Art
Maryam Ansari Yekta; Rezvan Ahmadi Payam
Abstract
The clothing of women depicted by artists under Timurid and Safavid dynasties is well represented in the surviving illustrations of Shahnameh Baisonghor and Shahnameh of Shah Tahmasp. A descriptive-analytical survey of the related historical documents and a comparison of the illustrations of these two ...
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The clothing of women depicted by artists under Timurid and Safavid dynasties is well represented in the surviving illustrations of Shahnameh Baisonghor and Shahnameh of Shah Tahmasp. A descriptive-analytical survey of the related historical documents and a comparison of the illustrations of these two Shahnameh books will contribute to answering the following questions: from which aspects do the representations of the clothing of women in the two books conform to each other? What was the function of ornament in the women's clothing under Timurid and Safavid dynasties? The clothing of women over these two periods can be classified into three main parts, namely, head-wear, body-wear, and leg-wear. In general, representations of women's clothing in the two books are based on three features, i.e. ornamentation, the social status of women, and necessity of hijab. These features were realized in each book according to the governing norms as well as the individual taste of the illustrators. What is common between the two periods is the high regard in illustrations for women of all social strata in order to foreground their importance in the society.
Sociology
Behrad Razavi Alehashem; Arian Gholipor
Abstract
This study attempts to answer the fundamental question that how the process of the normative institutionalization (institutions linked with the values and social norms), can help for good governance and management of social, cultural, community agencies? This research investigates how the representatives ...
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This study attempts to answer the fundamental question that how the process of the normative institutionalization (institutions linked with the values and social norms), can help for good governance and management of social, cultural, community agencies? This research investigates how the representatives how can link the Islamic Consultative Assembly with the social values and norms and what the effects of this interaction are on good representatives' governance and socio-cultural management. Methodology is of descriptive and analytical type. Status is reviewed and analyzed based on available statistics as regular and periodic. The statistical population is female members of Islamic Consultative Assembly periods and the used data was collected and analyzed from the UN Human Development reports, statistical Interior Ministry sources, Statistical Center of Iran, the Islamic Consultative Assembly, and other relevant literature. The findings showed that in recent years, the average growth of women in countries' parliaments is about 20 percent which has grown by 15 percent compared with 10 years earlier. So far, in Iran, 10 parliamentary elections have been held, the tenth period with 7.96 percent has allocated the most participants of women in parliament. The results showed that personalized, administrative, social and cultural restrictions are some barriers for women’s efficient attendance in Islamic Consultative Assembly. Good women governance in Parliament can be facilitated through providing the development projects such as health care services, health, education, employment and effectiveness in the management of high levels of public, private and civil parts. In addition, it is necessary that the representatives of women participate actively in commissions, fractions, delegations and specialized forums for being more influential in the social and cultural management.
Sociology
Voria Sheikh Zakariaee; Omid Mohammadi; Salah- Eddin Karimi; Ayub Nafee
Abstract
Political participation is taken into account as one of the main development indicators. If we consider political development as equivalent to “extension of participation and competition of social groups in their political lives”, then undoubtedly political participation would be one of its ...
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Political participation is taken into account as one of the main development indicators. If we consider political development as equivalent to “extension of participation and competition of social groups in their political lives”, then undoubtedly political participation would be one of its prerequisites. Therefore, policy makers emphasize the importance of woman participation in the political fields for a comprehensive development. Therefore, it is necessary to examine the features which influence political participation of women. The statistic group consisted of 384 people. Research method was evaluative and questionnaire was used in order to collect data; SPSS was conducted to test the results. The findings show that there is a significant relationship among political confidence, political awareness, and voluntary organizations. Accordingly, increasing awareness of people and getting them involved in their own destiny through non-governmental organizations can increase both their participation and political trust.
