Art
Shiva Massoudi; Nafiseh Saadat
Abstract
“Living doll” is a term for young girls who transform themselves into toy dolls like Barbie with surgery and heavy makeup, and display their gestures and behaviors on social media by posting photos or videos. In this article, by producing a readout of carnival and carnivalesque from the perspective ...
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“Living doll” is a term for young girls who transform themselves into toy dolls like Barbie with surgery and heavy makeup, and display their gestures and behaviors on social media by posting photos or videos. In this article, by producing a readout of carnival and carnivalesque from the perspective of Bakhtin, death, mask, madness (manifested in three types of rogue, clown, fool) and play are introduced and identified as its four main themes. The background of the research shows that the embodiment of these themes in literary works or social and political phenomena can lead to the development of carnivalesque. In search of carnival elements in Living doll term, we come to the virtual space as the carnival square. Cyber display has two parts, one is its representation, which from Goffman's point of view has an executive aspect, and the second is the place of its performance in cyberspace and specifically social networks; Where it allows each person to create different, artificial and ideal identities. The living doll, which has a history in literary sources as well as in girls' desire to imitate dolls, puppets or cartoon characters, is the choice of a strange puppet-like identity in cyberspace. living dolls embody the four themes of carnival with concepts of inanimate being and mortality, face and body masks, stupidity, rebellion, deception and wondering, and acting as puppets. And in this way, they turn their cyberspace show into a carnival from Bakhtin's point of view.
Art
farzad feyzi; Behrooz Afkhami; sara sadeghi
Abstract
Urban legends and fairytales use symbols and archetypes to bring forth, and describe, individual and collective actions and reactions in a society. Using an approach of both descriptive and comparative nature, the present article uses narrative analysis method to conduct an exploration of two similar ...
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Urban legends and fairytales use symbols and archetypes to bring forth, and describe, individual and collective actions and reactions in a society. Using an approach of both descriptive and comparative nature, the present article uses narrative analysis method to conduct an exploration of two similar legends of Beauty and the Beast, from European culture, and Shāhmār, from Iranian culture. The research question is the following; in the two narratives under study, what is described as the ideal epitome of a woman through the evolutionary course of moving from girlhood to womanhood by means of marriage? To answer this question, using the notion of “transformation” in the ideas of John Hinnells as well as the description of marriage as the “transformation of matrimony” based upon the ideas of Joseph Campbell about the evolutionary journey of mythical heroes, the condition of the heroines of both legends- along their path that leads to transformation of matrimony- was studied and analyzed. The results of the research show that the evolution of the heroine of Beauty and the Beast is based upon going past the state of girlhood to the state of womanhood by means of love and union with a creature which looks like a beast, a creature whose hidden inner beauty is unveiled and revealed after experiencing love, leading to the end of the story. In Shāhmār, however, love and union is created only when human nature of the beast is revealed, as this is the point where the eventual evolution of woman, namely, accepting the role of motherhood, starts; protecting the love and matrimony is thus introduced as the ideal and that which is of prime importance.
Art
بتول maazallahi; zeinab saber
Abstract
The process of imprisoning Safavid princes in the harem caused theSafavid king to gradually withdraw from serious political activity andincrease power in the harem. the king's mother with his wives and slaves formed a powerful alliance with each other. They could greatly influence the king and interfere ...
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The process of imprisoning Safavid princes in the harem caused theSafavid king to gradually withdraw from serious political activity andincrease power in the harem. the king's mother with his wives and slaves formed a powerful alliance with each other. They could greatly influence the king and interfere in the administration of the country. In the time of Suleiman, this center became so powerful that it was called the main owner of the king. The style of painting in the time of Shah Suleiman was Farangi-sazi. The present article,Wants to study whether women and harems were represented in this style? Compositional interpretationMethodthat there were changes in the images of this period that did not exist before. Depicting architecture was very important.The composition of the painting proves that it is Suleiman who looks through the paintings, He looks at women and the harem.But in the process of watching, he hides women and considers only architectural structures.Women who were the agents of power in the politics of their time are not considered in painting.Things that have been affected in the paintings include "inner / inner space in architecture", which can be said to be a reference to the subject of the harem.In addition to this theme, many men are shown who are looking at the audience. This refers to the spread of the masculine look.And this is the look of king that is circulating on women in the harem.
