths on the art of Qajar period. This study sought to answer the question that, in a society influenced by different influences at one and the same time, how is the influence of the archimyths on the formation and evolution of a great mythical icon? For this purpose, the evaluation of the existing images from the scene of "Shirin’s bathing" by the method of intertextual and interdiscursive analysis has led to the conclusion that in the Qajar period between the three Farang (Western), Iranian and Islamic archimyths a dialogue has been established in which the Islamic archimyth has the role of mediator between the two other archimyths. It provided the basis for the dialogue, but eventually the time has passed and the dialogue has intensified and the Islamic archimyth has left it.
Gholam Reza Jamshidiha; Soheila Sadeghi Fasaei; Mansooreh Lolaavar
Abstract
the evolution of the family in the contemporary world has been one of the focal topics in thefamily sociology studies over past decades.The impact of modernity, especially from itscultural aspect, on the family development in the west that has led to the formation of themodern and post-modern family ...
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the evolution of the family in the contemporary world has been one of the focal topics in thefamily sociology studies over past decades.The impact of modernity, especially from itscultural aspect, on the family development in the west that has led to the formation of themodern and post-modern family has beenpaid attention in recent theoretical and experimentalstudies.This research aimed to investigate the impact of modernity on the family developmentfrom the perspective of social actors especially from a gender perspective. In addition, theresearch intended to find those elements affecting such a development in the Iranian families,and analyse its consequences.This research was based on a qualitative approach with limitedand selective samples in Tehran. The data collection was undertaken via comprehensiveinterviews. Findings showed that, from a gender perspective, there were considerabledifferences between males and females in (i) the definition of the modern and traditionalfamily characteristics, (ii) their understanding of the transformation of the structure of thefamily and family relations during the transformation, (iii) their reaction and acceptance to thechanges, and (iv) their different discourse formed during the changes.
cultural
Seiedeh Razieh Yasini
Abstract
This paper studies traditional clothes of women from a sociological viewpoint regardless of a historical viewpoint. The paper focuses on the functions of traditional clothes of women in the southern seashore of Iran. It is theoretically based on the functionalism and sociology of dress theories. The ...
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This paper studies traditional clothes of women from a sociological viewpoint regardless of a historical viewpoint. The paper focuses on the functions of traditional clothes of women in the southern seashore of Iran. It is theoretically based on the functionalism and sociology of dress theories. The research method in terms of approach is qualitative, and the research data have been gathered through documentation and observation of different traditional clothes of women in the areas of “Boushehr”, “Hormozgan” and “Khouzestan” provinces. Based on these data, the effects of four basic factors (natural geography, cultural geography, religion and job) on the formation of different traditional clothes of women in aforementioned provinces of Iran have been described and the impact of these factors on the structural patterns and visual decorations of these clothes has been analyzed. The paper assumes that the above mentioned factors affect the design and decoration of traditional clothes of women in the southern seashore of Iran. The results show that the most important factor affecting the form, design and texture of traditional clothes of women in the southern seashore of Iran is natural geography, then religion. The effects of cultural geography and job are ranked third and fourth, respectively.
Mansour Tabiei; Raana Mohammad Taghinejad Esfahani
Abstract
The purpose of this study is to analyze the critical discourse of women's inferiority through the analysis of four films: Fire Bride, Lineless Paper, Father's House and Venus. The theoretical framework is Judge Moradi's theory of self-determination, which has been done by Fairclough's method of critical ...
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The purpose of this study is to analyze the critical discourse of women's inferiority through the analysis of four films: Fire Bride, Lineless Paper, Father's House and Venus. The theoretical framework is Judge Moradi's theory of self-determination, which has been done by Fairclough's method of critical discourse analysis; Critical discourse analysis, by linking discourse structures and social contexts can help us to understand the existing issues. Among the dominant discourse systems, patriarchal discourse deconstructs relations between the genders from a position of power; the discourse of tradition and modernity causes subjects to redefine their identity. This method has three stages of description, interpretation and explanation; for this purpose, in the description stage, great attention is paid to the formal features of the context (analysis of dialogues and sequences).The interpretation, inter-discourse (discourse practice) is discussed in the second stage. Finally, the interaction of macro-social structures on the study is based on the theory of autonomy. The results showed the mechanism by which the transition between the two discourse spaces of tradition and modernity, the order of gender discourse and the power relations inherent in this hierarchy, has led to the inferiority of women and then their resistance to the superiority of men. Modern and traditional femininities not only contrast with each other, but on the other hand, the feminine signs are also represented in front of traditional and modern male subjects.