Volume 7, Issue 1 , April 2015, , Pages 1-8
Volume 7, Issue 2 , July 2015, , Pages 1-8
Volume 7, Issue 3 , October 2015, , Pages 1-8
Volume 7, Issue 4 , January 2016, , Pages 1-8
Volume 8, Issue 1 , April 2016, , Pages 1-8
Volume 8, Issue 2 , July 2016, , Pages 1-8
Volume 8, Issue 3 , October 2016, , Pages 1-8
Volume 8, Issue 4 , January 2017, , Pages 1-8
Mohammadhossein Naserbakht; Shaghayegh Sadat Shamsi
Abstract
AbstractEvery writer has different ways to create a logical and, at the same time, attractive personality, yet the most influential factor in characterization is always the writer's daily life. Characters created by authors are often representations of people with whom the author has associated in daily ...
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AbstractEvery writer has different ways to create a logical and, at the same time, attractive personality, yet the most influential factor in characterization is always the writer's daily life. Characters created by authors are often representations of people with whom the author has associated in daily life. Therefore, it is always possible to obtain useful information about the people of that time by recognizing the imaginary characters of writers at different times.This study, while examining characterization and its relationship with personality actions, took two plays “Sleep in an empty cup” and “Home” into consideration and analyzed their female characters. It also examined the influential factors in the characterization of women in Naghmeh Samini's plays, trying to find out how each of them reacted to the home (patriarchal system) according to their backgrounds and values. Finally, it was concluded that the values of women in contemporary society influenced the characterization formed in the plays, including the works of Naghmeh Samini.?
Maryam Moghimi; Hadi Khaniki; Seyed ali Asqar Sultani
Abstract
AbstractHate speech can be expressed as a hatred expression toward an individual or a group of people-because of the characteristics they share with a group they belong. The social network proliferation has made it easy to spread hatred. This article has been written with the aim of analyzing the hate ...
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AbstractHate speech can be expressed as a hatred expression toward an individual or a group of people-because of the characteristics they share with a group they belong. The social network proliferation has made it easy to spread hatred. This article has been written with the aim of analyzing the hate speech components through comments and posts of Iranian female users on Instagram. Referring to Glirdon’s views, a theoretical synthesis of hate speech production in cyberspace is presented and critical discourse of twenty female users active in the women filed has been analyzed. In accordance with Van Dayek’s discourse analysis approach, it has prepared a special work form for recording and extracting information from selected news texts. The results identify four components of hate speech that represent structural hatred of women against women. Women stand against each other in different political, cultural, and social contexts through hateful literature.There are similarities and differences among women about their legal demands and fight against hate speech. While all identified components of violence against women and forced marriage are identical, the secular and political users show the greatest opposition to religious modernist and traditional currents. They emphasize the priority of being a women and reject the family as an ideological and patriarchal institution. .
Amin Mokhtari; Majid Sarsangi
Abstract
Abstract"Archetypes" are important psychological elements. "Archetypal criticism" has always been considered one of the important types of literary criticism. The theory of archetypes is based on the thought of Carl Gustav Jung, a theorist in the field of psychological sciences. In this theory, the structural ...
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Abstract"Archetypes" are important psychological elements. "Archetypal criticism" has always been considered one of the important types of literary criticism. The theory of archetypes is based on the thought of Carl Gustav Jung, a theorist in the field of psychological sciences. In this theory, the structural elements of myth, which are present in the collective subconscious mind, are analyzed. According to Jung, there is a kind of universal experience in these elements that is repeated in different forms and in all generations. Contemporary psychologist and theorist Shinoda Bolen also contributed to a more accurate understanding of archetypes by supplementing Jung's theories and elaborating on their manifestations in daily lives of individuals. In the present study, by means of mythological and psychological criteria in Shinoda Bolen's theories, two famous theatrical "woman" characters have been the subject of comparative studies. They are "Julia" from the play "Miss Julia" by August Strindberg and "Ensie" from the play "Sing in May" by Akbar Radi. Although created in two different geographies and cultures, both characters bear significant similarities from Shinoda Bolen point of view. This study also shows the fact that quoting mythological and psychological elements in the creation of theatrical characters can lead to the production of a similar pattern in the process of this creation. A pattern that transcends temporal and spatial boundaries and relies more on archetypes than any other element.
Nasrin Mohamadpour; masoud taghiabadi; vahid shalchi
Abstract
AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. ...