Art
Behrooz Mahmoodi Bakhtiari; Aniss Naseri
Abstract
Sexual identity, as a culture based issue, can be regarded as a founding stone for many social inequalities. People (no matter men or women) have to borrow some features of the opposite sex in order to get along with some imposed situations of its surroundings, and wear the mask of another sex in order ...
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Sexual identity, as a culture based issue, can be regarded as a founding stone for many social inequalities. People (no matter men or women) have to borrow some features of the opposite sex in order to get along with some imposed situations of its surroundings, and wear the mask of another sex in order to solve some of its problems. This, however, may establish those features in the mind of the person, and change its sex typing in the long run. Androgyny takes place when such masks represent the male and female essence at the same time. This article aims to find out when the (female) characters of films tend to make use of Androgyny as a mask, and how they turn to androgenic characters. This article has made use of the theoretical framework of Sandra Bem named Psychological Androgyny, together with Goffman's Dramaturgical Analysis. We have also attempted to study two films named "The Blue Scarf" (1994) and "Transit Cafe" (2004), to show the impacts of the society in forming a psychological androgyny in the sexuality of female characters in these films. The results show that these women have resorted making use of the androgenic mask in order to get their basic social rights, and have gradually turned to androgenic characters.
Art
Sadreddin Taheri
Abstract
Feminist campaigns have been a main force behind major historical and societal changes for women rights. Black Feminism is a school of thought stating that sexism, gender identity, racism and class oppressions are inextricably bound together. The way these concepts relate to each other is called intersectionality, ...
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Feminist campaigns have been a main force behind major historical and societal changes for women rights. Black Feminism is a school of thought stating that sexism, gender identity, racism and class oppressions are inextricably bound together. The way these concepts relate to each other is called intersectionality, a term coined by Crenshaw. Double minority refers to a person with two devalued identities. Feminist art tends to change the women’s image in art world positively, in hope to lead to equality. This research has attempted to analyzethe symbols and semiotic concepts in artworks and style of Lorna Simpson, a female artist who was born in 1960. The main purpose of this survey is to characterize her personal parole, as a narrator of double minority,in the langue of Feminist art and context of Black Feminism. The selected works of art belong to a four years period of her professional life (1988 - 1991), which coincides with the third wave Feminism. Re-examining photography as a conceptual medium, Simpson’s works remind us of historical ooppressions in the field of gender and race. Textual and visual codes are linked together in her works. Using young African American women as her instant photos’ models, Simpson creates tableaux that utilize repetition and pictorial framing to challenge prejudices and assumptions of gender and race, culturally and historically. Her figures are shown mostly from behind or in fragments, which draws attention to the historical depersonalization and sexualization of coloured women. By combining irritating words with faceless portraits, Simpson calls our attention to the unconscious ways in which people are classified based on physical and cultural attributes. She conveys political messages to destroy the fabricated stereotype of black women and rrestore their identity and position in contemporary society.
Art
Maryam Dadkhah Tehrani
Abstract
Harold Pinter is among the most famous playwrights of the world and won Nobel Prize in 2005. How he used female characters in his plays is one of the most challenging issues in his dramatic texts. Many of these texts don't have any female personage while the others with female characters show complicated ...
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Harold Pinter is among the most famous playwrights of the world and won Nobel Prize in 2005. How he used female characters in his plays is one of the most challenging issues in his dramatic texts. Many of these texts don't have any female personage while the others with female characters show complicated gendered and sexual functions. Many believe that these characters fit in common stereotypes of females in the world of theater. Among these challenging texts is The Homecoming which shows a unique character, Ruth, who has been controversial among critics. This essay tries to examine the representation of female character in Pinter's plays while focusing solely on The Homecoming. Given the representation of Ruth in this text, some of the critics read this text as a feminist one despite the others who believe Pinter is misogynist. In this essay, after studying the previous views on the play, I try to show how both perspectives can be seen in this text. In fact, just by this article, we cannot accuse Pinter of being misogynist neither acclaim him to be feminist. Pinter indeed wants to decentralize the patriarchal structure of family and the society, using his Pinteresque dialogues and devices.
