Art
الهه Panjehbashi; Shaghayegh Godazgar
Abstract
Pictorial carpets, the result of combining tradition with modernity, peaked during Qajar rule. The themes of these carpets include literary stories, religious motifs, animal depictions, ancient Iranian relics, and portraits of monarchs. A distinctive category also emerged, where the image of a woman ...
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Pictorial carpets, the result of combining tradition with modernity, peaked during Qajar rule. The themes of these carpets include literary stories, religious motifs, animal depictions, ancient Iranian relics, and portraits of monarchs. A distinctive category also emerged, where the image of a woman replaced traditional patterns. This research aims to identify a rare hand-woven carpet design from the Qajar period featuring the bust of a woman and investigate the creation of the design from Panofsky's iconographic point of view. The research questions are: what was the catalyst for the emergence of women’s images in Qajar pictorial carpets, and what concealed messages do these images convey? The objective of this research is fundamental, and the methodology is descriptive-analytical. Data was collected through library resources, and three carpets depicting the bust of a woman were the studied samples. The appearance of women’s images in Qajar carpets was influenced by the concurrent creation of these carpets with the Qajar era, the expansion of relations with Europe, the prevalence of lithographic printing, the introduction of photography and postcards, naturalistic painting, humanistic thought, changes in clothing style, social and political roles of women, and the abundance of women’s images in Qajar art. The imagery of these carpets is in harmony with numerous advancements of their era, as evidenced by the alignment of artists with the movements of the time. influenced by the social, political, and cultural conditions and unaware of Europeans Orientalism, Qajar carpet weavers reflect the currents and developments of the society in carpets.
Art
الهه Panjehbashi; motahareh seifi
Abstract
Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of ...
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Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of significance to the interpretation of the work of art, in which the researcher seeks the symbolic values of a society that the artist unconsciously reflects in his work. Panofsky’s research questions include: What institutionalized belief about women is reflected in the painting of the expulsion of Adam and Eve in Tahmasbi’s Falnama? The objective of the investigation is to identify the origins of Tahmasb’s convictions regarding the status of women and their manifestation in this painting. The research is fundamental in nature and is conducted in a qualitative and comparative-analytical manner. The materials were collected in a library manner and with an iconological approach. The painting is influenced by the Qur’an; however, it contains elements that are not present in the Qur’an. So, the artist was motivated by additional texts that were extracted from ancient sources. The painting is a document that reflects the extreme beliefs about women in the patriarchal society of Tahmasab’s era, which originated from ancient metamorphoses such as the war between the male and female gender, Eve’s committing the first sin, and the blaming of the female gender. This is the root of women’s restrictions during this period.
Art
Maryam Mounesi Sorkheh
Abstract
The management of the body and its relationship with sociology of the body defines man as a corporeal agent. The problem is to understand the sociological relationship between body management and the choice of social clothing (clothes that can be worn outside the house in accordance with customary standards). ...
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The management of the body and its relationship with sociology of the body defines man as a corporeal agent. The problem is to understand the sociological relationship between body management and the choice of social clothing (clothes that can be worn outside the house in accordance with customary standards). Choosing the appropriate type of apparel is directly correlated with body management, which involves the continuous monitoring and manipulation of appearance features. Question: In the context of Foucault and Giddens' body management approach, what are the factors that influence the selection of women's social clothing? The aim of the research is to determine the factors that influence the selection of social dress for women in order to showcase their bodies in accordance with the body management approach. The research method is analytical, correlation and survey and information collection, library and field. The sample size is 384 individuals, and the statistical population consists of Tehrani women aged 20 to 30. A simple random approach was employed to collect the data using a questionnaire. The findings showed that social structures exhibit variability in body management. Sometimes, the selection of social clothing is made to align with the societal norms and to wield influence; other times, it is done to secure positive acceptance and to align with social activities. The results indicated that social structures exhibit variability in body management. Sometimes the choice of social clothing is to match the thinking of others in the society and as a tool of power; Sometimes it is to achieve positive acceptances and in line with social activities
Art
Maryam Nikravesh; Abbas Namjoo
Abstract
Women's clothing as a post-revolutionary social phenomenon has undergone many changes and daily/street style has diversified. The artistic clothing (one of the common styles in recent decades) is considered as one of the subcultures that shape Iranian culture, therefore, this study was conducted with ...
