Center for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Reading the concept of "subaltern" in the design of the smart mask "Can the subaltern speak" by Behnaz FarhiReading the concept of "subaltern" in the design of the smart mask "Can the subaltern speak" by Behnaz Farhi16518910776110.22059/jwica.2023.361796.1939FAFatemehMorsali TohidiFatemeh Morsali Tohidi (Corresponding Author)
Assistant Professor, Multimedia Department, Faculty of Art and Architecture, Kharazmi University of Tehran0000-0002-6946-1556Journal Article20230716Gayatri Chakravorty Spivak, theoretician of postcolonial feminism, by borrowing the term "subaltern" from the tradition of Marxist studies, explained this critical concept in describing women as a subordinate and marginal other, within the framework of postcolonial theory. " Can the subaltern speak " is the title of the smart interactive masks project, designed by Behnaz Farhi, an architect and designer of smart clothes of Iranian origin, whose implementation was inspired by the masks of Bandari women in southern Iran. In this project, two smart masks that receive the danger from the power subject by the sensors and LEDs installed on it, begin to develop their individual language to communicate with each other and produce through rapid blinks. By the actoators, the artificial intelligence starts to produce Morse code. By creating a specific language for communication, the flashing masks project allows the subordinate subject to resist patriarchal hegemony and is designed with the aim of expanding the field of critical design on the body of modern and smart technologies. Smart clothes or wearable technologies, with the ability to receive and record the feelings and experiences of the user, interact with the environment and people and benefit from a wide range of technological capabilities, have created wide semantic and communication capacities in the field of expressing and projecting philosophical and critical concepts.Using the descriptive-analytical method, the current research aims to study the cultural concept of subaltern and its interwoven relationships with power relations by referring to the wide capacities of smart interactive wearables in the field of expression and development of critical concepts. The findings of the research indicate that resistance, as a permanent correlate of the institution of power, in the intelligent guise of "Can the subaltern speak" through the development of individual language and the production of Morse code by artificial intelligence, leads to limiting the subject's dominance; As far as possible, this de-subjective and centripetal action can be interpreted in the form of the possibility of "positive forms of resistance" from the subaltern.Gayatri Chakravorty Spivak, theoretician of postcolonial feminism, by borrowing the term "subaltern" from the tradition of Marxist studies, explained this critical concept in describing women as a subordinate and marginal other, within the framework of postcolonial theory. " Can the subaltern speak " is the title of the smart interactive masks project, designed by Behnaz Farhi, an architect and designer of smart clothes of Iranian origin, whose implementation was inspired by the masks of Bandari women in southern Iran. In this project, two smart masks that receive the danger from the power subject by the sensors and LEDs installed on it, begin to develop their individual language to communicate with each other and produce through rapid blinks. By the actoators, the artificial intelligence starts to produce Morse code. By creating a specific language for communication, the flashing masks project allows the subordinate subject to resist patriarchal hegemony and is designed with the aim of expanding the field of critical design on the body of modern and smart technologies. Smart clothes or wearable technologies, with the ability to receive and record the feelings and experiences of the user, interact with the environment and people and benefit from a wide range of technological capabilities, have created wide semantic and communication capacities in the field of expressing and projecting philosophical and critical concepts.Using the descriptive-analytical method, the current research aims to study the cultural concept of subaltern and its interwoven relationships with power relations by referring to the wide capacities of smart interactive wearables in the field of expression and development of critical concepts. The findings of the research indicate that resistance, as a permanent correlate of the institution of power, in the intelligent guise of "Can the subaltern speak" through the development of individual language and the production of Morse code by artificial intelligence, leads to limiting the subject's dominance; As far as possible, this de-subjective and centripetal action can be interpreted in the form of the possibility of "positive forms of resistance" from the subaltern.https://jwica.ut.ac.ir/article_107761_5401533c36e904fd39a935d6ce6c3561.