Art
Mahin Sohrabi; Bahman Namvar Motlagh; Fatemeh Mehrabi
Abstract
The dominant archimyth of the culture and the arts of each society formulate dialogues that direct cultural trends and artistic creation in that society. During the Qajar period, the arrival and promotion of Farang archimyth in Iran caused a significant development in the field of culture and art. One ...
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The dominant archimyth of the culture and the arts of each society formulate dialogues that direct cultural trends and artistic creation in that society. During the Qajar period, the arrival and promotion of Farang archimyth in Iran caused a significant development in the field of culture and art. One of the most frequent and influential manifestations of such a transformation in illustration, and especially in women illustration, was the "other" concept of this period. Therefore, this study chose the character of "Shirin", who is a personality with high-capacity for becoming "other" and "Farangi" in that period, studied the dialogue (Bakhtin) of the dominant archimyths on the art of Qajar period. This study sought to answer the question that, in a society influenced by different influences at one and the same time, how is the influence of the archimyths on the formation and evolution of a great mythical icon? For this purpose, the evaluation of the existing images from the scene of "Shirin’s bathing" by the method of intertextual and interdiscursive analysis has led to the conclusion that in the Qajar period between the three Farang (Western), Iranian and Islamic archimyths a dialogue has been established in which the Islamic archimyth has the role of mediator between the two other archimyths. It provided the basis for the dialogue, but eventually the time has passed and the dialogue has intensified and the Islamic archimyth has left it.
Art
Zahra Shahriari; Farideh Afarin
Abstract
The purpose of the present study is to explain how a female designer uses visual elements and rules to produce meanings and messages in order to illuminate the creative aspects of women's existence. Clarifying the meaning and message of the poster relies on observing, describing, and interpreting visual ...
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The purpose of the present study is to explain how a female designer uses visual elements and rules to produce meanings and messages in order to illuminate the creative aspects of women's existence. Clarifying the meaning and message of the poster relies on observing, describing, and interpreting visual qualities. To clarify the layers of meaning, we study it with the components of the semantic process in language theory of Julia Kristeva. The components of the theoretical framework of the research are symbolic, the semiotic, their exchange, and then intertextuality. The method is the analysis of qualitative content by hermeneutic approach. This shows that both the symbolic and the semiotic in this poster are in constant conflict and exchange. They direct the meaning process. Female and flower`s replacement, flower petals and mouths, flower pot, water and clouds and materials for cultivation, usage of text with a curved font on the pot, and double reference of the text in theoretical defense of female voice show the symbolic and the semiotic exchange. In addition to them, the study of intertextuality like the benefit of embroidery technique to lost women's creativity implies the ultimate meaning. It is that today, just as much as we need to revive feminine traditions such as embroidery, we should pay as much attention to the female voice in different reproductive aspects of their existence. Also writing on the pots show the emphasis on other creative aspects in woman`s existence. Therefore, the poster`s designer pays deep attention to female reproductive aspects of their existence.
Art
Fatemeh Shahroodi
Abstract
The present article aims at criticizing and analyzing the "Subdued" (Rag-E Khab) film from psychology point of view. The film is Hamid Nematollah's fourth movie that deals with the story of a woman namely, Mina, who has recently divorced from her husband and is looking for a job and shelter for life ...
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The present article aims at criticizing and analyzing the "Subdued" (Rag-E Khab) film from psychology point of view. The film is Hamid Nematollah's fourth movie that deals with the story of a woman namely, Mina, who has recently divorced from her husband and is looking for a job and shelter for life that become friend with Kamran, the manager of a restaurant. It’s the beginning of a tumultuous journey for Mina. Finally, Mina achieves a great evolution in her life after overcoming many difficulties and leaving Kamran. The emphasis of the filmmaker on expressing the mental world and the psychic layers of the main female character of the movie made it possible to analyze the film from the opinion of Jeffre E. Young's schema theory. Based on the division of the film into two halves; first and second, one can analyze the changes of the main female character of the film and her relationship with the main male character from the perspective of Young's schema. The main question of the present research is which schemas can be identified in the main female character of the film. The information used in this paper has been gathered through library and research by descriptive-analytic methodology. The results of this study show that the film can be analyzed on the basis of two schemas of "abandonment" and "dependence" in the main female character that can be considered as one of the factors influencing the bitter problems and experiences of her life in the film. The first half of the film is devoted to the formation and intensification of these two schemas, and finally in the second half of the film, we are moving towards a change of schemas.
