Center for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222The Empowering Function of Language in Women's Daily Lives (A Study on Power Strategies of Language in Middle Class Women Living in Tehran)The Empowering Function of Language in Women's Daily Lives (A Study on Power Strategies of Language in Middle Class Women Living in Tehran)5115398552510.22059/jwica.2021.329739.1674FAMaryamFerdosiPhD student in Communication Sciences, Allameh Tabatabai University.NematollahFazeliFaculty member of the Institute of Humanities and Cultural StudiesJournal Article20210830 AbstractPeople employ several linguistic strategies to make progress in their lives. In a society such as Iran where there is an imbalanced distribution of power, available means of power for people are limited to linguistic tools only, meanwhile due to their special social and cultural conditions as well as small amount of properties, specific social groups such as women resort to different linguistic mechanisms and strategies to change the power balance in their favor where their contribution to the authority is otherwise negligible.This is why the world of women is defined by language. This paper aims at examining the linguistic actions of women in the context of daily life to understand the spirit of their language as well as their verbal strategies. The study has used the qualitative method and a combination of focus group interviews, lived experiences, and texts like blogs and novels as supplementary reference to find out the strategies of women's language use to exercise power and resistance against inequalities in order to meet the most amounts of benefits in the social fields. As such, it has attempted to answer the main question of the article: What strategies do women of Tehran use in their daily lives to exercise power and protect women against inequality in order to achieve maximum benefits?. AbstractPeople employ several linguistic strategies to make progress in their lives. In a society such as Iran where there is an imbalanced distribution of power, available means of power for people are limited to linguistic tools only, meanwhile due to their special social and cultural conditions as well as small amount of properties, specific social groups such as women resort to different linguistic mechanisms and strategies to change the power balance in their favor where their contribution to the authority is otherwise negligible.This is why the world of women is defined by language. This paper aims at examining the linguistic actions of women in the context of daily life to understand the spirit of their language as well as their verbal strategies. The study has used the qualitative method and a combination of focus group interviews, lived experiences, and texts like blogs and novels as supplementary reference to find out the strategies of women's language use to exercise power and resistance against inequalities in order to meet the most amounts of benefits in the social fields. As such, it has attempted to answer the main question of the article: What strategies do women of Tehran use in their daily lives to exercise power and protect women against inequality in order to achieve maximum benefits?.https://jwica.ut.ac.ir/article_85525_22199b8035cb57d9bb08b53281073394.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222The Image of Woman in Asghar Farhadi's FilmsThe Image of Woman in Asghar Farhadi's Films5415598552810.22059/jwica.2021.327879.1652FAAfsanehTavassoliDepartment of Women and Family Studies, Faculty of Social Sciences and Economics, Alzahra University, Tehran, Iran0000-0002-1651-1767ZohrehBabaeiDepartment of Women and Family Studies, Faculty of Social Sciences and Economics, Alzahra University, Tehran, IranJournal Article20210727 AbstractThe cinema of the Oscar-winning director, Asghar Farhadi, pays special attention to women by focusing on the increasing number of women along with their presentation in key roles. The present article analyzes "Dance in the Dust", "Beautiful City", "Fireworks Wednesday", "About Eli", "A Separation", "The Past", "Salesman", and "Everyone Knows", in which the woman is the focal point. Thus, it tries to examine the films with the method of qualitative content analysis to work on the attention Farhadi has paid to woman’s importance by representing her. Examination of codes, categories, and concepts shows that although the number and importance of female characters and the assignment of key roles to them has increased over time, at the same time women with passive actions, gender job maps, absence from the public arena, and spouse-dependence is portrayed as critical, desperate, powerless, and incompetent. It seems that in order to give importance to women, it is not enough to focus on the subject of women. One should also pay attention to the hidden layer of narratives that can be obtained from their mentality and stereotypes.. AbstractThe