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260622Examining the elements and effective characteristics of Iranian women's sportswear from the 1996-2020 Olympics using the functionalism theoryExamining the elements and effective characteristics of Iranian women's sportswear from the 1996-2020 Olympics using the functionalism theory19121210776210.22059/jwica.2026.375758.2044FAFereshtehBadrkhaniAdvanced Studies of Art,, Kashan University, Iran, Kashan0009-0008-6380-9743AmirhosseinChitsazianAssociate Professor of Advanced Art Studies, Kashan University, Kashan, Iran0000-0002-5508-1448SeddighehNayefiPHD of Art Research, Isfahan University of Art, Isfahan, Iran0000-0003-2337-7671Journal Article20240612The importance of clothing in sports activities and programs cannot be ignored. This article attempts to examine the formal attire of Iranian women during seven periods of participation in the Summer Olympics after the Islamic Revolution in Iran, using the descriptive-analytical method and library sources. The clothing used by Iranian female Olympians was analyzed using pictures from reputable domestic and foreign websites, and evaluated based on the functionalism theory, which explains the relationship between humans and their environment. The data, which are 62 images of Iranian Olympic women's clothes, have been purposefully selected and the content analysis is qualitative. Answering questions about the influential factors in the design and production of this type of clothing in terms of functionality, as well as identifying the aesthetic dimension in terms of color and clothing decorations are also among the goals of this research. The results showed that factors such as religion, type of sport, culture, and geographical conditions have had a technical and artistic impact on the design of these clothes. Among the other findings in this research is the existence of a superficial view in the aesthetic dimension and the absence of Iranian-Islamic cultural signs in the decoration of clothes and as a result the lack of coherence in the design of clothes.The importance of clothing in sports activities and programs cannot be ignored. This article attempts to examine the formal attire of Iranian women during seven periods of participation in the Summer Olympics after the Islamic Revolution in Iran, using the descriptive-analytical method and library sources. The clothing used by Iranian female Olympians was analyzed using pictures from reputable domestic and foreign websites, and evaluated based on the functionalism theory, which explains the relationship between humans and their environment. The data, which are 62 images of Iranian Olympic women's clothes, have been purposefully selected and the content analysis is qualitative. Answering questions about the influential factors in the design and production of this type of clothing in terms of functionality, as well as identifying the aesthetic dimension in terms of color and clothing decorations are also among the goals of this research. The results showed that factors such as religion, type of sport, culture, and geographical conditions have had a technical and artistic impact on the design of these clothes. Among the other findings in this research is the existence of a superficial view in the aesthetic dimension and the absence of Iranian-Islamic cultural signs in the decoration of clothes and as a result the lack of coherence in the design of clothes.https://jwica.ut.ac.ir/article_107762_40cc0de5d409e3c6634082a160677de8.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Legal Analysis of Pornography on Instagram with an Emphasis on GenderLegal Analysis of Pornography on Instagram with an Emphasis on Gender21323410776310.22059/jwica.2026.382646.2088FAElhamShariatiassistant professor, Department of Law. Faculty of Social Sciences and Economics. Alzahra University. Tehran. Iran0000-0003-0658-7052Talat SadatKamaliDepartment of Women and Family Studies, Faculty of Social Sciences and Economics, Alzahra University, Tehran, Iran0009-0009-4098-6939Talieh SadatKamaliDepartment of English and Linguistics. Faculty of Literature, Humanities and Social Sciences. Islamic Azad University Science and Research Unit. Tehran. Iran0009-0009-4098-6939ElaheMarandiAssociate Professor Department of Law. Faculty of Social Sciences and Economics. Alzahra University. Tehran. Iran0000-0002-0083-8511Journal Article20241002Currently, the virtual space is a new platform that has facilitated many things in such a way that in some cases the use of the facilities of this space for interpersonal and group communication is inevitable and has caused continuous interactions with this tool. Just as living in the real world is subject to regulations, presence in the virtual arena also creates rights and duties. Women, as a part of the society, are the users or the audience of data in the cyberspace, and sometimes they play the role of criminals or victims due to the preparation, production and publication of content that violates public modesty and good morals. This research tries to investigate pornography on Instagram with a gender analysis. The findings show that the content of Iranian and Persian pornography is easily available to the users of this platform. Analyzing the visual and textual content of the published posts and examining the comments of users, it is found that the customary encounter with wrong behavior has taken place, but it seems that