Mahnaz Shayesteh Far; Mohamad Khazaei; Shahin Abdolkarimi
Abstract
Different political, economical, cultural factors and religious status of Safavi period have influenced on the presence of women in society of that ages. In new structures, women roles were based on their social position and class. Also, children who were near their mothers received more calm, safety ...
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Different political, economical, cultural factors and religious status of Safavi period have influenced on the presence of women in society of that ages. In new structures, women roles were based on their social position and class. Also, children who were near their mothers received more calm, safety and also education. These factors encouraged painters to draw the pictures of women and children in their paintings. The goal of present study is determining the social status of woman and child in Shah Tahmasb period based on charts of Tahmasbi’s Shahnamen and Jami’s Haft Orang (the most exquisite painting in mentioned period). With no previous research in this field, we try to answer to this question: “What are visual features of drawing the role of women and children corpus in charts of these two manuscripts? and “Is this indicative of their different social classes?” In this research, from each mentioned period, 5 charts in different subjects have been surveyed which are the indicative of the role of woman and child in courts and other social classes. This research has been written by descriptive– analytical approach and collecting practice is library. From survey and adaptation of these charts we found that drawing woman and child picture in charts of Shah Tahmasbi’s manuscript which were a court manuscript is repeater of limitations of life situation of court women and noblesse but in Jami’s Haft Orang manuscript, women and children of other social classes in rural, urban environments were drawn more freely and participate in social activities.
Nafise Imani; Emilia Nercissians
Abstract
This paper is an anthropological research about the effect of the emphasis on gender segregation in private and public spaces on the quality of intimate relationships between the girls and the boys.Policymakers pursue an emphasis on gender-based spatial segregation with the aim of promoting moral health ...
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This paper is an anthropological research about the effect of the emphasis on gender segregation in private and public spaces on the quality of intimate relationships between the girls and the boys.Policymakers pursue an emphasis on gender-based spatial segregation with the aim of promoting moral health and preserving the Islamic identity of cities. For an assessment that how politicians 'goals in gender separation of space affect users' gender actions and attitudes, we have benefited from the participation of two groups of girls with different lifestyles. One of these two groups, which strongly follows the rules of space separation based on gender, has been identified as an inflexible lifestyle and Compared to the other group, which is more flexible in adhering to gender segregation and It is referred to as a flexible lifestyle group. Lefebvre's theory has been used to emphasize space as a social product and to distinguish between spatial action, spatial representation, and representational space. The research method was ethnographic and comparative with an emphasis on participatory observation techniques and ethnographic interviews. Research shows that inflexibility in gender segregation accompanies sex-gender actions with secrecy and more risky decisions.Research therefore shows that inflexible spatial separation does not meet the moral and identity goals of policymakers.
Historic
fatemeh samiee; hasan zandiyeh
Abstract
With the rise of the Pahlavid dynasty, the modern education of women became a necessity for the innovation project in Iran. Therefore, women education became pivotal in the discourse of modernization advocated by the Pahlavid dynasty. Due to the political standoff as a result of Reza Shah’s exit ...
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With the rise of the Pahlavid dynasty, the modern education of women became a necessity for the innovation project in Iran. Therefore, women education became pivotal in the discourse of modernization advocated by the Pahlavid dynasty. Due to the political standoff as a result of Reza Shah’s exit from Iran, the modern education for women underwent discourse turmoil. With the empowering of the rival discourses and their arrival on the political scene, the dominant discourse for women education lost its vigor and the central focus of innovation which was predominant in Reza Shah’s era lost its force. This led to the formation of the concept of “Muslim Woman” versus “Modern Woman”. This historical era, regarding the education of women, is the time of the formation of policies and educational programs which finally led to the educational revolution in 1345 S.H. This Study employing the traditional continuity concept in history through a descriptive – analytical approach intends to survey the plans, and the pace of the changes in girls’ educational programs as reflected in high school text books, in order to identify the identity of women and their role in the modernization of Iran.Key Terms: Women education, Innovation, Educational policies, Mohammad Reza Shah
Literature
Seyyed Hassan Rohani; Hosseyn Khosravi
Abstract
According to Jung, collective unconscious is the valuable reserve of the human being ancestor who shares their contents between different nations and cultures. The collective unconscious contains the most important and influential content, that a person may face in life. The mother archetype is one of ...