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AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. The research has been done via a semiotic method, using Fisk and Barthes model, combining it with Selby and Cowdory approach. By purposeful sampling, three films (The Blue-Veiled , Border Café (Cafe Transit), and The Corridor (Dehliz) from the 70s, the 80s, and the 90s have been selected for analysis. Results show that the power in these movies addresses family sanctity along with the need for woman management in it, also reproducing the discourse of housekeeping. But on the other hand, we see the construction of a faithful woman in return for a commitment to her husband or family and responsible for male roles. Here the desirable femininity portrayed in the films include: a) construction of a loyal housewife who supports the husband, b) the female-headed household who is committed to the family and is employed, and finally, c) the female-headed household who is chaste and a lover. The cultural meanings of the films are the lower social class of female-headed households, exposure of young female-headed households to judgment, their livelihood and economic problems, people's constructed look at them, the multiple roles they play, their strong sense of motherhood, cultural and value differences of varied ethnic groups, self-sacrifice and devotion, and drawing the old traditions of female widowhood. Also, all female-headed households try to change and start again, yet in the face of society, traditions, gender stereotypes, and the idea that men are superior, they are deprived of the opportunity to empower themselves.
Kwestan Shahabi; jamal mohammadi
Abstract
AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have ...
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AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have been analyzed by way of Kress & Leeuwen’s social semiotic model, in terms of representational, interactional, and synthetic meanings. The findings show that these two painters, in spite of similarity in terms of their themes and styles, reach two different points: femininity as represented in Vakili’s work follows a kind of reflective sexism, though in Karimi’s work it follows a passive sexism. In the first one, the form of connection between the elements is narrative, so it can provide a reflection of women’s identity. However, in the second one, the elements are connected through a conceptual pattern as well as a kind of passive sexism is unintendedly reproduced. Vakili represents the subject in a natural space which reminds the women’s status in mythical thinking, but Karimi represents the subject in the context of home and family, something which symbolizes women’s status in traditional society. Vakili’s work invites the audience to think about the effects of external factors in constructing female identity, but Karimi’s paintings call the viewers to have a kind of sympathy and identification with women in traditional family and society.
Faramarz Khojasteh; حسین pouladian; zahra ansari
Abstract
AbstractIn Ayyari Persian short stories, women have a prominent, vivid, pivotal, and influential role and presence. It is reflected in various ways and forms in these texts. Ayyari discourse in the history of Iran has always been formed in opposition to the existing dominant order, seeking rights and ...
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AbstractIn Ayyari Persian short stories, women have a prominent, vivid, pivotal, and influential role and presence. It is reflected in various ways and forms in these texts. Ayyari discourse in the history of Iran has always been formed in opposition to the existing dominant order, seeking rights and equality, and eliminating authoritarianism, discrimination, and oppression. Ayyar women in Ayyari's stories represent the same discourse and, in a way, represent Ayyari's subculture in the face of an oppressive and immoral male-dominated system. This research has been done with a qualitative approach. It uses content analysis method. First, the stories of Ayyari women are collected, then the way of thinking of women in the face of all kinds of oppression and tyranny of men, especially in the field of gender discrimination, are counted, analyzed, and explained. According to the research findings, the highest frequency of these tricks is dedicated to humiliation, deception, disguise, use of anesthesia, and secret escape. Most of the tricks used by women are reactionary, that is they are responses from women to male sexual diversity, injustice, inequality, oppression, coercion, authoritarianism, and the exercise of power in a patriarchal society. It is in this context that women find opportunity for "masculinity."
Hasan zandiyeh; vazir menbari; Mohamadreza zadehsafari
Abstract
AbstractFor centuries and millennia, those in power used political marriage as a means to achieve their goals. The most important functions of political marriage were to end wars and conflicts, seal an agreement or alliance between two political forces, establish succession among dynasties, take ...