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Women's clothing as a post-revolutionary social phenomenon has undergone many changes and daily/street style has diversified. The artistic clothing (one of the common styles in recent decades) is considered as one of the subcultures that shape Iranian culture, therefore, this study was conducted with the aim of determining the artistic style and the inclination of girls and women of Tehran towards artistic style and trying to answer the ratio of clothing trends to artistic styles and the influencing factors in it. The population of this descriptive survey comprises girls and women aged 20 to 40 who wear artistic clothing. The data was collected using a researcher-made questionnaire, and the sample (123 individuals) was selected from both artistic and non-artistic groups. The results indicate a substantial correlation between the academic discipline and artistic careers in terms of the inclination toward an artistic style. Variety and freedom in design/color, accessories, attractiveness, use and combination of traditional, modern, and hand-embroidered motifs are significantly correlated. Increasing art departments and academic/non-academic artists, rethinking the identity of women in Iranian society with a tendency towards the artistic style, and the proliferation of advertising in social networks are all significantly correlated. The findings indicate that the artistic style is more prevalent among artists. The tendency of non-artistic disciplines demonstrated that the artistic style, as one of the styles of a specific subculture, has an impact on other members of society. The tendency toward the artistic style was most significantly influenced by a diverse selection of designs, colors, and models.
Art
Soheila Khosravi; Roshanak Davari
Abstract
One of the objectives of this field is to foster the empowerment of women and the development of local economies through a variety of methods, such as social entrepreneurship, within the framework of sustainable development.
The aim of this study is to investigate and analyze the role of Bakhtiari ...
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One of the objectives of this field is to foster the empowerment of women and the development of local economies through a variety of methods, such as social entrepreneurship, within the framework of sustainable development.
The aim of this study is to investigate and analyze the role of Bakhtiari women in the development of the local economy and tourism in Iran, with a particular focus on the significance of social entrepreneurship and the production of traditional Bakhtiari clothing as critical factors in this development.
Qualitative and quantitative methodologies were implemented in this investigation. Questionnaires and field interviews with residents of Chaharmahal and Bakhtiari provinces, as well as library research, have been implemented to gather data. The statistical population consists of Bakhtiari women, with a sample size of 389 individuals, and data analysis was conducted using statistical methods and analytical models.
The results of this study indicate that the Bakhtiari women have a significant impact on the tourism and local economy. Through social entrepreneurship, they address the creation of employment opportunities and the development of local economic activities. The primary occupation of the Bakhtiari people is the production of traditional apparel, which plays a unique role in the empowerment of women and the promotion of cultural and historical tourism in the designated regions. Based on the findings, the development of social entrepreneurship and the production of traditional apparel can contribute to the improved welfare of individuals in these communities and local areas. A suitable step toward attaining sustainable development goals can be taken by considering this matter and taking appropriate measures to support and develop these activities in local policy-making and planning.
Art
hossein ardalani; marina kheirollahzadeh varzi
Abstract
A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that ...
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A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual’s consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology.In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi’s paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi’s paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi’s paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi’s art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage.
Art
samareh rezaei; atieh Youzbashi
Abstract
Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims ...
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Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context.
Art
ameneh mafitabar
Abstract
The art of the first Qajar period is tied to FathAli Shah's name, while the achievements of the second period are accredited to NaserAddin Shah. The main aim of this study is to compare the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas. So, the question is: How ...
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The art of the first Qajar period is tied to FathAli Shah's name, while the achievements of the second period are accredited to NaserAddin Shah. The main aim of this study is to compare the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas. So, the question is: How does comparing the style of make-up, clothing, jewelry, and body portrayals of women in six Qajar Muraqqas can elucidate the similarities and differences of women's portrayal in the two historical periods of Qajar?The current qualitative research studies the Qajar art with a historical approach, in an analytical and comparative method. Thus, this developmental research achieved its goal by collecting data in the form of documents and using note-taking and picture-reading methods. The findings demonstrate that Qajar Muraqqa-making represents the artistic characteristics of court portraiture in the common artistic style of the first period of Qajar's reign. In the second period, it emphasizes the features of court painting. In response to the question of the study: The portrayal style of women in the first period emphasizes the ornamental items. The features are observably expressed via slim bodies and additional cosmetic items. The clothes are made of expensive materials and there can be seen accessories such as fans and tambourines in their hands. Meanwhile, despite court portraiture, the background is pictured negligently and simplistically incomplete. In the Muraqqas of the second period, the portrayal style of women is more realistic and their body is more natural. The ornamental styles and flamboyant expensive jeweleries are avoided and even women are pictured in their outdoor attire. Women's clothing style, changes according to the fashion of the era. But the background is still out of details so that, like graphic Muraqqas of the first period, the viewer has to imagine a vague place indoors or outdoors.