cinema of the Oscar-winning director, Asghar Farhadi, pays special attention to women by focusing on the increasing number of women along with their presentation in key roles. The present article analyzes "Dance in the Dust", "Beautiful City", "Fireworks Wednesday", "About Eli", "A Separation", "The Past", "Salesman", and "Everyone Knows", in which the woman is the focal point. Thus, it tries to examine the films with the method of qualitative content analysis to work on the attention Farhadi has paid to woman’s importance by representing her. Examination of codes, categories, and concepts shows that although the number and importance of female characters and the assignment of key roles to them has increased over time, at the same time women with passive actions, gender job maps, absence from the public arena, and spouse-dependence is portrayed as critical, desperate, powerless, and incompetent. It seems that in order to give importance to women, it is not enough to focus on the subject of women. One should also pay attention to the hidden layer of narratives that can be obtained from their mentality and stereotypes..https://jwica.ut.ac.ir/article_85528_76910555f58a3bac6545df731067ada9.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222The Role of Women Born in the 1980s in Future; Qualitative Study in the Building Blocks of Future Images (Case Study: Female Professors in Isfahan)The Role of Women Born in the 1980s in Future; Qualitative Study in the Building Blocks of Future Images (Case Study: Female Professors in Isfahan)5615848553110.22059/jwica.2021.328570.1659FAZahraHeidari DaraniMS graduated in Futures Studies, University of Isfahan, IsfahanZahraMajidifarMS graduated of Sociology, University of Isfahan, IsfahanAhadRezayanResearcher in National Research Institute for Science Policy of Iran0000-0001-5119-3613Journal Article20210808AbstractThe realization of any desirable future in Islamic Republic of Iran depends on women's participation as half of the social actors. Examining women's sense of belonging to the future can be a step towards obtaining social hope. This could be achieved by futures studies’ concepts and methods. One of the future research approaches is to extract and analyze the images of the future. The research method of this paper is thematic analysis to extract and analyze images of the future in the mind of women born in the 1980s. The data have been obtained from 15 semi-structured interviews of female professors in Isfahan and extracted subthemes and themes after the coding stages. Finally, the main six themes that are the building blocks of the future images of these women's minds are as follows: 1. "Waiting for the best future", 2. "Gender future", 3. "Human age", 4. "My government", 5. "The future that I do not want", and 6. "Lack of social future". According to this research, the realization of any kind of future depends on the comprehensive critique of the status quo and the expansion of a new form of women's participation in creating the future due to making a sense of belonging to this future. The strategic recommendation of this research is the "impressionability" of policies and policymakers from such images and the "influence" of those on future policies on these themes to lead to the creation of a sustainable future..AbstractThe realization of any desirable future in Islamic Republic of Iran depends on women's participation as half of the social actors. Examining women's sense of belonging to the future can be a step towards obtaining social hope. This could be achieved by futures studies’ concepts and methods. One of the future research approaches is to extract and analyze the images of the future. The research method of this paper is thematic analysis to extract and analyze images of the future in the mind of women born in the 1980s. The data have been obtained from 15 semi-structured interviews of female professors in Isfahan and extracted subthemes and themes after the coding stages. Finally, the main six themes that are the building blocks of the future images of these women's minds are as follows: 1. "Waiting for the best future", 2. "Gender future", 3. "Human age", 4. "My government", 5. "The future that I do not want", and 6. "Lack of social future". According to this research, the realization of any kind of future depends on the comprehensive critique of the status quo and the expansion of a new form of women's participation in creating the future due to making a sense of belonging to this future. The strategic recommendation of this research is the "impressionability" of policies and policymakers from such images and the "influence" of those on future policies on these themes to lead to the creation of a sustainable future..https://jwica.ut.ac.ir/article_85531_54f8dc01623f2db3e3bf5603ab87535a.