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According to Jung, collective unconscious is the valuable reserve of the human being ancestor who shares their contents between different nations and cultures. The collective unconscious contains the most important and influential content, that a person may face in life. The mother archetype is one of the most prominent and influential contents of the collective unconscious which manifests itself in real, virtual and positive or negative forms. While referring to the nature of archetypal criticism, this study discusses mother archetype, then, its virtual manifestations, such as objects, animals and nature as well as its positive and negative aspects are examined in the book "culture of Kerman people". Then, its samples are extracted from the book and the frequency of their usage is shown. Research findings showed that the Kerman fictions are rich in terms of mother archetype and they correspond to Jung’s theories.
Roghaye Vahabi Daryakenari; Maryam Hoseini
Abstract
Bahram Beizaie pays special attention to Iran’s honorable old ages. He chooses one feature of the golden age “matriarchy” period depicting it in some of his plays. The purpose of this research is to discuss the dependence of heroines and Iranian goddess, and to analyze this dependence ...
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Bahram Beizaie pays special attention to Iran’s honorable old ages. He chooses one feature of the golden age “matriarchy” period depicting it in some of his plays. The purpose of this research is to discuss the dependence of heroines and Iranian goddess, and to analyze this dependence in some of Beyzaeis’ works. Plays and screenplays that are considered in this study include: “Saljuk istgah”, “Parde nei”, “Parde khane”, Shabe 1001(1)”, Shabe 1001(3)” and “Fath name kalat”. The research is descriptive - analytical, so that at first, Beyzaeis models in merging heroines and goddess would be specified and then his works would be analyzed on this basis. Conclusions show that Beyzaei uses the goddesses of “kindness”, “birth”, “love”, “courage” and the most important one the goddess of “wisdom” to create his heroines. Based on analysis of these works, the presence of wise goddess such as goddess “Chista” most in Beizaeis works even more than “Anahita”.
Esfandiar Ghafari Nasab; Fatemeh Refahat
Abstract
In any society, artworks present a set of information about the social status, which by decoding and understanding the language, one can realize the features of the contemporary society. Music artworks, as an art and an important element of the cultural system, have a significant role in shaping and ...
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In any society, artworks present a set of information about the social status, which by decoding and understanding the language, one can realize the features of the contemporary society. Music artworks, as an art and an important element of the cultural system, have a significant role in shaping and reflecting the societies’ gender relations by displaying the concept of woman and different kinds of femininity. Iranian traditional music, as an art produced and published in socio-culture environment of Iran, can be effective in identifying the cultural characteristics of Iran. This study with the subject of the representation of women in Iranian traditional music in the sixties (1980s), want to explore the ways of women's displaying and women’s image in the lyrics of these works. This study is conducted based on a qualitative approach and qualitative content analysis method. Using inductive categorical system, this study performed the content analysis of 35 poems from 35 albums published in that decade. The results of this analysis with 21 concepts are categorized into three titles named the woman as social object, the woman as romantic and erotic love object, and the central category of woman as perfect love object. Analysis of the status of woman in this love relationship can show the state of woman’s representation in both the private and the public arenas. The content analysis of the lyrics indicates the weak presence of women in public and social arenas and a negative view in the form of cultural codes towards them. However, in private arena, the woman has an outstanding position in love relationships and as man’s love object. A healthy love with having symmetry and a prerequisite of equality is expressed towards her.
Hashem Hoseyny
Abstract
Clay and earthenware statuettes of women are amongst first human artworks of prehistoric era. After historic period the tradition of making women earthenware statuettes continued in Islamic era with special changes. These earthenware statuettes including different method of making and decoration often ...