the legal treatment and punishment of the perpetrators have not been sufficiently reflected and the necessary deterrence has not been created in this context. Therefore, it is necessary to guarantee a stronger enforcement in criminalization and punishment.Currently, the virtual space is a new platform that has facilitated many things in such a way that in some cases the use of the facilities of this space for interpersonal and group communication is inevitable and has caused continuous interactions with this tool. Just as living in the real world is subject to regulations, presence in the virtual arena also creates rights and duties. Women, as a part of the society, are the users or the audience of data in the cyberspace, and sometimes they play the role of criminals or victims due to the preparation, production and publication of content that violates public modesty and good morals. This research tries to investigate pornography on Instagram with a gender analysis. The findings show that the content of Iranian and Persian pornography is easily available to the users of this platform. Analyzing the visual and textual content of the published posts and examining the comments of users, it is found that the customary encounter with wrong behavior has taken place, but it seems that the legal treatment and punishment of the perpetrators have not been sufficiently reflected and the necessary deterrence has not been created in this context. Therefore, it is necessary to guarantee a stronger enforcement in criminalization and punishment.https://jwica.ut.ac.ir/article_107763_f548d6a350352af0ccea1cb2633aa1d9.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Rethinking identity in the light of spiritual purpose: Phenomenology of Female Students' Lived Experiences in Jihadi CampsRethinking identity in the light of spiritual purpose: Phenomenology of Female Students' Lived Experiences in Jihadi Camps23525810776410.22059/jwica.2024.383264.2091FASeyedeh FatemehNematiPh.D Student in Cultural Sociology, The University of Tehran0000-0002-4736-6136HamidParsaniaAssociate Professor, Department of Sociology, Faculty of Social Sciences, University of Tehran0000-0002-2424-2931YounesNourbakhshAssociate Professor, Department of Sociology, Faculty of Social Sciences, University of Tehran0000-0001-9523-806XJournal Article20241014Two decades have passed since the initiation of student jihadi camps, and the growing enthusiasm for these camps is evident in the increased participation. The significance of these camps as platforms for lived experiences that necessitate sociological study is underscored by the voluntary nature, lack of special rewards, challenging conditions in underprivileged areas, the disparity between the services provided by jihadi groups and the knowledge students acquire in universities, and the students’ eagerness for this experience. The objective of this paper is to investigate the lived experiences of female students who have participated in extremist camps. 21 students were interviewed using a qualitative approach that included semi-structured interviews and accessible sampling. The main reasons for participation were the desire for a novel experience, group living, and interaction with a distinct culture. The fusion of collectivity and detachment from it, the reevaluation of individual and collective identities, the detachment from academic status, and the transition from accumulated experience to real-time decision-making are among the most significant findings. In addition, participants had the opportunity to engage with a new local context and comprehend regional norms, as well as experience a meaningful integration of work and leisure toward spiritual objectives. Additionally, participants encountered a separation from their class-based identities, which enabled them to rediscover themselves within a new social network. Most interviewees highlighted that the shift in identity patterns and the creation of new grounds for self-discovery, centered around spiritual goals, were the most significant outcomes of their jihadi camp experience.Two decades have passed since the initiation of student jihadi camps, and the growing enthusiasm for these camps is evident in the increased participation. The significance of these camps as platforms for lived experiences that necessitate sociological study is underscored by the voluntary nature, lack of special rewards, challenging conditions in underprivileged areas, the disparity between the services provided by jihadi groups and the knowledge students acquire in universities, and the students’ eagerness for this experience. The objective of this paper is to investigate the lived experiences of female students who have participated in extremist camps. 