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222A Study of "I" and "Me" in the Identity of Women in the Heroic Section of Ferdowsi's ShahnamehA Study of "I" and "Me" in the Identity of Women in the Heroic Section of Ferdowsi's Shahnameh5856018552910.22059/jwica.2021.328153.1656FAFahimeMaleki MareshkPhD student, Department of Persian Language and Literature, Faculty of Literature, Humanities, Ferdowsi University of Mashhad0000-0001-5328-5239AbolghasemGhavamAssociate Professor, Department of Persian Language and Literature, Faculty of Literature, Humanities, Ferdowsi University of MashhadHomaZanjani ZadehFerdowsi University of MashhadAssociate Professor,Journal Article20210808 AbstractIdentity is a mental state for recognition, which can be found in the characteristics distinguishing each individual. The study of women's identity has been the subject of research through various means in the literature. The Shahnameh or the long epic poem book, written by the Persian Poet Ferdowsi, is continually playing a crucial role in the cultural and social heritage of Iranians. The book is an acceptable source to study women’s identity in Persian territory. The research version of the text is edited by Dr. Khaleghi Motlaq and the research methodology, itself, is qualitative. Content analysis is the technique, used in the present study. The research framework is a conceptual model where two fundamental concepts of “I” and “me” are used to analyze women’s actions in Shahnameh. This analysis shows that their identity is the result of the superiority of the word "I" in nature. In the actions of all the characters, except Sindokht, the "I" is more obvious than the word "Me". When it comes to choose or decide, the women do actions, which are subliminal to their consciousness. However, when they act contrary to the traditional norms and expectations, the "I" becomes apparent. It is the occurrence of these different and norm-breaking actions that cause their individualities. Boldness in love, courage, warfare, wisdom, and politics can be considered as the identifying features of women in the heroic part of the Shahnameh.. AbstractIdentity is a mental state for recognition, which can be found in the characteristics distinguishing each individual. The study of women's identity has been the subject of research through various means in the literature. The Shahnameh or the long epic poem book, written by the Persian Poet Ferdowsi, is continually playing a crucial role in the cultural and social heritage of Iranians. The book is an acceptable source to study women’s identity in Persian territory. The research version of the text is edited by Dr. Khaleghi Motlaq and the research methodology, itself, is qualitative. Content analysis is the technique, used in the present study. The research framework is a conceptual model where two fundamental concepts of “I” and “me” are used to analyze women’s actions in Shahnameh. This analysis shows that their identity is the result of the superiority of the word "I" in nature. In the actions of all the characters, except Sindokht, the "I" is more obvious than the word "Me". When it comes to choose or decide, the women do actions, which are subliminal to their consciousness. However, when they act contrary to the traditional norms and expectations, the "I" becomes apparent. It is the occurrence of these different and norm-breaking actions that cause their individualities. Boldness in love, courage, warfare, wisdom, and politics can be considered as the identifying features of women in the heroic part of the Shahnameh..https://jwica.ut.ac.ir/article_85529_2b1c3098fa273efc48e8e13f82c0f37f.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222Designing Women's Gowns by the Design and Color of Qashqai RugsDesigning Women's Gowns by the Design and Color of Qashqai Rugs6056278552610.22059/jwica.2021.330139.1678FAElaheImaniAssistant Professor, Faculty of Arts and Humanities, Shahrekord University, IranAfsanehGhaniAssistant Professor of the Faculty of Arts and Humanities Shahrekord University, Iran.0000-0003-2233-9710Journal Article20210905 AbstractIn the present era, attention to the identity and culture of each nation has a special place and clothing is one of the most important characteristics of any society’s identity, constantly changing in terms of style and fashion. This change of style occurs most often between women's clothing. In many cases in Iran, the design of women's clothing has been influenced by global fashion, or in other words, the western culture. Therefore, the present study tries to revive the identity and ethnic values, adding creativity to women’s clothing, namely their gown. For this purpose, the capabilities of the patterns of the elastic bergamot rugs and Qashqai quasi-modeler, one of the original designs of this people, have been explained in the design of women's daily coats. The main questions asked in the present study are: In what scientific way can the designs and motifs of Qashqai rugs be used in