Shah Tahmasb Safavi pursued extremism during the latter portion of his reign. In this regard, women stayed at home. On the directive of Tahmasb, Tahmasabi composed his Falnama (962-967AH). Panofsky is one of the art history researchers who methodically organized iconology. He assigned three levels of significance to the interpretation of the work of art, in which the researcher seeks the symbolic values of a society that the artist unconsciously reflects in his work. Panofsky’s research questions include: What institutionalized belief about women is reflected in the painting of the expulsion of Adam and Eve in Tahmasbi’s Falnama? The objective of the investigation is to identify the origins of Tahmasb’s convictions regarding the status of women and their manifestation in this painting. The research is fundamental in nature and is conducted in a qualitative and comparative-analytical manner. The materials were collected in a library manner and with an iconological approach. The painting is influenced by the Qur’an; however, it contains elements that are not present in the Qur’an. So, the artist was motivated by additional texts that were extracted from ancient sources. The painting is a document that reflects the extreme beliefs about women in the patriarchal society of Tahmasab’s era, which originated from ancient metamorphoses such as the war between the male and female gender, Eve’s committing the first sin, and the blaming of the female gender. This is the root of women’s restrictions during this period.
Identifying one’s “what and who” is a conscious process. Understanding the historical values of a nation or people is helpful in achieving their important cultural, social, political, and economic goals. The discipline of ccultural iconography investigates the culture of human societies and its characteristics through literary and artistic works. In the same way that world travelers such as Tavernier and Sanson have described the position, role and identity of Iranian women in the Safavid era in their travelogues, eastern travelers have included the image of Iranian women. However, they have also been judged based on mental stereotypes. The purpose of this research was to elucidate the position, role, and identity of Iranian women during the Safavid era in the travelogues of Tavernier and Sanson. It was conducted using a descriptive-analytical approach, based on the concept of cultural iconography. The real view and mental stereotypes of Iranian women during this period were analyzed, as beauty, marriage, fertility, and having sons were the most important demands placed on women in the patriarchal society of the era. Of course, the patriarchal society's treatment of women has been distinct in addition to beauty, marriage, acceptance of polygamy, and having sons. Court women are not passive; they consistently strive to acquire skills and participate in social arenas, including hunting, shooting, riding horses, embroidering etc. Travel writers have also attributed this lack of passivity to common women in mental stereotypes.
One of the most important and challenging cultural and social measures of the first Pahlavi period was the removal of the hijab and the alteration of Iranian women’s attire. This action was implemented with the intention of modernizing Iranian society and implementing the western development model. The veil removal law’s imposition by the government on the people with the aim of removing the veil, in contrast to the requirements and national and religious values of Iranian society, resulted in widespread opposition from a variety of social groups. The study of this part of the contemporary history of Iran provides a clear picture of the cultural policies of the Pahlavi period and how the Iranian society faced it. This research endeavors to examine the manner in which the inhabitants of Gilan encountered the veil removal law by employing a descriptive and analytical methodology and utilizing documents from the Pahlavi period. Despite the fact that the results of this research do not corroborate the findings of previous studies regarding the absence of significant resistance from the people of Gilan against the veil removal law, they demonstrate that the requisite ground and platform for the acceptance of veiling in Gilan, as well as in other regions of Iran, are not present. They have demonstrated opposition to this action, which is incompatible with the culture and identity of Iranian society. Despite the fact that a portion of the social classes, particularly the intellectuals and aristocratic classes, embraced Pahlavi’s actions and social reforms, it encountered resistance from a substantial portion of the populace and scholars as a result of the cultural conditions and social structures that governed Iranian society, ultimately leading to its failure.