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 load 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
Seyede Fereshteh Ehsani Oskouei; Jamal- E-Din Mahdinejad
Abstract
Due to the increased presence of women at home, unfavourable living conditions affect them disproportionately. This situation makes it essential to consider their lifestyle, needs, and preferences when designing housing. This exploratory study collected data through the utilization of qualitative research ...
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Due to the increased presence of women at home, unfavourable living conditions affect them disproportionately. This situation makes it essential to consider their lifestyle, needs, and preferences when designing housing. This exploratory study collected data through the utilization of qualitative research techniques, including semi-structured interviews and observations. The cohort comprised twenty women, ranging in age from 20 to 40, who were intentionally selected from Tehran province. Using the MAX QDA software, the interview data was coded. Additionally, diagrams that were oriented toward behavior and space were constructed. The findings highlight the pivotal role of rooms within residential spaces in women's lives, and it revealed that the contemporary social, economic, and cultural conditions of Iran have shaped a distinct lifestyle among women in this age, significantly impacting their housing preferences. The perceived environmental attributes of young women—“efficiency and functionality, beauty and order, privacy, flexibility and adaptability, cleanliness, and hygiene”—are crucial design elements for rooms in residential apartment units. Furthermore, physical characteristics including illumination, ventilation conditions, heating and cooling, the number of bedrooms, interior furniture and its arrangement, texture and color of materials, window views and their exposure, lighting, room size and other proportions, spatial configuration, noise pollution, ventilation conditions, and heating and cooling systems are also taken into consideration. In order to accommodate the lifestyle of young women, it is critical to contemplate appropriate areas for sleeping, working, and leisure, while also guaranteeing personal seclusion and integrating personal preferences and cultural sensitivity into the design of the room.
Art
shahrokh amirian; Yaghoub Azhand
Abstract
The long story of The Snake and The Man (1976-1978) is a work by Simin Daneshvar that is derived from religious narratives, sacred texts, and mythical narratives. Laurent Genie's theoretical definition of the concept of intertextuality in the article “Strategy of Forms” serves as the theoretical ...
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The long story of The Snake and The Man (1976-1978) is a work by Simin Daneshvar that is derived from religious narratives, sacred texts, and mythical narratives. Laurent Genie's theoretical definition of the concept of intertextuality in the article “Strategy of Forms” serves as the theoretical foundation for this paper’s examination of the intertextual contribution of the narrations mentioned in the construction and payment of that literary work. In this article, Genie proposes that the intertextuality should be referenced when elements beyond the lexical unit of the prototext can be retrieved in the new text, a distinction between his conception of intertextuality, known as soft intertextuality, and Julia Kristeva’s intertextuality, known as hard intertextuality. In other words, the relationship between the texts is not limited to lexical and formal relationships; the intertextual relationship of two texts is not determined by the vague and mysterious sum of the effects of one on the other, but rather by the degree of interconnection between the two texts and how one influences the other. This underscores the two types of intertextuality: strong and weak. In his opinion, “weak intertextuality” is established when two texts communicate in at least two formal and thematic aspects, and “strong intertextuality” is established when texts cease to communicate on one of these two levels. The present study isqualitative in nature.
Art
Seyedeh Farkhondeh Pournasran; Narges Zaker Jafari
Abstract
The majority of the labor force engaged in rice cultivation within the province of Guilan consists of rural women who possess extensive practical expertise in their respective fields; thus, their presence assumes particular significance. Women show the rituals of rice farming, i.e. planting, planting ...