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Clay and earthenware statuettes of women are amongst first human artworks of prehistoric era. After historic period the tradition of making women earthenware statuettes continued in Islamic era with special changes. These earthenware statuettes including different method of making and decoration often have made in important Persian pottery centers as Rey and Kashan cities. The Seljuk and Il-khanid periods are amongst important periods of making these earthenware statuettes that because of prohibition of making statuette and figurine in Islamic era, reasons and principles of their making is a strange matter for these periods. The subject matter of this paper is analyzing many of attractive examples of Seljuk and Il-khanid earthenware women statuettes from all directions as making and decorating methods. The basic goal of the paper is recognition of factors that were important in making this kind of statuettes as well as studying their decorations, applications, forms, principles and others impressive factors. This study can help us arrive at a better understanding of position of Iranian Muslim women and their differences with pre-Islamic Iran. In this way few attractive examples of women earthenware statuettes of Seljuk and Il-khanid period have chosen from different museums inside and outside of Iran and then surveyed the factors involved in their making, decorating, using etc. Due to findings of the paper making of women earthenware statuettes on Islamic era especially in Seljukid and Il-khanid periods have been affected by several factors as importance of tribal system in these periods as well as efflorescence of Iranian literature as Bahram and Azadeh story or astrological contexts with female symbols as the Venus.
cultural
Ahmad Mohammadpoor; Mehdi Rezaei; Golaleh Borna
Abstract
This paper provides a qualitative study on life style changes in Iran’s Kurdistan- Mariwan City. It tries to connect these changes to identity formation of women in this city. Mariwan, as a boarder city, due to its geographic, political and economic situation has faced an unexpected economic growth ...
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This paper provides a qualitative study on life style changes in Iran’s Kurdistan- Mariwan City. It tries to connect these changes to identity formation of women in this city. Mariwan, as a boarder city, due to its geographic, political and economic situation has faced an unexpected economic growth and lots of cultural transformations. Therefore, new life style as well as new formation of identity has emerged. This study examines the sources, processes and ramifications of these socioeconomic changes, as well as their impacts on women identity. Methodologically, this research is a qualitative study based on ethnography approach. Grounded theory has been employed for collecting and analyzing data. Based on purposive explorative sampling method, 53 in-depth interviews have been conducted with women- married and single. Findings show extensive socioeconomic changes in women's life style. These changes mostly are in conflict with local socio-cultural values and norms. Based on the analyzed transcribed interviews and some observational material, several categories such as conditional, interactive and consequent categories have been extracted. Finally "Tense Identity" has been shown to be the core category of this study.
Art
Sadreddin Taheri
Abstract
Feminist campaigns have been a main force behind major historical and societal changes for women rights. Black Feminism is a school of thought stating that sexism, gender identity, racism and class oppressions are inextricably bound together. The way these concepts relate to each other is called intersectionality, ...
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Feminist campaigns have been a main force behind major historical and societal changes for women rights. Black Feminism is a school of thought stating that sexism, gender identity, racism and class oppressions are inextricably bound together. The way these concepts relate to each other is called intersectionality, a term coined by Crenshaw. Double minority refers to a person with two devalued identities. Feminist art tends to change the women’s image in art world positively, in hope to lead to equality. This research has attempted to analyzethe symbols and semiotic concepts in artworks and style of Lorna Simpson, a female artist who was born in 1960. The main purpose of this survey is to characterize her personal parole, as a narrator of double minority,in the langue of Feminist art and context of Black Feminism. The selected works of art belong to a four years period of her professional life (1988 - 1991), which coincides with the third wave Feminism. Re-examining photography as a conceptual medium, Simpson’s works remind us of historical ooppressions in the field of gender and race. Textual and visual codes are linked together in her works. Using young African American women as her instant photos’ models, Simpson creates tableaux that utilize repetition and pictorial framing to challenge prejudices and assumptions of gender and race, culturally and historically. Her figures are shown mostly from behind or in fragments, which draws attention to the historical depersonalization and sexualization of coloured women. By combining irritating words with faceless portraits, Simpson calls our attention to the unconscious ways in which people are classified based on physical and cultural attributes. She conveys political messages to destroy the fabricated stereotype of black women and rrestore their identity and position in contemporary society.
Art
Mehdi Hamzeh Nezhad; Soolmaz Aghaie
Abstract
Since women make up half of the structure of the Islamic community, it is very important to address them in worship-political arenas. The importance of this issue has been shown more than before with the Islamic Revolution, the emphasis of Imam Khomeini (PBUH) and Imam Khamenei. Mosques and Mosalla of ...
