Literature
kowsar ahsanmoghaddam; Abdollah Radmard; maryam salehi nia
Abstract
Metaphor as a symbolic and indirect language carries added and hidden meanings. Traces of gender metaphors and stereotypes can also be traced in interpretive narratives. In this research, the interpretive stories of three Persian interpretations of Rouz al- Jannan , Jala al- Azhan and Manhaj al- Sadeghin ...
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Metaphor as a symbolic and indirect language carries added and hidden meanings. Traces of gender metaphors and stereotypes can also be traced in interpretive narratives. In this research, the interpretive stories of three Persian interpretations of Rouz al- Jannan , Jala al- Azhan and Manhaj al- Sadeghin are the basis of the work. In this article, narratives that have used gender metaphors or whose content is reminiscent of gender metaphors have been selected, and then, using the qualitative content analysis method, the value of these metaphors and their relationship with gender stereotypes have been examined. Metaphors such as "the bride of the Qur'an"; "Kaab's woman"; "bed"; "Biot"; "Atbah" and "Denya" are examples of gender metaphors in these narratives, which some of them have a positive value and some others have a negative value. The most important results of this research are that most of the negative metaphors about women are formed around the role of a woman as a wife or sexual partner and emphasizing her physical aspect. These metaphors are influenced by common gender stereotypes that have a negative value . On the opposite point, most of the positive metaphors are formed around the role of mother and qualities such as kindness, creativity, originality and beginning in the role of mother . Also, this research shows that the female body is represented in two aspects: "heavenly body" and "infernal body" that the female heavenly body is a symbol of complete pleasure and benefit, and the female infernal body is a symbol of deception, sin, representation of Satan and adultery . Despite Sharia's efforts to disapprobation misogynistic attitudes, the prevalence of gender metaphors about women in different historical periods has not been significantly different among commentators and these commentators have shown their gendered attitudes consciously or unconsciously during the narratives.
Art
Farhad Karvan
Abstract
The design process in architecture is one of the curricula of the field of architecture that is taught at different educational levels. For optimal educational planning, it is necessary to identify the variables related to it. Among the variables related to the design process and method are the epistemological ...
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The design process in architecture is one of the curricula of the field of architecture that is taught at different educational levels. For optimal educational planning, it is necessary to identify the variables related to it. Among the variables related to the design process and method are the epistemological beliefs and cognitive load of the learners. The purpose of the current research was to investigate the relationship between scientific epistemological and cognitive load with ideation in the design process of architecture students. The research method is a combination of quantitative (descriptive-correlation) and qualitative (analyzing samples of students' Sketches). Its statistical population included all architecture girl students in Hamadan universities. The desired sample of 120 people was selected in an accessible way. Scientific epistemology, cognitive load and idea evaluation scale questionnaires were used in the design. The research data were analyzed by descriptive statistics (mean, standard deviation, skewness and skewness statistics) and inferential statistics (Pearson's correlation and path analysis with the calculation of its defaults). The results of the research showed that there is a relationship between the beliefs of scientific epistemology and cognitive load with ideation in the design process of architecture students and it has provided a framework for recognizing and explaining the theoretical relationships between the components of scientific epistemological beliefs, cognitive burdens and the idea of Sketches. The learning process in architectural design and cartography courses includes the stages of analytical comprehension, critical thinking, and creative processing, so scientific epistemological belief and cognitive balance or cognitive load are good explanations and predictors for ideas in students. Based on the results of the research, it is suggested to pay attention to the reduction of Intrinsic and Extraneous cognitive load in planning the education of architecture students, as well as Germane cognitive processing so that they can make better progress in the field of design. The development of scientific epistemological beliefs is also recommended for generating and analyzing ideas.
Art
Farhad Karvan
Volume 15, Issue 3 , December 2023, , Pages 491-510
Abstract
Examining aesthetic belief and artistic understanding is considered one of the important topics in art fields. The purpose of the current research was to investigate the relationship between aesthetic belief and problem-solving cognitive style and the need to recognize the mediating role of cultural ...