Art
Parisa Shad Ghazvini; Mina Nazemzadeh Naraghi
Abstract
The use of women's themes in the works of female artists is common and noticeable. It seems that by using this method the artist is able to retrieve latent inner layers and individual identity. At the same time, self-taught female artists are paying special attention to this way of expressing themselves. ...
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The use of women's themes in the works of female artists is common and noticeable. It seems that by using this method the artist is able to retrieve latent inner layers and individual identity. At the same time, self-taught female artists are paying special attention to this way of expressing themselves. This study, by examining the representation of women's identity in the works of a self-taught artist, “Parvin Jalali”, aimed to address the formal and contextual analysis of her works from the point of view of the feminist critic and theorist “Linda Nochlin”, who emphasizes two aspects of fragments and contradiction. The findings from the study of six paintings by Parvin Jalali revealed that the artist presents a supra-realistic image of the combination of human and vegetarian forms in order to show women's identity and social status. In the works of this artist, the concept of the fragment is depicted through linking women's traits with nature. In Jalali's works, controversy has been shown to be related to such concepts as dual contrasts and narrative representation of chaotic and restlessness of today's world and emphasis on the feminine principle of the world. This was a descriptive analytical study conducted based on library resources and documentation.
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
Alireza Sayyad; Sajad Sotoudeh; Milad Sotoudeh
Abstract
The perceptual experience of the male stroller (Flâneur), as the paradigm of the perceptual experience of modernity, is often regarded as a model to analyze the perceptual experience of the film's spectator. However, despite the fact that for many years flânerie was considered to be essentially ...
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The perceptual experience of the male stroller (Flâneur), as the paradigm of the perceptual experience of modernity, is often regarded as a model to analyze the perceptual experience of the film's spectator. However, despite the fact that for many years flânerie was considered to be essentially a masculine act, in the late nineteenth century women tried to gain their place as a spectator moving through urban spaces. By referring and rereading texts and artworks of this period, it is possible to retrace the presence of female stroller (Flâneuse) in the modern city. Demonstrating the existence of a type of female flânerie, these rereadings reveal the contrast of perceiving the essence of the modern city by female flânerie with that of masculine flânerie. Exploring the manner of the emergence of women in the modern city and the consequent process of female flânerie, the present study attempts to establish the characteristics of Flâneuse and illustrate its differences with male flânerie. By focusing on Cleo from 5 to 7, a film directed by Agnès Varda, this article tries to recognize the qualitative features of female flânerie and investigate female subjective interaction with urban spaces during the process of flânerie. In Cleo from 5 to 7, this process leads to removal of the Cleo’s gender-oriented image, aids her to achieve a new understanding of her identity, and prepares the ground for her to play a crucial role in reconstruction and reconfiguration of the perceptual experience of urban modernity. This research proposes that the focus on the Flâneuse's perceptual characteristics could be helpful in challenging the dominant attitudes that consider cinematic perception and cinematic look essentially as a masculine act.
Art
Arezo Taghipour; Fariba Yavary; Mohsen Marasi
Abstract
The purpose of this article is to study the representation of gender in the works of self-taught painters based on the social semiotic model of the image. Self-taught, non-trained artists, those lacked formal and academic education, began spontaneously to produce artistic works. Analysis of these works ...
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The purpose of this article is to study the representation of gender in the works of self-taught painters based on the social semiotic model of the image. Self-taught, non-trained artists, those lacked formal and academic education, began spontaneously to produce artistic works. Analysis of these works using the visual grammar of kress and Van Leeuwen in the reading of social semiotics helps to overcome the ambiguity of images as mere entertainment and to reveal the hidden ideology of the paintings. Hence, we selected 32 paintings by nine self-taught artists analyze the image of men and women representations in them. Research is descriptive-analytic and based on library and documentary studies. The results of the analysis indicate that the work of the self-taught painter of men and women reflects the gender division of social roles, with the difference that the female painter implicitly or publicly highlights herself as a nuclear element and introduces woman as the main actor. Therefore, the female painter is conscious of social gender bias trying to change it to their advantage. Women's painters with a realistic view of the works have an explicit look at the characteristics and realities of women and, on the other hand, have an equitable approach to the role of men and women, while the painter has a descriptive look and reproduces gender stereotypes.
