Research Paper
Literature
Sayad Panahi; Hamid Valizadeh; mahin hajizadeh
Abstract
Today, feminist ideas and images are a suitable tool for checking the feminist level of thework, its author and the extent to which it has a feminist structure. In the meantime, thetheory of the four dimensions of "Elaine Showalter" including the biological, cultural,psychoanalytical and linguistic approaches ...
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Today, feminist ideas and images are a suitable tool for checking the feminist level of thework, its author and the extent to which it has a feminist structure. In the meantime, thetheory of the four dimensions of "Elaine Showalter" including the biological, cultural,psychoanalytical and linguistic approaches provides this opportunity for women's criticismwork, and by relying on it, the position of women can be in the literary works of femalewriters and male writers recognition. Therefore, the present research has selected a novel byby Ahlam Mosteghanemi "Body memory" and a novel by an Iranian female writer NasimMarashi entitled "prune" for criticism of women's writing and based on the linguisticdimension of Elaine Showalter's theory. It can be said that both novels are in the stage offeminism. Therefore, due to the fact that the novels belong to the feminist and femininewriting tradition, they significantly have the characteristics of female criticism. In terms ofthe use of linguistic components, for example, the word hey related to colors and itsabundant and combined use, as the main component of women, it has occupied the mostplace in both works. However, regarding the vocabulary related to women, this componenthas a lower frequency in both works. Detail and short sentences are widely used in bothworks. This linguistic component has been used explicitly and repeatedly with lessinterference from culture and the transfigured minds of village characters from the heart ofcult significantly.
Research Paper
Sociology
Fatemeh Yamini; Talie Khademian; Hossein Dehqan
Abstract
Profanity, as the most obvious feature of popular rap music, changes the socio-linguistic indicators in the literature of people in society. The purpose of this research is to discover and investigate the mental and semantic implications of Tataloo fan girls from listening to his profanity songs, which ...
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Profanity, as the most obvious feature of popular rap music, changes the socio-linguistic indicators in the literature of people in society. The purpose of this research is to discover and investigate the mental and semantic implications of Tataloo fan girls from listening to his profanity songs, which was carried out with the qualitative method and grounded theory technique and the use of in-depth semi-structured interviews with 25 Tataloo fans. The samples were selected based on the purposeful snowball sampling. Interviews were stopped when theoretical saturation was reached. The paradigm model resulting from the interpretation of the opinions of female fans shows that acceptability of profanity songs) in connection with a set of causal conditions (social and cultural background - special situations - homophobia - attractiveness of the artist's lived experience - not getting permission and rejection from society - family background of the singer), background conditions (poverty-unemployment-isolation-lack of entertainment), intervening conditions (dominance of music industry-peer group) become meaningful. Girls justify profanity in street music by using strategies (the normality of profanity in rap style - the pleasantness of profanity) which is one of its consequences (draining energy - creating a discourse of profanity - normalization of profanity to people around - tendency towards nihilism).The fans consider themselves and the singer to be rejected from the society and victims of oppression and discrimination, and because they lack the power to act against discrimination, they are like helpless and weak people who are only able to express their anger by profanity.
Research Paper
Literature
kowsar ahsanmoghaddam; Abdollah Radmard; maryam salehi nia
Abstract
Metaphor is a symbolic and indirect language that conveys concealed and supplementarymeanings. Interpretive narratives may also exhibit gender metaphors and stereotypes. Thework is founded on the interpretive accounts of three Persian interpretations of Rowz al-Jannan, Jala al-Azhan, and Manhaj al-Sadeghin ...
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Metaphor is a symbolic and indirect language that conveys concealed and supplementarymeanings. Interpretive narratives may also exhibit gender metaphors and stereotypes. Thework is founded on the interpretive accounts of three Persian interpretations of Rowz al-Jannan, Jala al-Azhan, and Manhaj al-Sadeghin in this research. This article has selectednarratives that have employed gender metaphors or whose content is reminiscent of gendermetaphors. Subsequently, the qualitative content analysis method has been employed toinvestigate the value of these metaphors and their correlation with gender stereotypes.Examples of gender metaphors in these narratives include “bed,” “Boyut,” “Atbah,” and“Denya.” While some of these metaphors have a positive connotation, others have a negativeconnotation. The most significant findings of this research are that the majority of negativemetaphors about women are based on the role of a woman as a wife or sexual companion,which emphasizes her physical appearance. These metaphors are influenced by prevalentgender stereotypes that are detrimental. On the contrary, the majority of positive metaphorsare centered on the role of the mother and the qualities of kindness, creation, origin, andcommencement that are associated with the mother. In addition, this research demonstratesthat the female body is depicted in two distinct ways: the “heavenly body” and the “infernalbody.” The female heavenly body is a symbol of complete delight and benefit, while thefemale infernal body is a symbol of deception, sin, Satan, and adultery.
Research Paper
Sociology
Masoomeh Taghizadegan
Abstract
In numerous cultures, men are predominantly responsible for the profession and industry of weaving and knitting, while women are primarily responsible for domestic sewing and weaving, provided that they are conducted within the confines of the home. However, cultural critics contend that these works ...