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Examining aesthetic belief and artistic understanding is considered one of the important topics in art fields. The purpose of the current research was to investigate the relationship between aesthetic belief and problem-solving cognitive style and the need to recognize the mediating role of cultural intelligence in art students. Therefore, the main question of this research was whether it is possible to develop a model for women''s belief in artistic aesthetics based on problem solving styles and the need for recognition through the mediation of cultural intelligence? The research method is descriptive and correlational. The statistical population of this research included all female art students of Hamadan universities in the academic year of 2019-2019. 377 students were selected as a purposeful and available sample from among the faculties and educational groups and according to the research plan, and according to the aesthetic belief questionnaires of Taghizadeh and Babaei (2016), the need to know ( Cacioppo, Petty and Kao (1984), problem-solving styles Cassidy and Long (2013) and cultural intelligence Early and Ang (2003) answered. Research data with descriptive statistics (mean, standard deviation and skewness and skewness statistics) variables) and inferential statistics (Pearson''s correlation and path analysis with the calculation of its defaults) were analyzed. The results showed that the conceptual model compiled with the data had a good fit. The results of the structural relationships of the model showed that the aesthetic belief There is a positive and significant relationship with the constructive skill of problem solving, the need for recognition and cultural intelligence. The constructive skill of problem solving and the need for recognition have a positive and significant relationship with cultural intelligence. The non-constructive skill of problem solving has a negative and significant relationship with the need for recognition and cultural intelligence. Aesthetic belief has a negative and significant relationship with non-constructive problem-solving skills.
Elaheh Panjeh Bashi
Abstract
In contemporary times, the role of women in the art of painting has played an important role. One of the female contemporary American artists is Mary Beth Adelson, who recreates the works of art of the past with the faces of women and protests against the absence of women in the history of art. In her ...
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In contemporary times, the role of women in the art of painting has played an important role. One of the female contemporary American artists is Mary Beth Adelson, who recreates the works of art of the past with the faces of women and protests against the absence of women in the history of art. In her works, which are based on the element of femininity in the image, there are signs of women's art thinking in reconstructed paintings of women. One of these paintings that is studied in this research is the Last Supper painting, which has been reconstructed with a piece of the face of women artists in the contemporary world. Lucy Lipard's theories are used for the basics of research, which are based on aesthetics and feminine form. In this study, the work of Adelson's Last Supper is studied analytically with Ara Lipard, a theorist in the field of women's art. The present research is qualitative and the methodology of this research is comparative and the method of collecting research information is based on the library method. The questions in this study are: What is the form of femininity in Adelson's Last Supper, and is it compatible with Lucy Lipard's theory? The purpose of this study is an analytical study on the works of Akif and its adaptation to Lipard's theory of female form. The results of this research show that in Adelson's last supper, femininity is the main subject of this painting, the image of contemporary women artists has been used and has replaced the companions of Christ. He reconstructs the face of Christ with a painting by Georgia Akif, one of the pioneers of women's art in contemporary art. This work is similar to Lucy Lipard's theory of feminine form in terms of feminine form,
Seyedeh Razieh Yasini
Abstract
After the Islamic Revolution in Iran in 1979, women were the subject of various discourses. The media played a central role in the discourse construction about women. Written media, including artistic-literary journals, can construct social realities that influence society. This paper inquires into the ...
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After the Islamic Revolution in Iran in 1979, women were the subject of various discourses. The media played a central role in the discourse construction about women. Written media, including artistic-literary journals, can construct social realities that influence society. This paper inquires into the ways in which women have been constructed by these journals in the reform era (1997-2005) to find out how these journals have represented women and to what field of discourse they refer. Thus, Stuart Hall’s theory of media representation, which focuses on the construction approach, was applied to the study of 27 selected artistic-literary or art journals published during the reform era. The selected art journals were analyzed using thematic analysis. The results showed that the studied journals that represented women were classified into three categories: 1. The ones that ignored women; they did not play a discursive constructive role for women in the reform era 2. Those that had a low representation of women; they put women in the side lines 3. The journals that constructed women in a particular discourse. The constructed representation of women in the 3rd category of art journals studied appealed to the reform and popular-commercial discourse.
Fatemeh Mahvan
Abstract
In the Persian epic men play the main roles while the presence of women is usually under shadow. If the epic also has a religious theme, the role of women is becoming even more insignificant. However, in one of the illustrated manuscripts of Hamle-ye Heydari of Bazel Mashhadi (dated 1222 A.H., Bibliothèque ...