Art
Taghi Hamidimanesh; Nahid Jafari Dehkordi
Abstract
One of the oldest myths among many cultures is the flood story. Since its inception, this myth has attracted the attention of artists in a variety of cultures. In most images related to the flood, a lady is among the passengers of the ark whose character and presence are in ambiguity. What is the identity ...
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One of the oldest myths among many cultures is the flood story. Since its inception, this myth has attracted the attention of artists in a variety of cultures. In most images related to the flood, a lady is among the passengers of the ark whose character and presence are in ambiguity. What is the identity of a lady sitting on Noah's Ark? The problem is that writers are trying to respond to library studies. Accordingly, we selected 29 images based on the artworks of the remaining artists from the Middle East, Ancient Egypt, Phoenicians, Christians and Muslims. We have analyzed these 29 images as statistical population through a comparative and analytical approach. The genealogy analyses of the archetype of the "Lady sitting on Noah's ark", in Islamic, Christian and prehistoric paintings show that the image from the Mesopotamia civilization is one of the oldest humanitarian archetype in the religious art and even the non-religious contemporary. Despite the religious semblance of this lady in the Muslim world, she has entered Islamic art as well. The influence and significance of this genealogy was to the extent that it entered the Shi'a world and, based on the statements from the Prophet (pbuh), the distinguished and divine character of Hazrat Fatima (sa), is shown in this template. Islam, as the last religion in the world, affirmed this myth and, with slight changes, introduced it as a major milestone in the religious history of mankind. Along with the written form and narrative of the myth, the traditional story developed from the mainstream illustration that came from Mesopotamia into Egypt, and from there into the Fynigans and Christians, and then into the Muslim world.
Art
Ashraf Alsadat Musavi Lar; Mansour Hesami; Zahra Khosravi Rad
Abstract
“Iconology” is one of the methods of artistic studies from the standpoint of phenomenology in which it has gained much attention in the 20th century. Focusing on ideas of Panofski,this article tries to compare the saint Mary's icon with the concept and content of Quranic verses comparatively. ...
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“Iconology” is one of the methods of artistic studies from the standpoint of phenomenology in which it has gained much attention in the 20th century. Focusing on ideas of Panofski,this article tries to compare the saint Mary's icon with the concept and content of Quranic verses comparatively. The main goal of this paper is to study and scan Mary’s image in the renaissance time and its decoding from the picture language of holy Quran in relation to saint Mary’s life iconologically. The present article tries to match saint Mary’s images’ iconological features with the symbolic portaiture of her Quranic features providing the possibility of content and subject review of saint Mary’s life story. The main point of this study is to convert the text into a picture and image,in which both Bible and holy Quran talked about her holiness and characters. In renaissance art this text is turned into an image, but in Islam the text has remained intact. This article tries to match the texts and images. The necessity of implementing new studies about the Mary’s pictures is highly needed as a way to recognize. The sample population includes 20 samples of renaissance paintings in random way. Among them, 8 samples of icons has been studied for visual analysis. The research findings demonstrate reflection of 3 kinds of saint virgin icons in 3 eras of renaissance in row. In the first renaissance era the icon of saint Mary had more match and correspondence with the holy Quran’s sacred in terms of form and content, in middle and advanced eras of renaissance icons they lost their holyness and abstractional synmbols have turned into some earthly and anthropocentric symbols.
Art
Sare Tahmasbizade; Mohamad Ebrahim Zarei
Abstract
In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention ...
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In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention is the remarkable difference between the women's survivors of the Qajar period with travel writings and paintings of this period. What has been studied in this research is to validate the accuracy of the Qajar women's background based on archaeological evidence. The collection of materials in this library research is written in a historical-analytical way. Accordingly, the questions of this paper are as follows: How is the apparent image of women in paintings of Qajar period to compare with other archaeological evidence? Is there any difference in the apparent appearance of the women left behind the archaeological evidence of the Qajar era, what factors has caused this difference? The results of the surveys show that we are seeing some kind of difference between the concepts of the pictures left and those of the paintings in this period. In the Qajar period, the painters have tended to face the idealism and lack of simulation. Therefore, it can be said that women in the paintings of this period are instrumental in expressing the glory of power and monarchy.