21 students were interviewed using a qualitative approach that included semi-structured interviews and accessible sampling. The main reasons for participation were the desire for a novel experience, group living, and interaction with a distinct culture. The fusion of collectivity and detachment from it, the reevaluation of individual and collective identities, the detachment from academic status, and the transition from accumulated experience to real-time decision-making are among the most significant findings. In addition, participants had the opportunity to engage with a new local context and comprehend regional norms, as well as experience a meaningful integration of work and leisure toward spiritual objectives. Additionally, participants encountered a separation from their class-based identities, which enabled them to rediscover themselves within a new social network. Most interviewees highlighted that the shift in identity patterns and the creation of new grounds for self-discovery, centered around spiritual goals, were the most significant outcomes of their jihadi camp experience.https://jwica.ut.ac.ir/article_107764_e463317783a4fe082163897ba39dc731.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Feminist Components in Award-Winning Films by Three Generations of Iranian Female Filmmakers at International Film FestivalsFeminist Components in Award-Winning Films by Three Generations of Iranian Female Filmmakers at International Film Festivals25928110776510.22059/jwica.2026.385321.2103FASeyed JavadZafarmandFaculty of Art and Architecture, Shiraz University0000-0002-6143-1205FatemehMotesadeiArt Studies Dept., Faculty of Art and Architecture, Shiraz University0009-0000-1347-9725Journal Article20241113This research delineates the components of feminism in films by three generations of selected Iranian female filmmakers featured in international festivals. Its objective is a comparative examination of the evolution of these components across three decades (1990s-2010s) and identifying shifts in the approaches of three generations of Iranian female filmmakers towards gender issues. Despite the prominent presence of women in post-revolution Iranian cinema, systematic studies on the manifestation of feminist discourse in their works, especially those representing Iranian women's cinema at international festivals, are lacking. Addressing this gap, the study investigates the evolutionary trajectory of feminist components across three generations of female filmmakers and their interaction with Iran's social conditions. The findings reveal that Banietemad (1990s) aligns with radical feminism and the Second Wave. Milani (2000s) exhibits tendencies towards radical, liberal, and socialist feminism, yet radical feminism and the Second Wave remain dominant in her works. Panahi (2010s), while emphasizing radical feminism and the Second Wave, reverts to liberal feminism and the First Wave. Quantitatively, data confirms that over 90% of themes in the selected corpus belong to the First and Second Waves, with Third Wave components nearing zero representation. Consequently, the results indicate a discursive stagnation in Iranian women's cinema, demonstrating that despite its critical potential, this cinema is trapped in a repetitive cycle of unresolved demands.This research delineates the components of feminism in films by three generations of selected Iranian female filmmakers featured in international festivals. Its objective is a comparative examination of the evolution of these components across three decades (1990s-2010s) and identifying shifts in the approaches of three generations of Iranian female filmmakers towards gender issues. Despite the prominent presence of women in post-revolution Iranian cinema, systematic studies on the manifestation of feminist discourse in their works, especially those representing Iranian women's cinema at international festivals, are lacking. Addressing this gap, the study investigates the evolutionary trajectory of feminist components across three generations of female filmmakers and their interaction with Iran's social conditions. The findings reveal that Banietemad (1990s) aligns with radical feminism and the Second Wave. Milani (2000s) exhibits tendencies towards radical, liberal, and socialist feminism, yet radical feminism and the Second Wave remain dominant in her works. Panahi (2010s), while emphasizing radical feminism and the Second Wave, reverts to liberal feminism and the First Wave. Quantitatively, data confirms that over 90% of themes in the selected corpus belong to the First and Second Waves, with Third Wave components nearing zero representation. Consequently, the results indicate a discursive stagnation in Iranian women's cinema, demonstrating that despite its critical potential, this cinema is trapped in a repetitive cycle of unresolved demands.https://jwica.ut.ac.ir/article_107765_77e79fc21d95cbc6986c0562999ebc02.