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In the Persian epic men play the main roles while the presence of women is usually under shadow. If the epic also has a religious theme, the role of women is becoming even more insignificant. However, in one of the illustrated manuscripts of Hamle-ye Heydari of Bazel Mashhadi (dated 1222 A.H., Bibliothèque Nationale de France) women were painted in the important roles. This copy not only did not ignore the presence of women but also depicted women next to the men or even ahead of them. This article explore the drawings from the perspective of subject, text-image relationship, visual features, and so on in order to show the prominent position of women in this illustrated copy. In addition, I compare this copy with one of the contemporary lithographic copy of Hamle-ye Heydari by Raji Kermani to show how the painter breaks traditions to emphasize on the women participation in the paints. These two manuscripts are depicted in the same period of time, the Qajar era, but in two different places; the first one in India and the second one in Iran. This comparative study shows that in the Hamle-ye Bazel women were portrayed in the variety of roles from the saints or angels to the musicians or dancers. While the image of women in the painting of Hamle-ye Raji are just limited to the angel and saint. Furthermore, in Hamle-ye Bazel women have a dominant role even if the text has no mention to them but in Hamle-ye Raji only there are a few images of the women. All of these reasons prove that woman in Hamle-ye Bazel’s paintings goes beyond the traditional framework and take a role that is exclusive in Persian manuscript tradition.
Elahe Panjehpashi; Fatemeh Doulab
Abstract
The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this ...
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The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this research. The present study is based on the historical-comparative method. is the data have been collected from library (documentary) and with a historical approach based on morphological theory. This research analyzes the morphology of the female form in the tiling of these two buildings. The study also examined the similarities and differences of the buildings according to Propp's theory. It is concluded that the role of women in the form of the characters of Shirin, Belqis and Zuleikha is one of the main decorative images in the entrance of Eram Garden and the house of Zinat al-Muluk. The main decorative motifs of women in this building are made with Qajar clothes and decoration. Woman as the main decorative element in the tiling of these entrances emphasizes the role of women and has been compatible with Propp's theory.
Zahra Ghiasian; Saeed Shapouri
Abstract
Simone de Beauvoir in her well-known book of the “Second Sex” proposed several unique concepts of existentialist feminism for the first time. Based upon these specific definitions such as the “sex-gender distinction”, that is, the distinction between biological sex and the social ...
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Simone de Beauvoir in her well-known book of the “Second Sex” proposed several unique concepts of existentialist feminism for the first time. Based upon these specific definitions such as the “sex-gender distinction”, that is, the distinction between biological sex and the social and historical construction of a gender and related stereotypes, she succeeded in rationalizing the fundamental source of women's oppression in the historical and social construction of a female stereotype as the quintessential “other” gender or sex. Based upon such existentialist feministic definitions, Simon de Beauvoir explored and explained a woman’s different roles in the context of her own society; social roles such as a loyal wife, a lover and/or a Narcissistic woman. Further, she succeeded in picturing how a woman that lives under an unbearable social pressure can unconsciously suppress herself and therefore live a miserable life. In this study, we endeavored to explain a woman’s social role from the Simon de Beauvoir’s viewpoint using three contemporary dramas: “a streetcar named desire” by Tennessee Williams; “they are alive” by Athol Fugard; and “ghosts” by Henrik Ibsen. Here, we argued and presented that how Simon de Beauvoir’s existentialist feministic viewpoint can significantly influence and replace the exiting definition of a woman in a male dominated society as an equally acceptable female part of the civilized society as opposed to the existing reflection of a woman in the masculine society as the “other sex or gender”.
Sepideh Amiri; Fathollah Zare Khalili
Abstract
Cinema, as a medium that has gained a solid standing amongst popular institutions, can be analyzed and explored in addition to artistic aspects, such as sociology. Reflection theory is one of the theories underlying the sociology of cinema believe in a close and unbreakable link between films produced ...
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Cinema, as a medium that has gained a solid standing amongst popular institutions, can be analyzed and explored in addition to artistic aspects, such as sociology. Reflection theory is one of the theories underlying the sociology of cinema believe in a close and unbreakable link between films produced in a social context with that context itself in general and its constitutive institutions in particular. In this study, we try to analyze the social role of female characters in films made between 2011-2017, using qualitative content analysis method, based on this intellectual position. The target population was purposely selected from the list of the winners of the Best Film, Best Script and Best Film sections from the viewers of the Fajr Festival. In the main section, the analysis of the social role of the characters is based on five characteristics: i) The genre of movies, ii) The social class of the characters, iii) The type of the characters' work, iv) social self-efficacy of the characters, and v) characters' actions. Therefore, the position and social status of women as half of Iran population is determined through the depiction of the woman presented in the cinema of these six years.