Art
Fateme Shahroodi
Abstract
The present study was conducted with the aim to analyze the female characters of the movie of "Invitation" (2008) directed by Ibrahim Hatami Kia from the view point of Jean Shinoda Bolen theory. The film is the first non-war cinematic movie by Hatamikia. It is composed of five episodes, each with an ...
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The present study was conducted with the aim to analyze the female characters of the movie of "Invitation" (2008) directed by Ibrahim Hatami Kia from the view point of Jean Shinoda Bolen theory. The film is the first non-war cinematic movie by Hatamikia. It is composed of five episodes, each with an independent storyline, but the commonality of them is the main character of the woman of every story that faces unwanted pregnancy and for reasons one of the couples in each episode intends to abortion. In fact, the audience of the movie of Invitation is watching different reactions of five women in different social and cultural situations in relation to unwanted pregnancy and their decision to abort their children. The research method is descriptive-analytical and its information is based on library method, as well as field study, relying on watching the movie and reviewing the speech and acting of its main characters. In her approach, Bolen inspired by Greek mythology, points to the seven archetypes including Hera, Demeter, Persephone, Athena, Artemis, Hestia and Aphrodite. These types emphasize a number of personality characteristics of women such as the desire to marry, motherly feelings, the desire for innocence and the girl's obedience, or desire for effort and progress. According to Bolen, there is energy and archetypes of the discussed patterns in today's women and their actions and reactions are affected by the pattern. The results of this study show that in the five episodes of the movie, respectively, the archetypes of Athena, Persephone, Dimitri, Hera and Athena are recognizable and interpretable on the basis of the acts and speeches of the movie characters. But at the end of all episodes, with the overriding domination of Dimitri's archetype, all women have avoided their abortion. This was more evident in the last episode.
Art
Narges Zaker Jafari
Abstract
The aim of this present study is to examine the status and role of female slaves in the music art of early Islamic centuries. The major roles of these slaves in promotion of music during early Islamic centuries are including playing music, singing, composing music, teaching music, keeping and reproducing ...
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The aim of this present study is to examine the status and role of female slaves in the music art of early Islamic centuries. The major roles of these slaves in promotion of music during early Islamic centuries are including playing music, singing, composing music, teaching music, keeping and reproducing the music of other musicians, criticizing and holding discussions, and creating a dynamic musical environment in the society. The study employed a descriptive-analytical method, and the data were collected through secondary research. Theorizing about music was the only aspect not addressed by them, which was considered to be a masculine area due to its technical and scientific nature. A manifestation of the prominent position and capability of these women is their role in education and training of their contemporary musicians. The apprenticeship of men under women in the patriarchal society of the time was common, which is particularly interesting. The social status of female musicians during the early Islamic centuries featured a kind of contradiction or duality. On the one hand, music was promoting the status of female slaves who would reach a distinguished social status by teaching music, sometimes acquiring considerable wealth and fame similar to princes and princesses. On the other hand, involvement of women from higher and aristocrat classes with music degraded their social status. The free women and royals were familiar with music. However, their engagement with music was considered below their social ranks, since music was a profession associated with female slaves. In general, the society of the time had a dual standard toward music. The musicians of this period enjoyed a prominent position, while there was a negative attitude toward music itself.
Art
Marziyeh Mohammad Talebi Tarmazdi; Nima Valibeig
Abstract
One of the most popular motifs in the mural paintings of palaces and houses is women's motif. These designs are variously illustrated by the motifs. Mural painting in Iran has a long history. The Safavid era is the time of image development and transformation in the context of the form and concepts used. ...