It is feasible to investigate oral culture and proverbs in order to comprehend the elements of Iranian men's masculinity as a field of men's studies. Men's studies is a new, emerging discipline within the fields of sociology and gender studies that has made significant strides in the understanding of men, including their behavior, expectations, attributions, and inherent identity. It is crucial to analyze proverbs because they serve as a conduit between the researcher and popular culture, enabling the researcher to gain a comprehensive understanding of the societal members' perspectives. The content analysis method was employed to conduct this qualitative research. 803 proverbs were selected and analyzed in this study, with the following keywords: man, spouse, son-in-law, uncle, father, and son. The analysis of the content of proverbs resulted in seventy-eight sub-components out of ten general components. The centrality of the general component “Masculinity as a contradictory phenomenon” was ultimately determined. The paradoxical issue of masculinity originates from an unclear situation that means that it is unclear when men have been characterized by these traits and whether there has ever been a time when men exhibited distinct masculinity behavior. The second facet of masculinity as a contradictory entity is the opposition and conflict with women. It is the site of investigation into the reasons and processes that result in a divergent and contradictory understanding, ultimately resulting in an opposition. Consequently, numerous evidences have been presented
Women's clothing as a post-revolutionary social phenomenon has undergone many changes and daily/street style has diversified. The artistic clothing (one of the common styles in recent decades) is considered as one of the subcultures that shape Iranian culture, therefore, this study was conducted with the aim of determining the artistic style and the inclination of girls and women of Tehran towards artistic style and trying to answer the ratio of clothing trends to artistic styles and the influencing factors in it. The population of this descriptive survey comprises girls and women aged 20 to 40 who wear artistic clothing. The data was collected using a researcher-made questionnaire, and the sample (123 individuals) was selected from both artistic and non-artistic groups. The results indicate a substantial correlation between the academic discipline and artistic careers in terms of the inclination toward an artistic style. Variety and freedom in design/color, accessories, attractiveness, use and combination of traditional, modern, and hand-embroidered motifs are significantly correlated. Increasing art departments and academic/non-academic artists, rethinking the identity of women in Iranian society with a tendency towards the artistic style, and the proliferation of advertising in social networks are all significantly correlated. The findings indicate that the artistic style is more prevalent among artists. The tendency of non-artistic disciplines demonstrated that the artistic style, as one of the styles of a specific subculture, has an impact on other members of society. The tendency toward the artistic style was most significantly influenced by a diverse selection of designs, colors, and models.
In his analytical psychology, the Swiss psychiatrist Jung has proposed numerous archetypes that can serve as valuable criteria for evaluating, reviewing, and analyzing the literary works of psychological critique. The “exemplary mother” archetype is a mental and universal image of human personality and individuality that is manifested in both positive and negative forms. It is one of the most essential and vital archetypes. Simin Behbahani is a contemporary Persian poet whose poems are a reflection of her motherly exemplary deeds. The current study, which employs an analytical-descriptive method, aims to identify the positive and negative manifestations of the mother in Simin Behbahani’s poetic concepts and structures, as well as to uncover the archeological exemplary manifestations of the mother in the context of mythological-psychological critique. The findings indicate that the exemplary mother’s positive and negative manifestations are represented by 60% and 40%, respectively. She cites Simin Behbahani’s poetry as an example of the most prevalent manifestations of the spring season in the positive form, which include frequency, plant identification, congenital, reproduction, enthusiasm, enthusiasm, The sun and the homeland. The negative aspect is characterized by the maximum frequency of negative seasons(summer, autumn and winter), death thinking, night, swamp, sterile ground and City
The management of the body and its relationship with sociology of the body defines man as a corporeal agent. The problem is to understand the sociological relationship between body management and the choice of social clothing (clothes that can be worn outside the house in accordance with customary standards). Choosing the appropriate type of apparel is directly correlated with body management, which involves the continuous monitoring and manipulation of appearance features. Question: In the context of Foucault and Giddens' body management approach, what are the factors that influence the selection of women's social clothing? The aim of the research is to determine the factors that influence the selection of social dress for women in order to showcase their bodies in accordance with the body management approach. The research method is analytical, correlation and survey and information collection, library and field. The sample size is 384 individuals, and the statistical population consists of Tehrani women aged 20 to 30. A simple random approach was employed to collect the data using a questionnaire. The findings showed that social structures exhibit variability in body management. Sometimes, the selection of social clothing is made to align with the societal norms and to wield influence; other times, it is done to secure positive acceptance and to align with social activities. The results indicated that social structures exhibit variability in body management. Sometimes the choice of social clothing is to match the thinking of others in the society and as a tool of power; Sometimes it is to achieve positive acceptances and in line with social activities
The revision of Feminine identity has been influenced by the acceleration of globalization and modernization, as well as the connection of Iranian women with the modern world and the social developments in Iran over the past century. The societal and literary manifestations of Iranian women's reevaluation of their individual and social identities are evident in the last few decades. Fariba Vafi is one of the successful Iranian story writers. The Iranian woman's identity is one of Vafi's concerns in his works, such as the novel "A Secret in the Alleys. The current research, which employs a descriptive-analytical approach, examines the components of female identity and life in this novel .It also addresses issues such as identity crisis, the transition between modern and traditional identity, and the retrieval and revision of feminine identity. It identifies the underlying factors, including aspirations, emotions, needs, and desires and women’s reactions to various circumstances. In this novel, along with narrating the three generations of women's lives, the author deals with female identity and its related topics, such as identity crisis, recovery and revision of female identity, and Iranian women's transition from traditional identity to modern identity. The novel is characterized by the pervasive presence of various forms of violence, particularly directed at women by males. In this novel, the author critiques the dominant gender stereotypes and ideology of society and emphasizes the necessity of reevaluating the identity of women and their role and position in the family and society, with awareness and to avoid extremes.