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.
Hasan Karimian; Farid Ahmadzadeh; Hamid Norasi
Abstract
The aim of this study is to understand the status of Kurdish women in the Kermanshahan tribe community in the Qajar era and their impacts on social, economic, and political structures based on traveler's reports, documents and documented archaeological data in the region. Travelers provided the researchers ...
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The aim of this study is to understand the status of Kurdish women in the Kermanshahan tribe community in the Qajar era and their impacts on social, economic, and political structures based on traveler's reports, documents and documented archaeological data in the region. Travelers provided the researchers with a plenty of unique information about the life of the nomads and the tribes and other aspects of the social life of the women. They consider women to be the backbone of any effort and believe they have played an important role in the sustainability of the family and the tribe system. An interesting point is related to the preserved gravestone of women in this area, which belongs to the Qajar era. The motifs of the gravestones of the Kermanshahan tribe community have reflected the social and individual status of the deceased in their time. Therefore, this research is based on a descriptive and analytical approach and based on library resources and field data. Research findings show that Kurdish women in the Kermanshahan tribe community in the Qajar era have played the undeniable role in social, political and economic structures. Thus, we witness the presence of Kurdish women among the Kermanshahan tribesmen in the role of the lord and as the head of the society, the women as land owners, production of handicrafts and their role in the "waqf" operation.
Art
Marzieh Rashidi; Alireza Taheri
Abstract
In the Safavid and Qajar dynasties, due to the relationship of Iran with the West, the desire of the court to experience the modern world and the desire of the Western world to recognize the East, shaped a kind of traditional and modern dichotomy in many social, cultural and artistic relationships of ...
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In the Safavid and Qajar dynasties, due to the relationship of Iran with the West, the desire of the court to experience the modern world and the desire of the Western world to recognize the East, shaped a kind of traditional and modern dichotomy in many social, cultural and artistic relationships of the society. This also influenced the status of women and their presence in the social arena. The portraiture in Iranian painting has been based on a pattern. What has been studied in this research is the woman's face in the paintings of these two periods. This article seeks to answer the following questions: How was the presentation of women's features in the designs of the Safavid period and Qajar era? What differences did they have in these two periods? The research method is descriptive-analytic and the information gathered by library method. The results show that women in the works of pre-Qajar paintings often have an exemplary and mythical position and, in terms of design, were unrealistic, and its visual value was like other elements of the painting, but in the late Safavid period and the Qajar period there has been a change in attitude towards painting due to the relationship with the West. As a result of attention to realism in drawing women's figures, as well as the formation of monotonous works, this led to a new image of woman in Iranian painting.
Art
Elaheh Panjebashi; Farina Farhad
Abstract
The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. ...
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The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. They displayed all features of social conditions, in political Qajar Era. All Qajar's motifs are arranged under the influence of various arts such as lithography, a Coffee shop drawings, photography, and Western postcards. We have examined the features of the ancient tile designs as the arts of Golestan Palace. This research has studied the role of the women image in tiles of the ancient Golestan Palace. The purpose of this research is to examine the image of women in Golestan Palace courtyard tiles and the features of sun and angel in tiles of Golestan Palace. The required data were collected by documentary and field surveying method in the current study and its method is historical- analytical. The results of this study show that women represented in the tiles are in the form of the Sun and Angels. The Sun is drawn according to the characteristics of Oriental Women and the role of the Angel shows Byzantine art and painting.
Art
Fatemeh Shirazi; Zeynab Saber; Mohammad Reza Hassani
Abstract
Since the eighth century, much attention has been given by painters to Khamseh works due to its romantic and lyric stories. Female is a heroine who plays a significant role in most of Khamseh works showing its contributions to Nezamis works. Unlike common negative view about women in society, Nezami ...
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Since the eighth century, much attention has been given by painters to Khamseh works due to its romantic and lyric stories. Female is a heroine who plays a significant role in most of Khamseh works showing its contributions to Nezamis works. Unlike common negative view about women in society, Nezami considered a high social level for them. In different periods, these stories, especially Lily and Majnoon, Khosrow and Shirin and Haftgonbad Bahram'gour in which women’s presence is highlighted, have received much attention from painters. The current study reviews the images of women in the Khamseh during different periods. In the present study, the female representation in Khamseh works has been investigated based on Berlas Khamseh (ninth century) according to Bordio’s art sociology. The conclusion is that females views are more affected by public society and public culture in Berlas Khamseh due to Behzads artistic style and his attention to social realism.