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The majority of the labor force engaged in rice cultivation within the province of Guilan consists of rural women who possess extensive practical expertise in their respective fields; thus, their presence assumes particular significance. Women show the rituals of rice farming, i.e. planting, planting and harvesting, in performing rituals such as the Ghasemababdi dance, which, in addition to visual appeal, express a spiritual and mythological bond with nature. The purpose of this study is to provide an answer to the question of the significance of women's presence in Ghasemababdi dance in relation to rice farming rituals, which is raised in light of the crucial role that women play in this dance and the implementation of rice farming customs. The current research is theoretical in nature and methodology, with a descriptive and analytic approach serving its purpose. The method of data collection is library and field using the method of ethnography in the region, observation, interviews, registration, and the recording of information. Research indicates that women perform Ghasemababdi dance while demonstrating gratitude for the blessings of rice cultivation and adherence to its principles through the use of a variety of manual skills. In other words, the Ghasemababdi dance serves as a reflection of cultural diversity and human thought. It is through this form of movement that women joyfully demonstrate the concept of cereal making patterns; thus, they have acquired a legendary status. Therefore, as a mother goddess equivalent to Anahita, the mother of man and the mother of the earth, they are considered and worshiped. In other words, the continuation and extension of life and the aliveness of the role of women is embodied in the unconscious of a person in order to transmit blessing, bonding and healing
Art
sahel erfan manesh
Abstract
The pictures of women in pictorial carpets were mostly woven in the form of mythological figures or images of European women in the Qajar era. Among these carpets influenced by both of discourses there is a carpet with a woven image in a seating position, which is preserved in the ‘Ahadzadeh Gallery’. ...
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The pictures of women in pictorial carpets were mostly woven in the form of mythological figures or images of European women in the Qajar era. Among these carpets influenced by both of discourses there is a carpet with a woven image in a seating position, which is preserved in the ‘Ahadzadeh Gallery’. This work is highly similar to the carpet of the queen of Armenia. It is also influenced by the ‘world carpet’ in which world is placed on the back of the cow-fish.Considering that this carpet is inspired by carpets with a mythological concept and picture of a woman, therefore, in this study the relationship between different texts is being addressed. The research also aims to review and study the connections between the England's ‘Queen carpet’ and the ‘world carpet’ with the carpet preserved in the ‘Ahadzadeh Gallery’; the study targets the following question 1. how the relationship between these carpets could be justified, considering the European and mythological concepts behind those two carpets? 2. What changes have occurred in the process of establishing these relationships? This study is performed based on a descriptive-comparative research method and analyzes outcomes according to the hyper-textuality concept of Genet. The findings of the research indicate that there are two kind of relationship between the existing texts of hypotext and hypertext, 1. Imitative or homotextuaity relationships and 2. Changed relationship. The relationship between the first and third text is kind of ‘hypertextuality’ and the relationship between the second and third text is kind of ‘intertextuality’. Also there is a transtextuality between the first and the third texts as there has been a change in both the style and the content of the text, as the new text does not only addresses one discourse, but also interpret a connection between the two discourses of Archo-Eropean, and the target carpet has acquired a new identity.
Art
parastoo zamani; Khashayar Hojati Emami; Faride Hajiani
Abstract
As a work of culture and art, cloth ought to be proportionate to the human body. A pattern that corresponds to the anatomical features of the inhabitants of a particular region can increase the output of regional apparel. In this discipline, patternmaking according to the body size of individuals is ...
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As a work of culture and art, cloth ought to be proportionate to the human body. A pattern that corresponds to the anatomical features of the inhabitants of a particular region can increase the output of regional apparel. In this discipline, patternmaking according to the body size of individuals is one of the most crucial parameters. However, sizing may not always be appropriate for all members of the community, as certain individuals' physiques do not conform to global standards. Significant advancements in online purchasing and women's apparel production have increased the significance of gathering precise data to determine appropriate sizes for individuals with varying anthropometric characteristics. Additionally, the absence of a measurement table for ready-to-wear garments is problematic. Size 38 of one brand may occasionally correspond to size 40 of another brand for identical textiles and apparel styles. Nevertheless, pattern-making techniques in numerous non-Western nations, such as Iran, primarily borrow from European and American approaches, oblivious to the variations in physical dimensions among these cultures. The objective of this research is to examine the variations in conventional clothing sizing methods and ascertain the degree to which anthropometric data acquisition contributes to the enhancement of a sizing method. The body dimensions of 1290 women, aged 20-44, were assessed using a random sample. These women were categorized into sizes 32 to 58. A comparison was made between the classified measurements and those of the Müller system. There existed a substantial disparity in several parameters between the limb measurements of Iranian women and those recorded in the Müller system. A set of new measurements was subsequently derived from anthropometric data pertaining to the physique of an average Iranian woman. Our results facilitate the development of a sizing system that is in accordance with the physique of an Iranian woman and provide direction for future researchers who wish to expand the sizing system. Furthermore, our research provides valuable insights to the global and domestic apparel industries. The fundamental inquiry lies in determining how to anticipate the intended outcome through the utilization of data pertaining to individuals with varying anthropometric characteristics. The primary objective of this research endeavor is to determine the degree to which the acquisition of anthropometric information from individuals can contribute to the enhancement of garment industry sizing procedures. This research is applied in that it was conducted through field research, library resource reviews, and the collection and analysis of measured data; thus, it is of a mixed quantitative and qualitative nature.