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In numerous cultures, men are predominantly responsible for the profession and industry of weaving and knitting, while women are primarily responsible for domestic sewing and weaving, provided that they are conducted within the confines of the home. However, cultural critics contend that these works did not merely demonstrate feminine taste or love for the home; rather, they delineated the expectations placed on females to remain silent, obedient, and compliant. The objective of this article is to examine the works of contemporary Iranian women artists. Feminine language is intended to convey the experiences of women and to facilitate the comprehension and reception of women, as identified by Luce Irigaray. This article addresses the issue of how female visual artists have transformed knitting and sewing into a means of exploring the language of female identity. In order to address this inquiry, five art exhibitions were examined and analyzed, including “Tajali Ehsas (Manifestation of feeling),” “sew+zan,” “Women Create,” “Nakhsh (Design),” and “Pressbook,” using the methodologies of “Trend analysis” and “Event Study.”The findings demonstrate the evolution of the experiences of contemporary Iranian women artists from the 1990s to the 2020s. Sewing and knitting have been depicted as symbols of desirable femininity in the works of certain Iranian female painters, particularly during the “Tajali Ehsas (Manifestation of feeling)” event in the 1990s. However, in the wake of socio-cultural shifts, female artists have employed sewing and knitting as a critical and linguistic action to reevaluate the identity of women in artistic events such as the exhibition “sew+zan,” “Women Create,” and “Pressbook.”
Research Paper
Historic
Shahram Gholami
Abstract
In the contemporary world, women have been considered in a variety of ways, including as a subject for the propagation of modernism, religious traditionalism, and as a criterion for the development of citizenship rights. In the doctrine of the National Socialist Party of Germany, women were regarded ...
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In the contemporary world, women have been considered in a variety of ways, including as a subject for the propagation of modernism, religious traditionalism, and as a criterion for the development of citizenship rights. In the doctrine of the National Socialist Party of Germany, women were regarded as a means to augment the country’s political-military influence and increase its population. Simultaneously, certain journals, including “Nameh Iran Bastan,” observed the treatment of women as a means of modernity and a factor in the expansion of the population and the establishment of a robust central government in Iran. This research seeks to determine the position of women in this journal and the extent to which the views and policies of Nazi Germany were reflected in it. This research was carried out in a descriptive-analytical manner and based on the content analysis of the pro German weekly periodical “Nameh Iran Bastan” over the course of four years. The results of research shows that according to the defence of this weekly newspaper to fascism and a modern understanding of women in society, they are referred to as an effective tool for childbearing, thereby enhancing the military power of the country. Contrary to the conventional perspective, which prohibits women from participating in sports and political-social activities, this contemporary perspective posits that women are semi-divine beings who are responsible for the formation of the nation. They are expected to fulfil their most significant responsibilities, which include childbearing and raising children, when they engage in social activities.
Research Paper
cultural
Yahya bouzarinejad; Mahdi Yazdani
Abstract
Qasim Amin was a prominent Egyptian intellectual who, through his two writings, initiated numerous social reforms in Egypt. These reforms were subsequently replicated in other Islamic countries. He initially expressed his personal opinions regarding the position of women in society and their hijab in ...
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Qasim Amin was a prominent Egyptian intellectual who, through his two writings, initiated numerous social reforms in Egypt. These reforms were subsequently replicated in other Islamic countries. He initially expressed his personal opinions regarding the position of women in society and their hijab in a manner that was sympathetic to Islam. However, he eventually began to express his own views that were not in accordance with Islam. He regards the hijab worn by eastern women as the cause of regression in eastern countries, while the lack of hijab worn by western women is the source of progress in western countries. He also maintains that the hijab worn by women stimulates and intensifies the desire of men. He was of the opinion that women are subject to four historical periods, and when they reach the fourth period, they have achieved complete liberation, similar to communism. He believed that the hijab was a form of sex slavery and that it was only appropriate for the women of the Prophet. He also held the belief that hijab is a consequence of the interaction between Islamic countries and their neighboring countries. These are merely a few of the issues that Amin addressed in his two renowned works, Tahrir al-Mur'a and al-Mur'a al-Jadidah, regarding hijab. In this article, we compare Amin’s perspectives on the hijab with those of Morteza Motahari. Amin will be provided with appropriate responses in accordance with Morteza Motahari’s comments. The impact of Western modernity and the role that Westerners have depicted for women is evident in Amin. Amin’s works are primarily focused on the development of gender, with a particular emphasis on women’s education and the notion that women's independence is a precursor to Western civilization. He considers the hijab from the perspective of Islamic jurisprudence, but ultimately reaches his own personal opinions regarding the hijab and pursues complete freedom from it.
Research Paper
Art
samareh rezaei; atieh Youzbashi
Abstract
Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims ...
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Saqanefars are structures from the Qajar period that are derived from the indigenous and ritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyeh in Babol is characterized by a plethora of pictorial themes that are specifically focused on women. This research aims to explore the themes and significance of women's roles in these murals. The research questions are as follows: -What is the reason for the increased prevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to other Saqanefars? -What are the reasons for the prominence of women in these murals? - Which themes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs a descriptive-analytical method, which involves the non-random selection of specific images from epic, otherworldly, symbolic, and quotidian activity motifs and their description using an iconological approach. Significant developments and changes in women's status were reflected in the Qajar era, which saw a zenith in the redefining of women's roles in society, family, and art. The northern regions of Iran underwent a change in gender concepts as a result of their geographical and livelihood conditions. The development of women's roles is significantly influenced by historical, social, political, and cultural factors. The Tekiyeh building's simultaneity with the Qajar period, the fundamental changes in social relations, clothing styles, political positions, and aesthetic concepts of women, as well as the abundance of women's images, suggest a direct connection between these motifs and the political and social developments of the era. This is indicative of the impact of indigenous artists on the representation of political and social conditions within a particular historical context.