Historic
Khadijeh Alemi; Hanieh Askari; Parvin Soheil Shamayee
Abstract
Political and social isolation of women in pre-Islamic period and their blurred role in social and political life changed with the advent of Islam. However, in the era of the caliphs, under the influence of Jewish and Christian cultural elements and the revival of certain pre-Islamic Arabian traditions, ...
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Political and social isolation of women in pre-Islamic period and their blurred role in social and political life changed with the advent of Islam. However, in the era of the caliphs, under the influence of Jewish and Christian cultural elements and the revival of certain pre-Islamic Arabian traditions, the page was turned and the situation is well reflected in historical texts and traditions. This paper intends to study this backward view point reflected in historical and narrative texts available from the 2nd to 7th centuries. This research tries to address this issue: what are the social and political factors of Pre-Islamic Arabian traditions regarding woman in historical and narrative texts from the 2nd to 7th centuries. In response to this question, the present paper suggests that many of the stories found in historical and narrative medieval texts with misogynistic attitudes are fake and the chain of narrators are not reliable. Identifying unreliable narratives and their impact on changing attitudes toward women in Islamic society is the main goal of the paper. Research method is historical analysis using medieval texts and written sources from the 2nd to 7th centuries.
Art
Maryam Rafatjah; Niloofar Hooman
Abstract
This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and ...
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This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and John Fiske’s semiotic analysis in three levels of reality codes, representation and ideology, Esterahate Motlagh and Nahid movies have been analyzed and evaluated. The results showed that: 1. Both films have the three- part narrative structure, 2. The story take places in an urban space, 3. the crises that divorced woman face 4. Tactful woman is the most important type in both movies 5. Showing patriarchy, wise woman versus irrational man and the predominance of evil over goodness, are the most important ideological issues which have been mentioned and portrayed in the movies.
Literature
Ezzat Molla Ebrahimi; Elahe Alikhani
Abstract
The present paper deals with examination of the terms listed in one hundred sonnets in Hafez’s poetic collection (Divan) where one may seemingly assume them as feminine terms in order to find their latent meanings and concepts and the point that whether the poet has intended to employ these terms ...
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The present paper deals with examination of the terms listed in one hundred sonnets in Hafez’s poetic collection (Divan) where one may seemingly assume them as feminine terms in order to find their latent meanings and concepts and the point that whether the poet has intended to employ these terms only for their apparent concepts or he has had some concepts beyond their apparent meanings in mind. This study is of qualitative type, research and methodology of this study is of documentary type (library) and the content analysis has been also employed qualitatively to analyze poems of Hafez. Although he has not explicitly referred to female character in his sonnets (despite the fact that there are some critiques from society about some of his sonnets, Hafez’s sonnet is perfectly mystic not social; in other words, they are some love poems totally concerned with glorification and praising of God), woman has very high and magnificent position in Hafez’ paradigm wherever Hafez intended to talk about his God he has described woman and her beauties for public perception and better conception and all of his lovely illustrations of female are allegory and allusion of the Lord and refer exactly to God.
Literature
Masoumeh Nemati Ghazvini; Narges Ansari
Abstract
Nowadays, because of the special and pivotal place of women in the family and nurturing future generations; problems and issues related to women has become one of the main concerns of thinkers and intellectuals. Jalal Al-e-Ahmad (1302-1348 AHS) and Mustafa Lutfi al-Manfaluti (1876-1924 AD) are two of ...
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Nowadays, because of the special and pivotal place of women in the family and nurturing future generations; problems and issues related to women has become one of the main concerns of thinkers and intellectuals. Jalal Al-e-Ahmad (1302-1348 AHS) and Mustafa Lutfi al-Manfaluti (1876-1924 AD) are two of the social reformers and contemporary writers in the field of Persian and Arabic literature. Each of them has presented women issues and criticized its different aspects as the conditions of their own society and the specific viewpoint that they had toward social and cultural problems. The present study which has compared the works of these two writers with a descriptive-analytic method indicate the presence of many similarities in their approach to women issues which can be studied in six general areas including west oxification, freedom, social injustices, hijab, marriage, and science learning and while being similar in concepts they are presented in somewhat different writing styles when appropriate.