Art
Alaa Basal; abolghasem dadvar; fatemeh kateb; maryam mounesi sorkheh
Abstract
Roman Mythology holds an immortal and sacred place and is of great value artistically and historically as it personifies gods in the form of human bodies with supernatural powers. The mythical figures, such as gods and demigods, and epic and symbolic scenes are depicted within Roman murals in Syria. ...
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Roman Mythology holds an immortal and sacred place and is of great value artistically and historically as it personifies gods in the form of human bodies with supernatural powers. The mythical figures, such as gods and demigods, and epic and symbolic scenes are depicted within Roman murals in Syria. Providing an interpretation of morals and traditions, the given murals portray how the society's functional and inner values and religions are pursued. Women's clothing is manifested as a civilizational component in a significant section of Roman Syrian society. The research objective is to identify mythological themes in human patterns and reliefs and grasp their meaning by focusing on the details of women's clothing in five murals and comparing them with those of Syrian women's clothing during the Roman period as analyzed by Malinowski's need and institution components. In the general sense, the concept of functionalism implies a relationship established within an institution. What are the differences and similarities between the clothing in murals and among Syrian women of the Roman period under an emphasis on Malinowski's mythological elements from a functionalistic perspective? The results indicate that in addition to meeting clothing needs, the type of attire and practical colors in the murals and garments of Syrian women during the Roman period also address spiritual solidarity and cultural needs, such as ethicality, social beliefs, and orientation toward religion. There are common grounds between women's clothing in the murals and the garments of Roman Syrian women, and both entail aspects of providing protection, observing social manners, and denoting women's emotional and economic status. In Roman civilization, colors would bear sanctity and represent an individual's eminence. In the case of Syrian women of the Roman period, institutions were to meet women's needs and hold a positive role in society's survival as a whole. In addition to its role in resolving primary needs and taking recourses to meet derivative needs, Roman clothing is also displayed in the form of customs and traditions. The research method is comparative-historical analysis with documentary technique as the data collection method.
Art
Soraia Radamin; manzar mohammadi; Farideh Hajiani
Abstract
AbstractAccording to Greek mythology, Jean Shinoda Bolen (a follower of Jung's school) distinguished seven archetypes (Athena, Artemis, Hestia, Demeter, Persephone, Hera and Aphrodite) in the human unconscious and generalized them to contemporary women; If these archetypes are out of balance, some personality ...
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AbstractAccording to Greek mythology, Jean Shinoda Bolen (a follower of Jung's school) distinguished seven archetypes (Athena, Artemis, Hestia, Demeter, Persephone, Hera and Aphrodite) in the human unconscious and generalized them to contemporary women; If these archetypes are out of balance, some personality traits will fall into the shadow; In order to balance the archetypes, in addition to psychoanalytical methods, changing the clothing style can be used as a supplementary improvement method. The question is, how can we design a community outfit that is effective in removing the shadows of personality (women) based on the archetypal theory of jean Shinoda Bolen? In this context, by knowing the personality shadows, their weaknesses and strengths and considering the effect of clothing on the psyche, it is possible to design a clothing style that is useful in the process of the treatment. The current research is qualitative and quantitative and the tool used in data collection was a questionnaire. The statistical population is 254 women, aged 20-45 in Tehran which was conducted using random sampling method. According to the statistics, about 40% of population under study have personality shadow. Data analysis was done using SPSS software in the form of descriptive statistics with frequency and percentage. The results indicate that if it is possible to use motif, form, color, design, etc., which engages the person in communication with herself in the clothing style, it can be used as a solution along with other psychoanalytical solutions. In the contemporary society, where the presence of women in various social fields has become more prominent, female identity is very important, and in the social of Iran, where tradition and religion play a role in the lifestyle on the one hand, and on the other hand, some characteristics of the modern society in the lives has appeared, the clothing style of women as a part of the society that shows the most changes has a double importance.