Shohalter's approach, known for its critique of the current state and tradition of women's writing, provides a platform for examining women's literature through the lens of gender differences. Shohalter analyzes literary content and structure by considering biological, linguistic, psychological, and cultural factors. The protagonist of this story is a lonely woman who is unjustly driven away from her home due to false accusations by her husband and becomes a wanderer in Tehran. In the novel, male characters, collectively or individually, play a role in the protagonist's tragic fate, while female characters, despite their futile efforts, strive to support her. The author creates an imaginary place called "Goran" to depict the historical oppression of women by a male-dominated culture. This study aims to analyze the characteristics of Iranian women's writing in the novel "Peyadeh" using Shohalter's fourfold approach through a descriptive-analytical method. The results demonstrate that topics such as pregnancy and childbirth, relationships with men, maternal attributes, and connections among women can be examined from a biological, psychological, and linguistic perspective based on Shohalter's framework. Furthermore, a notable stylistic feature of the text is its unique blend of native Iranian narrative style, combining third-person and first-person perspectives with the utilization of emotional sentences, reminiscent of storytelling among Iranian women.
Families, as crucial social institutions, play a vital role in providing emotional and physical support to their members and teaching life skills. The rapid evolution of communication technologies and media has significantly influenced this institution, leading to major changes within it. This research aims to categorize issues and offer suggestions for addressing gaps in research or media policy-making. The research question is: How have studies in the field of family and the media been classified, and what topics have been discussed under each classification? The theoretical framework of this article is based on Dependency Theory, Manuel Castells' Theory, and Cultivation Theory, with data analysis conducted using meta-analysis and thematic analysis methods. In this study, after reviewing 93 extracted articles on the subject of media and family, and analyzing descriptive statistics and themes in areas such as social networks, television, and cinema, the strengths and weaknesses of the research were identified. The results indicate that the effects of modernity and media on the family institution in Iran have been profound and multifaceted. These value changes include the removal of traditions, weakening of kinship relations, empowerment of women, increased importance of individualism, and changes in lifestyles. These transformations represent a period of cultural and social transition, emphasizing the need to focus on the Iranian-Islamic lifestyle, the identity of men and women, strengthening family cohesion and relationships, media literacy, and attention to the role and position of children and adolescents within the family.
Novels, As cultural products, represent a society with various discourses. Each discourse, with its own configurations, is constantly trying to make its meanings hegemonic. The current research is an attempt to analyze the discourse semiotics of gender with an emphasis on the theory of Laclau and Mufehe in the two novels "This street has no speed bumps" and "Rahesh". The main issue in the current research is how "gender" is represented in these novels. Also, how gender thoughts are reflected through the author's mentality in writing the novel and what is the author's point of view towards them. In terms of methodology, it is a descriptive and qualitative research, which uses library method to collect data. According to this method, the analysis of the novel includes three levels: textual analysis, intertextual analysis, contextual analysis. Textual analysis is dedicated to the semiotics of the novel's characters and finding the discourse order of the novel; In intertextual analysis, each novel is compared with novels of the same period; in contextual analysis, the relationship between the novel and larger social space is examined. Finally, the analysis of the propositions revealed that the main concern and theme of the novels; The obvious conflict between tradition and modernity lies in the social construction of gender, which is implicitly included in the inner layers of the text and lexical reflection, and the main character of the novels at all stages are in the conflict between the biological construction of gender and its social construction.