Archeology
Mohamad Ebrahim Zarei; khadijeh Sharif Kazemi
Abstract
Music in Iran has a long history. In the early Islamic period, music was denounced. In the Umayyad period, music still faced opposition from some jurisprudents and a group of Muslims. But in the next century, due to positive attitude of governments as well as scientific attitudes of many scholars and ...
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Music in Iran has a long history. In the early Islamic period, music was denounced. In the Umayyad period, music still faced opposition from some jurisprudents and a group of Muslims. But in the next century, due to positive attitude of governments as well as scientific attitudes of many scholars and scientists of that era, arts received public attention. The design of women was carved on clay during the Seljuk and Ilkhanid for many reasons. These designs can be a valuable resource to check the state of music and social status of women. This article, studying pottery designs in the Medieval Islamic eralocated in the artistic treasures and based on ancient texts, aims to examine the social status of women and their role in the evolution of music art during that era. The current research is fundamental in terms of purpose and historical-analytical in terms of method. Data collection was performed using historical-library resources. Furthermore, pottery samples of museums during different periods, especially in medieval Islam with respect to central role of woman, have been analyzed. The results show that many musicians of the period, especially female musicians, had an appropriate social status. Moreover, ceramic designs of this period show that women played instruments such as strings and percussion more.
Literature
Ezzat Molla Ebrahimi; Fahimeh Yeganeh Dizagwar
Abstract
Fiction has a special position because of its charisma and special charm and is considered as an important literary device; the most important task of story is to promote the moral and spiritual virtues of characters and to fight evil and injustices. Therefore, dedicated novelist should try not only ...
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Fiction has a special position because of its charisma and special charm and is considered as an important literary device; the most important task of story is to promote the moral and spiritual virtues of characters and to fight evil and injustices. Therefore, dedicated novelist should try not only to entertain the reader but also to be aware of his ultimate goal; which is to teach and to inform his reader. Najib Kilani, a prominent Islamic scholar and novelist in the contemporary period, also believes that by engaging different characters in the story, they can educate Islamic duty and religious lifestyle to the younger generation. In this article, we try to assess the female characterization in three novels by Najib Kilani entitled The Long Path, Killer of Hamza, The Man who Converted to Islam which have social, historical and Islamic themes, respectively. Kilani has used direct and indirect characterization methods and employed every type of personality, including static and dynamic, positive and negative. Female characters in all the three novels are secondary type which Kilani has used with expertise to achieve his main goal promoting Islamic culture.
Archeology
Bahman Firozmandi; Mohgan Khanmoradi
Abstract
The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning ...
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The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning generally to the women and their personal attributes in the court like political marriages. In order to receive a comprehensive view regarding to the women statute in Parthian era, we investigated archaeological evidences throughout Parthian Empire including western (Hatra, Ashur, Seleucia, Babylonia, Dura Europos, Palmyra) and eastern territories (Kuh-i Khwaja) and also regions such as Elymais and central part of Iran. These investigations demonstrate that depiction of women figure in Parthian era was more common comparing to Achaemenid times. The depiction of women can be seen on coins, stuccos, wall paintings and base reliefs. Surveying of archaeological evidences mentioned above showing that women have a main role and place in Parthian era and attending in different states and activated in religious, economic, social, and artistic ground.
Abdolreza Seif; Fatemeh Hakima
Abstract
The subject of womanhood is an attempt to explain why the woman is a symbol of self. I will start the paper with the story of “A’arabi and the Caliph” from the view point of symbol and then I will continue with the definition of self, symbol, why the woman is a symbol of self as it is believed ...
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The subject of womanhood is an attempt to explain why the woman is a symbol of self. I will start the paper with the story of “A’arabi and the Caliph” from the view point of symbol and then I will continue with the definition of self, symbol, why the woman is a symbol of self as it is believed by mystics. The allegorical result based on Najm Razi’s theory shows the accompaniment of self with wisdom causes the manifestation of love in the wayfarer. Through the enigma of “He who knows himself, has known God” and with a critical view to the belief that the woman is the symbol of self based on divine Quran verses it has been proved that walking towards God is not only for men but also for women to reach eminent place of a perfect human and the love of God.