Art
Ghufran Brimo; Effatolsadat Afzaltousi
Abstract
Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural ...
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Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural identity of girls and women is represented in the cover illustrations of children's stories in Arabic-speaking countries. To gain insight into cultural identity, particularly Arab identity among Arabic-speaking girls and women, it analyzes the statistical population. In this context, 249 cover designs from six Arab countries including Egypt, Iraq, Lebanon, Syria, Saudi Arabia, and the UAE were examined for the age group (B). Results show that the UAE is the most wealthy nation in terms of cultural visual representations, while Syria is the least prosperous in this regard. Arab girls' and women's faces are prominent in most images, and the palm tree, a symbol of natural geography, plays a significant role in Arab identity, especially in Iraq publications. Older women on the cover illustrations are often veiled, and the veil is one of the most prominent visual symbols. Nevertheless, in Lebanon and Syria, this symbol is less prominent across all age categories. It appears that a general conclusion can be derived regarding the identity of Arab girls and women on the covers of children's books in Arabic-speaking countries in the present study. This identity is a combination of Arab and Islamic identity, with a particular emphasis on geographical and natural symbols.
Art
Seyed javad Hosseini; hassan bashir; mozhgan oroji
Abstract
Families, as crucial social institutions, play a vital role in providing emotional and physical support to their members and teaching life skills. The rapid evolution of communication technologies and media has significantly influenced this institution, leading to major changes within it. This research ...
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Families, as crucial social institutions, play a vital role in providing emotional and physical support to their members and teaching life skills. The rapid evolution of communication technologies and media has significantly influenced this institution, leading to major changes within it. This research aims to categorize issues and offer suggestions for addressing gaps in research or media policy-making. The research question is: How have studies in the field of family and the media been classified, and what topics have been discussed under each classification? The theoretical framework of this article is based on Dependency Theory, Manuel Castells' Theory, and Cultivation Theory, with data analysis conducted using meta-analysis and thematic analysis methods. In this study, after reviewing 93 extracted articles on the subject of media and family, and analyzing descriptive statistics and themes in areas such as social networks, television, and cinema, the strengths and weaknesses of the research were identified. The results indicate that the effects of modernity and media on the family institution in Iran have been profound and multifaceted. These value changes include the removal of traditions, weakening of kinship relations, empowerment of women, increased importance of individualism, and changes in lifestyles. These transformations represent a period of cultural and social transition, emphasizing the need to focus on the Iranian-Islamic lifestyle, the identity of men and women, strengthening family cohesion and relationships, media literacy, and attention to the role and position of children and adolescents within the family.
Art
Tuba Mozafari nezhad; Esmaeil Najar
Abstract
This investigation applies Spivak's "Subaltern Theory" to undertake a comparative examination of Mastaneh, the History of the Forgotten and Nine Parts of Desire. Spivak maintains that comparative studies in world literature are currently predominantly conducted in accordance with the logic of globalization ...
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This investigation applies Spivak's "Subaltern Theory" to undertake a comparative examination of Mastaneh, the History of the Forgotten and Nine Parts of Desire. Spivak maintains that comparative studies in world literature are currently predominantly conducted in accordance with the logic of globalization during the capitalist era. She is of the opinion that the field of literature is currently only used as a means to ensure the survival of Western powers. When they wish to investigate other cultures, they refer to them as "Third World" and regard them as an undeveloped "other." These criticisms are exacerbated when the Western world interacts with subordinate subjects, particularly the female gender. Due to the fact that they only provide an appearance of the situation of women in relation to their objectives. For the sake of its own objectives, it only presents a semblance of subalterns, particularly those of the female gender, and achieves an idealistic and essentialist policy. However, the subaltern subject is aware that a gender that is both expanding and developing is the most advantageous scenario for her when she speaks and behaves as a woman. It is regrettable that the subjugated and marginalized individuals should disclose another history of the oppressed, which has been neglected, in the shadow of this game. Through an examination of a selection of Spivak's theoretical works, including "Can the Subaltern Speak?"(1985), Death of a Discipline (2003), and "Rethinking Comparativism"(2009), this research will demonstrate that the Subaltern can articulate her pure experiences and self-expression through literature without the assistance of global powers, correction, or assistance.