This investigation applies Spivak's "Subaltern Theory" to undertake a comparative examination of Mastaneh, the History of the Forgotten and Nine Parts of Desire. Spivak maintains that comparative studies in world literature are currently predominantly conducted in accordance with the logic of globalization during the capitalist era. She is of the opinion that the field of literature is currently only used as a means to ensure the survival of Western powers. When they wish to investigate other cultures, they refer to them as "Third World" and regard them as an undeveloped "other." These criticisms are exacerbated when the Western world interacts with subordinate subjects, particularly the female gender. Due to the fact that they only provide an appearance of the situation of women in relation to their objectives. For the sake of its own objectives, it only presents a semblance of subalterns, particularly those of the female gender, and achieves an idealistic and essentialist policy. However, the subaltern subject is aware that a gender that is both expanding and developing is the most advantageous scenario for her when she speaks and behaves as a woman. It is regrettable that the subjugated and marginalized individuals should disclose another history of the oppressed, which has been neglected, in the shadow of this game. Through an examination of a selection of Spivak's theoretical works, including "Can the Subaltern Speak?"(1985), Death of a Discipline (2003), and "Rethinking Comparativism"(2009), this research will demonstrate that the Subaltern can articulate her pure experiences and self-expression through literature without the assistance of global powers, correction, or assistance.
This article seeks to examine the illustrated editions of Shakespeare's plays, whose images were printed by the use of metal engraving, in order to find the most determining factors that affect the way of understanding the female characters in the play, and to answer the question, "What is the Victorian portrayal of women’s main features in Shakespeare's editions?" Since advanced types of engraving such as steel engraving, outline engraving, stipple, daguerreotype and photogravure were among the main techniques for reproducing images in the Victorian period, representing Shakespeare's women as aesthetic paratexts of 19th century printed editions was an artistic selection which added a layer of non-textual appeal to the plays and enhanced the reading quality and hermeneutic understanding of the characters. In other words, artists and editors sought to emphasise their beauty, strength, and complexity by depicting Shakespeare's heroines in visually appealing ways. Therefore, the illustrations in these editions provided the readers with a richer interpretation of the characters and potentially influenced their understanding of the characters in the play. Moreover, in this era, the images went from emphasising the conceptual and semantic connection of the images of women with the text, which was common in the eighteenth century, to simply representing the beauty of women. It is worth mentioning that to fully describe this process, William John Thomas Mitchell's ideas about the importance of visual presentation of literary texts will be relied upon.
Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural identity of girls and women is represented in the cover illustrations of children's stories in Arabic-speaking countries. To gain insight into cultural identity, particularly Arab identity among Arabic-speaking girls and women, it analyzes the statistical population. In this context, 249 cover designs from six Arab countries including Egypt, Iraq, Lebanon, Syria, Saudi Arabia, and the UAE were examined for the age group (B). Results show that the UAE is the most wealthy nation in terms of cultural visual representations, while Syria is the least prosperous in this regard. Arab girls' and women's faces are prominent in most images, and the palm tree, a symbol of natural geography, plays a significant role in Arab identity, especially in Iraq publications. Older women on the cover illustrations are often veiled, and the veil is one of the most prominent visual symbols. Nevertheless, in Lebanon and Syria, this symbol is less prominent across all age categories. It appears that a general conclusion can be derived regarding the identity of Arab girls and women on the covers of children's books in Arabic-speaking countries in the present study. This identity is a combination of Arab and Islamic identity, with a particular emphasis on geographical and natural symbols.
Discourses of power and their influence on social issues have recently garnered media attention and are represented in a variety of ways. The objective of this research is to analyze the discourse of patriarchy and its representation in Saeed Roustaei’s film “Leila's Brothers.” This investigation employs a qualitative methodology, specifically critical discourse analysis (CDA), as a result of its discourse approach and critical dimensions. CDA is implemented on four distinct levels: surface level, surface depth, depth level, and depth of depth. Dialogues, scenes, and language elements pertinent to the subject matter are chosen at the superficial level. These elements become more abstract and richer at a deeper level. Finally, the film’s concealed messages are analyzed by connecting linguistic elements to discourse practices at the depth of depth. The results indicate that the film contains two primary discourses: the decline of patriarchy (desperation, conservative reform, and the subsequent collapse of patriarchy) and the rise of femininity (female consciousness, imminent power of tyranny). The collapse of patriarchy is symbolized by "Leila's Brothers" in conjunction with the advancement of women. The film demonstrates that the cessation of patriarchy and the emergence of a women's discourse are currently being observed in contemporary society. The patriarchy is collapsing as women pursue a variety of professions. This film critiques and desacralizes the patriarchal position at the family and cultural levels, in contrast to the traditional sanctification of parents.