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One of the most popular motifs in the mural paintings of palaces and houses is women's motif. These designs are variously illustrated by the motifs. Mural painting in Iran has a long history. The Safavid era is the time of image development and transformation in the context of the form and concepts used. Some Examples of that are the monuments in Isfahan palaces, such as the Ali- Quipu and Chehel Sotun palaces. There are mural paintings in the Armenian houses of Isfahan, in which many female motifs can be seen. The purpose of this article is to recognize and accurately study the mural paintings of women's motifs in historic monuments. Other researchers in this field have addressed various aspects including manufacturing technology, how these paintings are performed, and the conceptual study of women's motifs in the mural paintings. These cases have been separately analyzed in terms of these aspects. This study has analyzed the common and differential features of the paintings with a comparative procedure, and it has also compared the painting of palaces with the houses, througha specific look at the geometrical features. It was revealed that women have filled (or-occupied) half of the mural paintings and that specific shapes such as squares and rectangles are the most used frames. These frames have been influenced by the architectural forms and their arrangement in the houses can be observed in the courtyards and in all of the hollowed spaces. In this research for the first time, we have addressed the comparative structure of the woman's image from the geometric point of view and the similarities and differences of these designs in the palaces and houses of Isfahan. We also seek to make comparative analysis with document studies and field observations with the help of graphical modeling.
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
Ali Sheikh Mahdi; Nazanin Honarkhah
Abstract
Jacques Lacan, influenced by Freidrich Hegel, registered dialectic of Master and Slave into psychoanalytic discourses. Sigmund Freud's psychoanalysis, commonly known, is considered the science that examines the impact of unconscious actions, searching for signs of disease. Over time, psychoanalysis has ...
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Jacques Lacan, influenced by Freidrich Hegel, registered dialectic of Master and Slave into psychoanalytic discourses. Sigmund Freud's psychoanalysis, commonly known, is considered the science that examines the impact of unconscious actions, searching for signs of disease. Over time, psychoanalysis has been concerned with various sciences such as philosophy. One subject of dialectic of master and slave is linked with the analyst raised earlier by Hegel. The current paper aims to examine this theory through analysis of the relationships between four pair characters presented in Asghar Farhadi's film, About Elly (2009), using a qualitative research method. The data were collected by the film's observation and library sources, then its content was analyzed based on interpretive phenomenological analysis with a psychoanalytical approach mainly inspired by Freudian school. The first mode of such master-slavery contradictory is formed by Sepideh-Amir relationship, in which both of them are in struggle for power. The second mode is formed by Nazi-Manouchehr relationship, in which Nazi (female) is Master and Manouchehr (male) is in Slave status. The third mode is formed by Shohreh-Peyman relationship, in which the female figure confirms power of the other, as she is a slave, but at the same time she pretends to be the master herself. Finally, the last mode is formed by Elly-Ahmad relationship, in which both sides have tendency to be slave. The findings show that the master-slave dialectic, present in Iranian patriarchic society, is represented in defensive psychological processes of characters in Farhadi's film.
Art
Mehdi Hamzeh Nezhad; Soolmaz Aghaie
Abstract
Since women make up half of the structure of the Islamic community, it is very important to address them in worship-political arenas. The importance of this issue has been shown more than before with the Islamic Revolution, the emphasis of Imam Khomeini (PBUH) and Imam Khamenei. Mosques and Mosalla of ...
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Since women make up half of the structure of the Islamic community, it is very important to address them in worship-political arenas. The importance of this issue has been shown more than before with the Islamic Revolution, the emphasis of Imam Khomeini (PBUH) and Imam Khamenei. Mosques and Mosalla of the country are conceived as the most important parts of women’s worship-political presence. As surveys show, a new pattern of women’s Shabestan (nightlife) has been formed in Mosalla, a pattern which is somewhat different from the original patterns of mosques and Mosalla. The current research aims to investigate the typology of contemporary and historical mosques and Mosalla, examining their compliance with Islamic values and providing a more consistent pattern with the Islamic and Revolutionary theoretical foundations. Therefore, some ways and methods are presented for future design of women’s Shabestan. Research methods include logical reasoning in order to set theoretical foundations, history studies in order to examine historical examples, and logical reasoning for ultimate inferences. Based on the research findings, women’s Shabestan space was simple in the earlier mosques, and it was separated from the main Shabestan using only one barrier. Over the historical course, more separation of space has occurred resulting in a more sophisticated and decorated space for men and marginalization of women space. Today, three general patterns can be identified in women’s section in Mosalla. Among these patterns, women’s Shabestan in the form of balcony (like letter U) is more prevalent. The current study aims to provide architectural solutions to improve the quality of contemporary common patterns through examining their benefits and advantages.