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AbstractFor centuries and millennia, those in power used political marriage as a means to achieve their goals. The most important functions of political marriage were to end wars and conflicts, seal an agreement or alliance between two political forces, establish succession among dynasties, take advantage of military capabilities of the parties to preserve their interests, etc. The Ardalan Dynasty, in the western regions of Iran, repeatedly used this strategy to pursue its goals, culminating in the thirteenth lunar century. In that century, the rulers of Ardalan entered a marriage contract with the powerful Qajar Dynasty as well as the local Vaziri Dynasty. The present article intends to use a descriptive-analytical method on the effects of political marriages on the development of Ardalan history in the mentioned time period. It seems that the political marriage strategy worked ambiguously for the Ardalan family. Thus, in the short term, it provided the desired interests of this family at various levels, but in the long run became one of the most important factors in the annihilation and eventual collapse of this government in Kurdistan.
Mahdi Akbari Golzar; qasem zaeri
Abstract
The image of women in Iranian cinema has always been represented in various genres. From the feminist discourses that seek to portray the existing discrimination against women in each period to the genres that refer to the role of women in the war years and beyond, each has addressed this issue in some ...
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The image of women in Iranian cinema has always been represented in various genres. From the feminist discourses that seek to portray the existing discrimination against women in each period to the genres that refer to the role of women in the war years and beyond, each has addressed this issue in some way. In the meantime, however, less payment has been made to women in a particular religious ideology. "when the Moon Was Full" is one of the few films that represention the image of a woman in a religious ideology (Taliban group) in the form of a love story. Therefore, in this article, by combining Bart's semiotic analysis method and his analysis narrative, we will seek to explain and represent the image of women in this film. The results of the analysis show that the director of the play, with the dramatic narrative of a senior member of the Taliban, seeks to show the ideological impact of thinking in which no obstacle can lead to the achievement of the sacred and lofty goal of the Taliban. This image is narrated from the Taliban ideology that a religious man must even go through his wife (mistress) and child in order to achieve his goals, and their preoccupations should not stop him from carrying out the missions that the Taliban group has planned for them. As a result, the image of women in this group is considered a worthless asset against the values and goals of the Taliban and even an additional obstacle to achieving them.
Parisa Shad Ghazvini; Moeine ossadat Hejazi
Abstract
Clothing and ornaments play an important role in shaping the collective identity of tribes. How the body is decorated is a kind of indicator of the structure of life and culture of a people. Adornment has always been an important part of the life tradition of people, especially women. In this regard, ...
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Clothing and ornaments play an important role in shaping the collective identity of tribes. How the body is decorated is a kind of indicator of the structure of life and culture of a people. Adornment has always been an important part of the life tradition of people, especially women. In this regard, Turkmen ethnic groups that are considered subcultures of Islamic civilization and live in parts of Central Asia and Iran, they are divided into different tribes one of which is the Tekke tribe. The ornaments of the Turkmen tribes have special identity features while preserving the collective identity of the Turkmen people, it also differentiates the identity of its tribe. The women of the Tekke tribe have an ornament called Tumar, which, as a protective frame for prayer paper, adorns women, especially the young bride of the tribe. This article intends to study the identity, belief and ritual signs of " Tumar". These are the basic questions of this article: What semiotic layers have been used in the design of this ornament (Tumar)? And apart from its basic uses (prayer frame and decorative cover), what other semantic implications does it have in the semantic discourse of the Turkmen people? In the article, visual signs in 7 sample Tumar have been qualitatively read semiotically. Data were collected from written, oral and field documents. The method of descriptive-analytical study is layered semiotic approach. In the semiotic analysis of the Tumar ornament into six perceptual layers, it was concluded that the description, analysis and interpretation of the signs make significant use of its initial use. The semantic implications of the signs refer to deep and rooted concepts in ethnic beliefs and shamanic and Islamic faith.
Elahe Panjebashi; Anita Sanei
Abstract
Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is ...
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Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is to study the characteristics of women and their presence in the coffee plantations of house in hossein and agassi . in this regard , the present study seeks to answer these questions : how is the visual characteristics of women in these pictures ? the method of this research is analytical and data collection method is library type . the results indicate that women as a dynamic element in agassi 's paintings are present and have a high place with islamic - iranian coverage in the composition of works . in his works , women are more considered in epic forms , women in his works are depicted as heroic and masculine , while preserving women 's identity . in shahnameh , women play the main roles and play the most important role of men , but this does not mean that they have never had a significant impact on the process of playing the role of men . these women are wisdom , wisdom , wisdom . in this paper , it is concluded that using visual cues to influence the audience in the works the main character of women have formed . to use these symbols to visualize a different discourse in the meaning of their works on the role of these women .