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Since women make up half of the structure of the Islamic community, it is very important to address them in worship-political arenas. The importance of this issue has been shown more than before with the Islamic Revolution, the emphasis of Imam Khomeini (PBUH) and Imam Khamenei. Mosques and Mosalla of the country are conceived as the most important parts of women’s worship-political presence. As surveys show, a new pattern of women’s Shabestan (nightlife) has been formed in Mosalla, a pattern which is somewhat different from the original patterns of mosques and Mosalla. The current research aims to investigate the typology of contemporary and historical mosques and Mosalla, examining their compliance with Islamic values and providing a more consistent pattern with the Islamic and Revolutionary theoretical foundations. Therefore, some ways and methods are presented for future design of women’s Shabestan. Research methods include logical reasoning in order to set theoretical foundations, history studies in order to examine historical examples, and logical reasoning for ultimate inferences. Based on the research findings, women’s Shabestan space was simple in the earlier mosques, and it was separated from the main Shabestan using only one barrier. Over the historical course, more separation of space has occurred resulting in a more sophisticated and decorated space for men and marginalization of women space. Today, three general patterns can be identified in women’s section in Mosalla. Among these patterns, women’s Shabestan in the form of balcony (like letter U) is more prevalent. The current study aims to provide architectural solutions to improve the quality of contemporary common patterns through examining their benefits and advantages.
Historic
Seyede Fahime Ebrahimi
Abstract
The world life of Bukharn people in the 19th and 20th centuries is based on cultural and historical contexts that have been found their final structure over the centuries and based on its life challenges. What attracts the researcher more attention in this life than in other Middle Eastern societies ...
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The world life of Bukharn people in the 19th and 20th centuries is based on cultural and historical contexts that have been found their final structure over the centuries and based on its life challenges. What attracts the researcher more attention in this life than in other Middle Eastern societies of his time is the absolute absence of women, which is highlighted in the representation of historical texts. Of course, the masculinity of history in the Iranian world is not new, but when this ratio becomes so prominent in a region that it continues even during the global entry of modernity, it Creates more ambiguity; In search of the causes of the continuation of men's history we need to explore the norms and habits of this life (as illustrated in the Encyclopedia of Yadashtaha) and explore the context of action of modern-day intellectuals. According to the adopted axis, the main question of the present subject is designed in two parts: "What are the characteristics of the life of Bukhara women at this time and why is there no movement on their part in the developments of the modernist years?" Our claim is that "Bukhara women at the focal point of the traditional life system (family), along with their covering, educational and class coordinates, have had minimal challenges to society, and during the growth of modernist currents due to the different context of their society "They do not experience."
Fatemeh Shahkolahi; Reza Afhami; Hasan Bolkhari Ghehi; Mahdi Keshavarz afshar
Abstract
Early eleventh century A.H. / seventeenth century A.D., the Safavid period is one of the significant times in the history of Iran socially and culturally. Isfahan city and the court were the places for offering immoral behaviors without any restriction publicly, such as female sexual pleasure in the ...
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Early eleventh century A.H. / seventeenth century A.D., the Safavid period is one of the significant times in the history of Iran socially and culturally. Isfahan city and the court were the places for offering immoral behaviors without any restriction publicly, such as female sexual pleasure in the social sphere. Despite the common tradition in Persian painting, erotic paintings with unconventional sexual themes and related female acts were prevalent. This study tried to identify the reason for the prevalence of these paintings in the Isfahan school in the Safavid period based on Reflection theory in the sociology of art. The study aims to find the causes of this phenomenon's prevalence in the paintings of this period. This study hypothesized social conditions involved in the prevalence of these paintings in the art of that period that Safavid king's politics in Isfahan city affect it. This descriptive-analytical study was carried out by collecting information in the library and studying visual documents (painting). The paintings of this period that contain feminine sexual themes and acts were the research samples, purposefully selected. This study showed that the concrete and customary conditions of female sexual status in the social context of Isfahan affected the prevalence of these paintings in the Safavid period. The role of Shah-centered (absolute monarchy) approaches in the Safavid government should be considered. The court prevalent the immoral behaviors in society due to the Shah's personal interests, economic, political-military benefits. This current eroticism in society became ordinary in the paintings and presented in the thematic, visual, and women’s role characteristics in the works considerably.