Art
Behrouz Mahmoodi Bakhtiari; Kourosh Ghaniyoun
Abstract
"Cross-dressing" defined as the concept of wearing female dresses by men, and male dresses by women, entered the plots of movies from the early ages of the emergence of cinema, and has still survived. The reason for cross-dressing, according to what has already been witnessed, is to gain the merits of ...
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"Cross-dressing" defined as the concept of wearing female dresses by men, and male dresses by women, entered the plots of movies from the early ages of the emergence of cinema, and has still survived. The reason for cross-dressing, according to what has already been witnessed, is to gain the merits of the opposite sex, as well as the progress of the drama by the cross-dressed person. In the current article, the function of cross-dressing has been studied in 18 films of the Iranian cinema, within the poststructuralist framework of Foucault, and the post-feminist approach of Judith Butler. The movies analysis shows that there are themes in which a man dresses like a woman, or a woman dresses like a man in order to prove something to other people, or to get rid of a miserable situation. Most of the considered films are comedies, and in most cases, the films have happy endings. Based on the research findings, cross-dressing of women in the Iranian films are done out of their frustration and despair, and their secret is revealed only when a disgrace takes place, whereas cross-dressing of men is usually carried out for their personal profits.
Art
Mahnaz Jahani; Sahar Changiz
Abstract
Change of women’s clothing during the Qajar era, has given a reason to many experts and researchers to consider the issue in their writings, even so short. Given that not much research has been performed on how and why the clothing style changed during Qajar era as well as its relationship with ...
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Change of women’s clothing during the Qajar era, has given a reason to many experts and researchers to consider the issue in their writings, even so short. Given that not much research has been performed on how and why the clothing style changed during Qajar era as well as its relationship with fashion’s evolution, a deeper and more detailed research seems to be necessary in order to identify the reason for change of women’s costume. The current comparative study aims to evaluate the similarities and differences of women’s costume in Fath-ali-Shah and Naser-al-Din Shah’s court, focusing on fashion and comparing indoor/outer garment components. Indoor garment components included Shaliteh (Breeches), shirts, Arkhalig and headwear, and outer garments included Chador, Chaghchoor and Burqa. Considering that some factors, such as religious views, politics, economy as well as psychological aspects of the kings have direct impact on fashion and its changes, this study using a qualitative approach and descriptive-analytical methodology and emphasizing on two Qajar dynasties, aims to evaluate available pictures collected from this era and study the documents and logbooks which are about costume classifications and frequently used fashion in Qajar’s court, in order to identify and introduce those elements which have influence on evolution or stability of clothing style in this era. Finally, this study has shown that women’s religious view was an important forbidding factor against drastic changes in clothing style and fashion. In other words, women had not a passive role in choosing their clothes. It was also found that kings’ will and views were two significant factors impacting women’s fashion and clothing styles in the kings’ court.
Art
Behrooz Mahmoudi Bakhtiari; Fatemeh Ashkani; Mahsa Manavi
Abstract
Carl Gustav Jung believes that the unconscious soul of every human being consists of two masculine and feminine poles named Anima and Animus, respectively. The Anima archetype is the feminine half of every man's soul, and the animus archetype is the masculine half of every woman's soul, and the coordination ...
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Carl Gustav Jung believes that the unconscious soul of every human being consists of two masculine and feminine poles named Anima and Animus, respectively. The Anima archetype is the feminine half of every man's soul, and the animus archetype is the masculine half of every woman's soul, and the coordination and unity of these two halves of the soul results in a mental balance in human beings, and the domination of each of them over the other one, may result in some characteristics and mental features which research worthy in terms of social and cultural perspectives. The current article adopts a mythological approach to study the emergence of the Animus in the female characters of two Iranian plays by Bahram Beyzayi, named Parde-khane (The Inner side, 1993), and Nodbe (The Lament, 2006). In these two plays, Beyazyi portrays some female characters who have very active Animus feelings due to their specific social circumstances. The study of the origins and the social and cultural reflections of this active Animus in these women, reveals the mental effects caused by the social and cultural structures of their community, as well as the close interactions of these two in the lives of these women.