clothing design? And what are the solutions for applying the designs and structure of Qashqai rugs in Iranian women's social clothing? This research employs a descriptive-analytical method, based on library resources. It has proceeded with the method of Scamper creativity model which refers to seven basic techniques of substitution, composition, adaptation, reinforcement, other application, deletion, and inversion. Finally, the results have shown that the designs of Qashqai rugs possess the ability to be sewn or decorated with different techniques based on the scamper pattern, both in design and execution. In the design of gowns, the solutions lies in the designs being used as monographs, the overall structure of the design or part of it in both design and sewing and execution.. AbstractIn the present era, attention to the identity and culture of each nation has a special place and clothing is one of the most important characteristics of any society’s identity, constantly changing in terms of style and fashion. This change of style occurs most often between women's clothing. In many cases in Iran, the design of women's clothing has been influenced by global fashion, or in other words, the western culture. Therefore, the present study tries to revive the identity and ethnic values, adding creativity to women’s clothing, namely their gown. For this purpose, the capabilities of the patterns of the elastic bergamot rugs and Qashqai quasi-modeler, one of the original designs of this people, have been explained in the design of women's daily coats. The main questions asked in the present study are: In what scientific way can the designs and motifs of Qashqai rugs be used in clothing design? And what are the solutions for applying the designs and structure of Qashqai rugs in Iranian women's social clothing? This research employs a descriptive-analytical method, based on library resources. It has proceeded with the method of Scamper creativity model which refers to seven basic techniques of substitution, composition, adaptation, reinforcement, other application, deletion, and inversion. Finally, the results have shown that the designs of Qashqai rugs possess the ability to be sewn or decorated with different techniques based on the scamper pattern, both in design and execution. In the design of gowns, the solutions lies in the designs being used as monographs, the overall structure of the design or part of it in both design and sewing and execution..https://jwica.ut.ac.ir/article_85526_4f9932130042eaab96cade6db001da78.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222A Study of Sufi Centers of Women from Third to Eighth Centuries AHA Study of Sufi Centers of Women from Third to Eighth Centuries AH6276438552710.22059/jwica.2021.325276.1621FAAkramArjahPhD student and comparative mysticism, Faculty of Law, Theology, and Political Sciences, Institute of Research, Islamic Azad University0000-0002-8365-3554• ShahramPazoukProfessor in Religion and Mysticism, Iranian Institute of Pilosophy• TaherehHajebrahimiProfessor of Religions and Comparative mysticism, Faculty of Law, Theology, and Political Sciences, Institute of Research, Islamic Azad UniversityJournal Article20210608 AbstractThe period between fourth and eighth centuries AH, a time when Sufism and its affiliated centers spread to all parts of the Islamic world, provided a suitable platform for women’s growth and activeness in this field. During this period, the lived experience of women through mystic journeys, their stereotypical role, represented only in the form of mother, wife, childbearing, and male-dependent being underwent some transformations. During these centuries, Sufi women taught and raised sufis, managed the monastery, against all prior expectations, challenging the masculine conception of the way. The main focus of this article is on identifying places of worship and asceticism and monasteries and centers of Sufi women. According to the available data, before the formation of monasteries, women were mostly educated in the houses and during the formation of the monasteries, they started getting educated in assemblies and some Sufi monasteries. They saw that from the fifth century onwards, the cities of Mecca and Quds, due to the pilgrimage space and the proximity of pilgrims and Sufis, were the center of the women's monastery, which also had the aspect of keeping and arresting women in need. These monasteries seem to have formed other centers called Rabat in eastern Islamic lands such as Damascus, Cairo, Aleppo, and even Anatolia. In tolerant Orders, such as Melevi Order and Bektashiyya Order, women also ran monasteries in addition to attending Sufi educational assemblies. In this way, women achieved a degree of independence, collective leadership, and guidance through the management of monasteries, tutoring the Sufi, and mystical teachings.. AbstractThe period between fourth and eighth