Art
Afrooz Khaleghi; Morteza Lak; Hoda Shabrang
Abstract
This article seeks to examine the illustrated editions of Shakespeare's plays, whose images were printed by the use of metal engraving, in order to find the most determining factors that affect the way of understanding the female characters in the play, and to answer the question, "What is the Victorian ...
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This article seeks to examine the illustrated editions of Shakespeare's plays, whose images were printed by the use of metal engraving, in order to find the most determining factors that affect the way of understanding the female characters in the play, and to answer the question, "What is the Victorian portrayal of women’s main features in Shakespeare's editions?" Since advanced types of engraving such as steel engraving, outline engraving, stipple, daguerreotype and photogravure were among the main techniques for reproducing images in the Victorian period, representing Shakespeare's women as aesthetic paratexts of 19th century printed editions was an artistic selection which added a layer of non-textual appeal to the plays and enhanced the reading quality and hermeneutic understanding of the characters. In other words, artists and editors sought to emphasise their beauty, strength, and complexity by depicting Shakespeare's heroines in visually appealing ways. Therefore, the illustrations in these editions provided the readers with a richer interpretation of the characters and potentially influenced their understanding of the characters in the play. Moreover, in this era, the images went from emphasising the conceptual and semantic connection of the images of women with the text, which was common in the eighteenth century, to simply representing the beauty of women. It is worth mentioning that to fully describe this process, William John Thomas Mitchell's ideas about the importance of visual presentation of literary texts will be relied upon.
Art
fatemeh shirazi; nastaran noroozi
Abstract
Genette's transtextuality is one of the important topics in reading and checking the relationships between texts, which has checked these relationships in its various forms and is divided into five main categories. This research, based on Genette's transtextuality, has studied one of the clothes in the ...
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Genette's transtextuality is one of the important topics in reading and checking the relationships between texts, which has checked these relationships in its various forms and is divided into five main categories. This research, based on Genette's transtextuality, has studied one of the clothes in the Royal Clothing Museum. This dress is a Hypertexte, the Hypotexte of which is the needlework clothing of the women of Baluchistan region, hence a connection between these texts has been formed which can be investigated.This connection is important because Baloch needlework is one of these artistic and original stitches, which is used in the clothing of Baloch women and girls and for the purpose of decoration and grooming. Although Baloch needlework has an identity and originality in terms of motif and color, structure, sewing method and execution technique and materials used, as well as functionality that has kept it to this day, But in the Pahlavi period, especially in the 1950s, a modern and contemporary reading of this pure art was carried out, which appeared in the court and royal clothing of men and women of the Pahlavi family and their close relatives.soThe purpose of this research is to study and investigate how the needlework of this Pahlavi family dress is related to its Hypotexte in Baloch needlework and answers these questions. How is the relationship between this royal dress of the Pahlavi court and its Baloch needlework Hypotextes based on Genette's transtextuality explained? And what changes have taken place in the process of forming this relationship? This research was conducted in an analytical-comparative and descriptive manner, based on Genette's Hypertexyualité, and the data analysis in it is qualitative. This research showed that the relationship between two texts is Hypertexyualité and the Transformation from Hypotexte to Hypertexte was accompanied by changes in the Visual structure, environment, discourse, function, user, etc
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.
Art
elahe shahrad; REZA AFHAMI; Rohallah Bagherzade
Abstract
Color is a silent but a powerful language. According to the high expressive quality of color in communicating and attracting people's attention, identifying the color preference of women and the factors affecting it can create an efficient tool in many areas of the modern world such as communication, ...