Payam Zinalabedini; Sara Bajgholi; ahmad alasti
Abstract
Cinema is one of the tools that republish and establish definitions of gender in society. So it can be assumed that the filmmaker can subvert and conceal these concepts in this way. Chantal Ackerman uses arrangements to consult with feminists and the dominant elite to expose hidden ideological contradictions. ...
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Cinema is one of the tools that republish and establish definitions of gender in society. So it can be assumed that the filmmaker can subvert and conceal these concepts in this way. Chantal Ackerman uses arrangements to consult with feminists and the dominant elite to expose hidden ideological contradictions. It seems permissible for the characters in the film to be challenging the traditional characters and so selecting the most special posts in these fields, by accepting many different norms for women. It is assumed that he wants to show in his works, by the reflecting women in the field of work, family and society, how affect the ideology and discourse of gender the formation of attitudes and perceptions of individuals, its relations and social interactions.This is manifested in the content of these films, feminist theory in postmodern, feminist literature, such as Laura Malloy will be used, and who believes the birth of creativity. There is always a way to change the code, which has become power. These images prove cinematically that the domestic lives of women is an artistic thing. In other words the private lives of women are being destroyed by the forces of history as much as they are living in the political arena. Besides that, unquestioning, unchallenged, and irreversible pressure on women in family roles, such as in prison, is social stupidity. And eventually leads to destruction. This is the kind of violence that can lead to more violence.
Habib Shahbazi Shiran; Seyed Mehdi Hosseini Nia; esmaiel maroufi aghdam; Zahra Nasrollahi
Abstract
During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing ...
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During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing Painting, one can understand the very important and prominent points of musical life, including the presence and service of female musicians and the instruments and innovations of this art in this period. In the history of Iran after Islam, the Safavid era is also a turning point in terms of important political, cultural, and social changes, and Safavid miniature, like other branches of art, was no exception to this rule. The present article intends to comparatively examine and explain the identity and social status of female musicians with a comparative approach and in a descriptive-analytical and historical method and according to library sources and museum documents left from the Timurid and Safavid eras. The main question of this research is as follows; How are the two dynasties’ insights into female musicians explained in works of art? Studies show that despite the similarity of the maps of these two periods, in the Safavid era, however, greatness and respect for women and musicians were more than the Timurid period. In the Timurid era, female musicians were performed in quiet, unhurried gatherings with the king, usually in the lower house. In the early Safavid period, women were depicted with court men and close to the king, and in the late period, in crowded scenes; Instead of playing more, they dance and their position has seen a temporary decline.
Najmeh Fani; Mohammad Hossein Asadi Davoodabadi; Ali Roshanaie
Abstract
Comparing Subjective and Objective Dimensions of Body Contouring among Three generations of Women in Arak City Abstract The study of changes occurred in perception and performance of different generations is based on the assumption that, through experiencing different social revolutions, different generations ...
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Comparing Subjective and Objective Dimensions of Body Contouring among Three generations of Women in Arak City Abstract The study of changes occurred in perception and performance of different generations is based on the assumption that, through experiencing different social revolutions, different generations have different experiences of beauty values, norms and performance. Based on this, the present research was carried out to study subjective and objective revolutions of beauty among three generations of women in Arak city. Theoretical framework of the research is developed based on theories by Bourdieu, Giddens, Inglehart, and feminism. The research methods were cross-sectional survey and causal-explanatory. The sample was calculated as 383 from three recent generations of women in Arak city (age groups 19-68) based on Cochran formula; but, to consider sample loss, the questionnaire copies were distributed among 390 women. The results showed “intergenerational distinctions in beauty's objectivity and intergenerational congruence in beauty's subjectivity” based on which we see that even if there are no significant differences among young, middle-aged, and old generations regarding physical self-concept but there are significant differences among these three generations regarding manifestation of and attempt to body contouring which appears as body management. Keywords: women, beauty, medium, inclination towards body contouring, body management, norms, self-concept