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Phenomenology of Estrangement in Goli Taraghi’s stories (cases of study: the incident, two worlds, and scattered memories)Phenomenology of Estrangement in Goli Taraghi’s stories (cases of study: the incident, two worlds, and scattered memories)28329910776610.22059/jwica.2025.386414.2119FAAliAfzaliDepartment of Arabic language and literature, Faculty of Literature and Humanities, ّUniversity of Tehran, Tehran, Iran0000-0002-1261-6780ZohreNooraenia2. Corresponding Author, Department of Persian language and literature, Faculty of Literature and Humanities, Yadegar-e-Imam Khomeini(RAH)Shahre Rey Branch, Islamic Azad University Tehran, Iran.0000-0001-8983-3751Journal Article20241218This research explains the estrangement in the stories of Goli Taraghi and uses a qualitative method based on phenomenology. Phenomenology is an experiential method that can present our perceptual aspects about a whole or an object and lead us to a transcendent perception of it. In the belief of phenomenologists, knowledge of the identity of objects is realized through various direct, indirect, historical, and anticipatory levels of experience. Therefore, the necessity of estrangement as a human trait has been considered in the stories of Taraghi. Estrangement in the stories of Taraghi is an empirical-historical and cosmological process that is experienced by different people and in various forms. This research has tried to reread the stories of The Incident, Two Worlds, and scattered memories from a phenomenological point of view. The findings of the research show that the experiences of estrangement in the works of Taraghi are manifested in various images such as uncertainty of the future, cultural and linguistic incompatibility, isolation, escape, confrontation, otherness, nostalgia, and lack of intimacy with the environment. The results of the research show that the various profiles of estrangement in Taraghi’s stories are the result of the different perceptual experiences of the people in his stories from this concept and the result of four different experimental levels, which ultimately paints a general picture of the identity of estrangement in Taraghi’s view and a broader sense from the point of view of the immigrant.This research explains the estrangement in the stories of Goli Taraghi and uses a qualitative method based on phenomenology. Phenomenology is an experiential method that can present our perceptual aspects about a whole or an object and lead us to a transcendent perception of it. In the belief of phenomenologists, knowledge of the identity of objects is realized through various direct, indirect, historical, and anticipatory levels of experience. Therefore, the necessity of estrangement as a human trait has been considered in the stories of Taraghi. Estrangement in the stories of Taraghi is an empirical-historical and cosmological process that is experienced by different people and in various forms. This research has tried to reread the stories of The Incident, Two Worlds, and scattered memories from a phenomenological point of view. The findings of the research show that the experiences of estrangement in the works of Taraghi are manifested in various images such as uncertainty of the future, cultural and linguistic incompatibility, isolation, escape, confrontation, otherness, nostalgia, and lack of intimacy with the environment. The results of the research show that the various profiles of estrangement in Taraghi’s stories are the result of the different perceptual experiences of the people in his stories from this concept and the result of four different experimental levels, which ultimately paints a general picture of the identity of estrangement in Taraghi’s view and a broader sense from the point of view of the immigrant.https://jwica.ut.ac.ir/article_107766_56b82ed6f646a3a6f78d5a36a9d880aa.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701The Representation of Women's Images in the Satirical Literature of Mohammad Afifi
A Case Study of the Book "For Adults Only"The Representation of Women's Images in the Satirical Literature of Mohammad Afifi
A Case Study of the Book "For Adults Only"30131610776710.22059/jwica.2026.386516.2109FAFatemehFahimiPh.D. student, Department of Arabic Language and Literature, Faculty of Theology, Shahid Chamran University, Ahvaz, Ahvaz, Iran0009-0003-9280-4849HasanDadkhahTehraniProfessor of the Department of Arabic Language and Literature, Faculty of Theology, Shahid Chamran University, Ahvaz, Ahvaz, Iran0000-0002-0124-8089Journal Article20241205In various societies, the status and role of women in the community have always been among the most significant topics of study in the field of literature, influencing culture, economy, politics, and social transformations. Throughout history, women have played numerous roles within the family, education, economy, and politics. Today, their active and effective presence in various social spheres underscores the importance of addressing their rights, opportunities, and challenges. The present study aims to understand and evaluate the position of women in Egyptian society and how this position is depicted in the satirical literature of Mohammad Afifi, focusing on his book (For Adults Only). Specifically, the research seeks to explore the image Afifi presents of Egyptian women. In this work, the author, instead of critiquing patriarchal discourse, reproduces it, confining the representation of women to stereotypical frameworks. This issue highlights the influence of dominant social discourses on the author’s perspective. Examining this phenomenon can contribute to a deeper understanding of how women are portrayed in the works of Mohammad Afifi and clarify his place among Egyptian writers and social critics. Such an analysis can also pave the way for more precise investigations into the role of satirical literature in either reproducing or critiquing gender discourses in Arab societies.In various societies, the status