حسینی Hoseini
Abstract
The subject of this paper is the analysis of Islamic period earthenware of Iran containing decorative designs of women. The basic goal of the paper is recognition of determining factors to use these figures and also responding to important questions such as: in which Islamic periods women’s figures ...
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The subject of this paper is the analysis of Islamic period earthenware of Iran containing decorative designs of women. The basic goal of the paper is recognition of determining factors to use these figures and also responding to important questions such as: in which Islamic periods women’s figures can be seen? And what features and factors have been influential in applying them? Answering these questions can obviously help us know more and better about the religious, social and political position of Iranian Muslim women compared to pre-Islamic periods of Iran. After careful examination of different samples pertaining to the Iranian Islamic era, the most important and most expressive ones were selected, then other factors influencing the use of these pictures were investigated. Findings of the paper show that use of women’s figures on Islamic earthenware especially in Seljukid and Ilkhanid periods have been affected by several factors including arrival of new tribes with new attitudes towards women in addition to the flourish of Iranian literature in form of Shahnameh Firdausi and Khamseh nezami fictions and certain astrological concepts with female symbols as the Venus and the moon
habib ahmadi; homeira bazafkan; ali arabi
Abstract
This study reviews the formations of the family in Shahnameh; distribution of power in it; and its identity. Therefore, we study the theoretical background related to the subject of the research, theories related to the topic of cultural theories of Malinowski, Radcliffe Brown, Ario and Shlensky, Ronard ...
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This study reviews the formations of the family in Shahnameh; distribution of power in it; and its identity. Therefore, we study the theoretical background related to the subject of the research, theories related to the topic of cultural theories of Malinowski, Radcliffe Brown, Ario and Shlensky, Ronard and proposed research and theoretical framework of the research were written according to the background of the research. Citation method was used to examine the issue and we tried to use social representations to explore sociologically the composer’s ideas behind his poems in Shanameh. Studying the families of Zahak, Faranak and Abtin, Fereidoon, Zal and Roodabeh, Rostam, Siavash, Piran (the minister of Afrasyab), Katayoon, Goshtasb, Bahram Shah and Farangis, and Keikhosrow shows that various forms of families propounded in modern sociology can be found in Shahnameh. On the other hand, families play a key role in preserving the identity of individuals and it is also sociologically a distinctive factor and at a higher level, the family is a symbol of identity of individuals and the identity of individuals is based on their families. The family also plays an important role in preserving cultural heritage, transition of culture and customs and also linking generations. Family marriage between two different communities, cultural conflict, cultural diversity, and cultural transmission, understanding cultural commonalities, and ultimately the cultural production and reproduction are among cases of identity and family issues in which the role and family identity of Iranians can be found. We also know that men have had the main part in decision making in the family though in some cases the decisions were made together with their wives, who were respected a lot in the Iranian family.
ezzat Molla Ebrahim; Azad Mounesi
Abstract
Ghassan Kanafani (1936-1972) is one of the most famous Palestine romancers who has created different personality types in four romances of “Men in the Sun” ,” All That's Left to You” ,” Returning to Haifa” , “Umme Sa'd”. Symbolic personality is one of the most important personality types ...
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Ghassan Kanafani (1936-1972) is one of the most famous Palestine romancers who has created different personality types in four romances of “Men in the Sun” ,” All That's Left to You” ,” Returning to Haifa” , “Umme Sa'd”. Symbolic personality is one of the most important personality types that he has given more attention to, whether feminine or masculine, they have been used abundantly in his four romances. Perhaps it seems that Kanafani’s symbolic view to the feminine personalities has increased the content and technical richness in his romances. But the writer’s insistence on highlighting the symbolic dimension of personalities in the two romances of ” All That's Left to You” and “Umme Sa'd” , is a matter that has made difficulties for real dimensions of these personalities in theoretical and technical points of view and has limited their freedom. The origin of this problem refers to this fact that the writer’s commitment and prejudice to Palestine in these two romances like his other romances, with enthusiasm and sensation follows to propose his idea about Palestine’s daily crisis and problems and their solutions. The symbolic personalities of romances are the tools to propagate and to promote these frequently revolutionary ideas. Therefore the main part of narrative and inherent potentials in these two romances, Instead of dedicating to enhance the natural and humanism dimensions of woman personalities are dedicated to enhance the symbolic and mythological dimensions of personalities in order to convey the message of the romances completely.