centuries AH, a time when Sufism and its affiliated centers spread to all parts of the Islamic world, provided a suitable platform for women’s growth and activeness in this field. During this period, the lived experience of women through mystic journeys, their stereotypical role, represented only in the form of mother, wife, childbearing, and male-dependent being underwent some transformations. During these centuries, Sufi women taught and raised sufis, managed the monastery, against all prior expectations, challenging the masculine conception of the way. The main focus of this article is on identifying places of worship and asceticism and monasteries and centers of Sufi women. According to the available data, before the formation of monasteries, women were mostly educated in the houses and during the formation of the monasteries, they started getting educated in assemblies and some Sufi monasteries. They saw that from the fifth century onwards, the cities of Mecca and Quds, due to the pilgrimage space and the proximity of pilgrims and Sufis, were the center of the women's monastery, which also had the aspect of keeping and arresting women in need. These monasteries seem to have formed other centers called Rabat in eastern Islamic lands such as Damascus, Cairo, Aleppo, and even Anatolia. In tolerant Orders, such as Melevi Order and Bektashiyya Order, women also ran monasteries in addition to attending Sufi educational assemblies. In this way, women achieved a degree of independence, collective leadership, and guidance through the management of monasteries, tutoring the Sufi, and mystical teachings..https://jwica.ut.ac.ir/article_85527_0bc84a915c48408fb04ad9872afe0e3a.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310813420211222A Comparative Study of Women and Men Language in the Works of Contemporary Arab Artists on the Subject of WarA Comparative Study of Women and Men Language in the Works of Contemporary Arab Artists on the Subject of War6476668553010.22059/jwica.2021.328352.1657FASediqehPourmokhtarPhD in Philosophy of Art, Shahed University, Tehran, IranMohsenMarasyAssistant Professor, Department of Art Research, Faculty of Art, Shahed University, Tehran, Iran0000-0001-5107-2811Journal Article20210805 AbstractBy expanding the differences between femininity and masculinity, postmodern feminism recognizes the feminine language as a distinguishing factor between the artistic and literary works of men and women and features such as the use of complex and multifaceted symbols and the specific use of the body. In works dealing with this concept, the inversion of aesthetic values is enumerated for it. Contrary to these views, people like Linda Nachlin oppose the formation of such a language in the works of women artists. The present study aims at knowing more the contemporary Arab art. Using a descriptive and analytical method as well as a comparative approach to the formation of women's language, it examines the works of contemporary Arab women artists and compares them with the male ones in order to seek to answer the question of whether women's language is formed in the works of contemporary Arab women artists or not. Accordingly, in addition to examining the works of Arab women, the works of contemporary Arab men are also examined in order to obtain a more accurate answer to the question. Examples are selected works of art with the theme of war. Results from this research proves non formation of women's language in such works along with their similarity with the works of male artists.. AbstractBy expanding the differences between femininity and masculinity, postmodern feminism recognizes the feminine language as a distinguishing factor between the artistic and literary works of men and women and features such as the use of complex and multifaceted symbols and the specific use of the body. In works dealing with this concept, the inversion of aesthetic values is enumerated for it. Contrary to these views, people like Linda Nachlin oppose the formation of such a language in the works of women artists. The present study aims at knowing more the contemporary Arab art. Using a descriptive and analytical method as well as a comparative approach to the formation of women's language, it examines the works of contemporary Arab women artists and compares them with the male ones in order to seek to answer the question of whether women's language is formed in the works of contemporary Arab women artists or not. Accordingly, in addition to examining the works of Arab women, the works of contemporary Arab men are also examined in order to obtain a more accurate answer to the question. Examples are selected works of art with the theme of war. Results from this research proves non formation of women's language in such works along with their similarity with the works of male artists..https://jwica.ut.ac.ir/article_85530_79614c1dd2863a91331a8f01dbfa55fb.pdf