and role of women in the community have always been among the most significant topics of study in the field of literature, influencing culture, economy, politics, and social transformations. Throughout history, women have played numerous roles within the family, education, economy, and politics. Today, their active and effective presence in various social spheres underscores the importance of addressing their rights, opportunities, and challenges. The present study aims to understand and evaluate the position of women in Egyptian society and how this position is depicted in the satirical literature of Mohammad Afifi, focusing on his book (For Adults Only). Specifically, the research seeks to explore the image Afifi presents of Egyptian women. In this work, the author, instead of critiquing patriarchal discourse, reproduces it, confining the representation of women to stereotypical frameworks. This issue highlights the influence of dominant social discourses on the author’s perspective. Examining this phenomenon can contribute to a deeper understanding of how women are portrayed in the works of Mohammad Afifi and clarify his place among Egyptian writers and social critics. Such an analysis can also pave the way for more precise investigations into the role of satirical literature in either reproducing or critiquing gender discourses in Arab societies.https://jwica.ut.ac.ir/article_107767_90851db013b22cedbe46f898372c428a.pdfCenter for Women and Family Studies, University of TehranJournal of Woman in Culture and Arts2538-310818220260701Development of Women's Participatory Governance Model in Shaping the City's Cultural Architecture: A Case Study of Cities in Mazandaran ProvinceDevelopment of Women's Participatory Governance Model in Shaping the City's Cultural Architecture: A Case Study of Cities in Mazandaran Province31733810776810.22059/jwica.2026.407303.2237FAMajidAhmadpourAssistant Professor, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran0000-0001-9085-4517Journal Article20251205This research aims to explain the mechanisms of women's participation in urban governance and its role in shaping the cultural architecture of the city, focusing on the cities of Mazandaran province. Given the exploratory nature of the subject and the lack of empirical studies in this area, the present study uses a qualitative approach and data-driven theory with a Glaserian bias and based on field data. Data were collected through semi-structured interviews, participatory observation, and review of relevant documents. Participants included 12 female cultural and social activists and 8 managers and experts in the fields of urban planning and architecture, who were selected using theoretical sampling. Data analysis was conducted simultaneously with data collection and through a data-driven coding process (including extracting primary concepts, continuous comparison, and forming analytical categories). The results show that women's participation in urban governance plays a significant role in shaping the cultural architecture of the city through strengthening local social networks, representing cultural values and identity, increasing the sense of social belonging, and informal influence in urban decision-making processes. Based on the extracted categories, an analytical framework is presented to understand the link between women's participatory governance and the cultural architecture of the city, which can be a basis for urban policymaking and planning with a justice-oriented and participatory approach in the field of architecture and urban development.This research aims to explain the mechanisms of women's participation in urban governance and its role in shaping the cultural architecture of the city, focusing on the cities of Mazandaran province. Given the exploratory nature of the subject and the lack of empirical studies in this area, the present study uses a qualitative approach and data-driven theory with a Glaserian bias and based on field data. Data were collected through semi-structured interviews, participatory observation, and review of relevant documents. Participants included 12 female cultural and social activists and 8 managers and experts in the fields of urban planning and architecture, who were selected using theoretical sampling. Data analysis was conducted simultaneously with data collection and through a data-driven coding process (including extracting primary concepts, continuous comparison, and forming analytical categories). The results show that women's participation in urban governance plays a significant role in shaping the cultural architecture of the city through strengthening local social networks, representing cultural values and identity, increasing the sense of social belonging, and informal influence in urban decision-making processes. Based on the extracted categories, an analytical framework is presented to understand the link between women's participatory governance and the cultural architecture of the city, which can be a basis for urban policymaking and planning with a justice-oriented and participatory approach in the field of architecture and urban development.https://jwica.ut.ac.ir/article_107768_149d196db7ac56bd21f4050d3d6d28a6.pdf