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Color is a silent but a powerful language. According to the high expressive quality of color in communicating and attracting people's attention, identifying the color preference of women and the factors affecting it can create an efficient tool in many areas of the modern world such as communication, trade and goods and content production. This article aims to identify the effects of the factor of openness to experience (as one of the dimensions of personality) on women's color preference changes. In order to collect research data, demographic questionnaire, color preference and five-factor personality test were used. The statistical sample includes 213 women living in Tehran who were randomly selected. Data analysis using the one-way variance method in relation to the level of color preference shows that women with different levels of openness to experience have different preferences in relation to the level of preference for purple, red and orange in such a way that as the level of openness to experience increases, preference score of red and orange increase and purple decrease. in this regard, data analysis in the selected color preference section shows that women with high levels of openness to experience choose red as their preferred color. The results of multivariate variance analysis in relation to the preference of warm, cool and neutral colors show that women with different levels of openness to experience have different preferences in relation to the preference of warm and neutral colors. The interpretation of the results in relation to hated color indicates that women who hate blue and white have a lower level of openness to experience. According to the graph, as the level of openness to experience increases, the average score for warm colors increases and for neutral colors decrease. The results of the present study confirmed the need to pay attention to the agency of openness to experience in predicting color preferences. The findings of the current research can be used in many practical fields such as psychology, marketing, communication, advertising and fashion design.
Art
Fatemeh samipour; mostafa pourali; marzieh kazemzadeh
Abstract
Territorial behaviors are one of the most important and influential behaviors related to the environment and the use of it. Therefore, if the space is in accordance with these behaviors, it can lead to an increase in the quality of the environment and it makes them use it more and better. In line with ...
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Territorial behaviors are one of the most important and influential behaviors related to the environment and the use of it. Therefore, if the space is in accordance with these behaviors, it can lead to an increase in the quality of the environment and it makes them use it more and better. In line with the study of women's territorial behavior, the present research seeks to identify a concept called "semi-private territories" and achieve its characteristics in public spaces, which according to the research conducted and the hypothesis of the research, is compatible with the territorial behavior of women. It is also in line with women spatial preferences in public spaces. After conducting library studies and compiling the research literature, field studies have been used in a qualitative way using interview tools and contextual conversations to achieve the research goals. In fact, in order to explain the concept of semi-private territories and its characteristics, the opinions of various women in relation to their spatial preferences and territorial behavior in public spaces have been collected and analyzed. The qualitative analysis of the findings has been done in the form of coding and in the platform of Atlas.ti8 software. Based on this, with the study of women's territorial behavior, the concept of "semi-private territory" is defined. The semi-private territory is a territory that is neither completely private nor public, which, while being located in a public arena, has characteristics close to and similar to private territories, but has less public characteristics. These territories have characteristics such as: relative privacy and coziness, relative separation of space by visual and non-visual limits and boundaries, reducing the amount of access to the space compared to the public territory, etc, which is in accordance with the territorial behavior of women in public spaces and provides the necessary conditions for their presence in the space
Art
saleheh khodadadi; Mohsen Badreh; Fatemeh Bajelani
Abstract
This article(Comparison of the two narratives of the Old Testament and the Qur'an about the temptation of Adam and Job (pbuh) by their wives and its representation in Christian and Islamic visual arts) compares the two narratives of the Old Testament and the Qur'an concerning the temptation of Adam and ...
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This article(Comparison of the two narratives of the Old Testament and the Qur'an about the temptation of Adam and Job (pbuh) by their wives and its representation in Christian and Islamic visual arts) compares the two narratives of the Old Testament and the Qur'an concerning the temptation of Adam and Job (PBUH) by their wives and its representation in Christian and Islamic visual arts. The comparison of the how of deception and temptation of the two mentioned prophets by their wives that is, Eve's lack of patience towards the sanctity of eating the forbidden fruit and Rahma's lack of patience towards divine trials and their reflection in the visual arts of two Christian and Islamic cultures in the first-hand sources, is of the goals of this study. This is a comparative study and data collection has been done by exploring library documents and works and art treasures. Although in the text of the Holy Qur'an, not only is the fault of the temptation of Adam and Job not on the shoulders of their wives, but there are very clear interpretations that clearly reject this accusation, but on the other hand, some of the covenantal stories asserted the mediation of Eve for the temptation of Adam and also in Islamic hadith and commentary sources we can see traces of attributing some sins to Job's wife. However, the issue of the representation of Adam's temptation by Eve and Job's blaming by his wife Rahma is clearly evident and frequent in Christian art, but this is not the case in Islamic paintings. Regarding Adam's temptation by Eve and its consequences, such as their expulsion from heaven, Islamic paintings do not explicitly blamed Eve and sometimes they have given her equal dignity with Adam, and in the paintings related to the story of Job, no sign is found indicating the temptation of this Prophet made by his wife or reprimanding him by her.