Art is a fundamental component of the culture of a society, and its motifs can serve as a reflection of the society’s cultural, social, political, and economic status. In this investigation, the text of Mohammad Yaghoubi’s drama “Drought and Lie” from the 2000s serves as the data for analysis. The purpose of this research is to study the concept of gender in the aforementioned text in order to identify the manner in which this concept is generated or perpetuated within the context of the social conditions of Iran in the 2000s. Ruth Wodak’s discourse-historical approach has been selected in the research methodology section. The research results indicate that the drama “Drought and Lie” presents the definition of gender and gender roles in a state that is between the traditional official dominant discourse and the modern discourse (as the rival discourse), which was established in the 2000s, by employing the historical-social horizons of the era and utilizing Wodak’s fivefold strategies to analyze the linguistic aspects of words, phrases, and key contents of the text. The final conclusion posits that the author of the drama “Drought and Lie” has effectively conveyed the position of Iran's transitional society toward modernity in the 2000s, as well as the repercussions of cultural changes in the private sphere of family and marital relations.
In contemporary psychology, color is regarded as one of the personality measurement criteria. This is due to the fact that each color has a special effect on the viewer’s mind and body, representing their mental state. Poetry of the poet's entire mental and spiritual makeup, as it is derived from her emotions and sentiments. Max Luscher’s color psychology is a method that utilizes the selection of colors to gain insight into the human psyche. This investigation has examined the poetry of Forough Farrokhzad and Khaleda Forough, two contemporary poets associated with the Romantic Movement in Iran and Afghanistan, in accordance with the aforementioned theory. The quality and extent of the use of colors in their poems demonstrate that Forough Farrokhzad’s poetry prioritizes black, which reflects her inner conflicts, dissatisfaction, and disgust with the environment, as well as her depression and isolation. However, her frequent use of green in conjunction with black suggests her aspiration to alter the course of history and revolutionize society. Khaleda Forough's initial selection is green, which is a symbol of faith, freedom, and serenity. The color black, which is situated adjacent to green, is associated with tyranny, suffocation, and social unrest. The examination of the poetry notebooks of these two poets reveals that the use of calm and optimistic colors progressively replaces the use of dark colors. This demonstrates their aspiration and optimism for a more fulfilling existence, as well as their interest in implementing appropriate modifications to the image that evokes their emotions.
A suitable platform for paradigmatic criticism would be the paintings of Iran Darroudi, a contemporary Iranian female painter, which are created in the surrealist and symbolism style. For instance, paintings are one of the domains in which archetypes are manifested. Archetypes are abstract concepts that are common, repeated, and abstract in various human societies. They are rooted in the collective unconscious, the deeper part of the psyche, and are reflected in the individual’s consciousness and unconsciousness through fantasies, legends, dreams, delusions, and artworks in the form of symbols and myths, according to the perspective of analytical psychology.In fact, these symbols and mythologies are containers that convey archetypes, and by interpreting them, one can gain a deeper layer of the human psyche. In this research, we will examine the symbols of archetypes in three instances of Iran-Darroudi’s paintings to determine the role of the collective unconscious effect through the reflection of archetypes in Darroudi’s paintings. The purpose of this research is to develop a novel analytical method that employs a distinct approach to facilitate a more profound comprehension of the inner layers of Darroudi’s paintings. The research performed qualitatively on descriptive-analytical method. The collection of topics would be based on observation and the library. The findings indicate that the primary bold elements in Darroudi’s art are the manifested symbols of sky, earth, ruins, flowers, pearls, and light. These symbols represent the archetypes of mother/woman, sky/father, ascension, and marriage.
One of the objectives of this field is to foster the empowerment of women and the development of local economies through a variety of methods, such as social entrepreneurship, within the framework of sustainable development. The aim of this study is to investigate and analyze the role of Bakhtiari women in the development of the local economy and tourism in Iran, with a particular focus on the significance of social entrepreneurship and the production of traditional Bakhtiari clothing as critical factors in this development. Qualitative and quantitative methodologies were implemented in this investigation. Questionnaires and field interviews with residents of Chaharmahal and Bakhtiari provinces, as well as library research, have been implemented to gather data. The statistical population consists of Bakhtiari women, with a sample size of 389 individuals, and data analysis was conducted using statistical methods and analytical models. The results of this study indicate that the Bakhtiari women have a significant impact on the tourism and local economy. Through social entrepreneurship, they address the creation of employment opportunities and the development of local economic activities. The primary occupation of the Bakhtiari people is the production of traditional apparel, which plays a unique role in the empowerment of women and the promotion of cultural and historical tourism in the designated regions. Based on the findings, the development of social entrepreneurship and the production of traditional apparel can contribute to the improved welfare of individuals in these communities and local areas. A suitable step toward attaining sustainable development goals can be taken by considering this matter and taking appropriate measures to support and develop these activities in local policy-making and planning.
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.
