نشریه زن در توسعه و سیاست
سال هفتم شماره 1 (بهار 1388)

Parties, as civil institutions distribute political power among individuals in society, and play an important role in preventing the monopoly of power by a particular group. They are also significant in modifying the governmental construction and administration of society. As a framework, this study has utilized theories of Bacharch and Bartez regarding the mode of exercising political power and authority by subjects of power on the objects of power. According to these theories, some political organizations exercise power latently through arrangement of stage by subjects of power (men) rather than the objects of power (women). Thereby subjects of power ignore the benefit of objects of power and their demands are excluded from political system. Since women's demands have no importance, they are excluded from privileged levels of a party.The research method used in this study is descriptive – documental and information is gathered through study of documentary Resources. According to this study, women's participation in high ranking positions of parties is slight and they mainly act as staff members.

Mystical literature provides a vast field of symbolism for the knowledgeable reader. Symbol has a bilinear quality. Mystical symbols are bilaterally both heavenly and earthly. The term "woman" has been studied symbolically in Persian literature.The present article is an attempt to discuss different aspects of this symbolism. The field of this study is mystical prose and poetry. From the category of mystical poetry, poetry of Maulana Jalaleddin from his poetry collection and Mathnavi are studied; also works of Sanai Ghaznavi and Attar are consulted. From the category of mystical prose, two books, Tadhkerat al-Owlya and Sefat al-saffa are studied. Also whenever needed some books such as Nasafi’s Kashf al-Haghayegh are consulted. The research methodology used in this research is contextual analysis and to this end, sample taking and studies have been conducted on mystical works. Finally, an analytical comparison between Persian and Arabic mystical literature is carried out and Ibn Arabi's poetry and his point of view towards woman is examined. furthermore, in this study some aspects of the term "woman" are compared to the concept of Anima in Jung psychology. The results of this field study show that there is a great gap between the two symbolic meanings of the term "woman" in Persian literature. Symbolism of this word sometimes depicts a satanic quality of woman, and considers her as the source of sin and error; thus the human being is under the control of her malicious wills. Contrary, from the other point of view the term is divinely depicted, thus woman is raised to the state of unification and oneness with God. The woman reflects god and appears in forms of poetical brides or the mother of nature and world. The latter symbolism is the most beautiful image depicted of woman. In contrast to the former image that depicts woman as straying and deviating, in the latter, woman is represented in the form of Daughter of the Christian (referring to Mantigh ia- Tair of Attar) and Leili, as the guide of wayfarer toward God. Key words: Mystical Literature, Symbolism, Woman, Soul

Many poets have somewhat dealt with the concept of feminity in their poems, and some only have alluded to it. Their attitude and their viewpoint towards woman is influenced by the popular viewpoint dominating their society as well as their own personal experiences. Marouf Abdolqani Rasafi discussed nearly all aspects of women's social problems. He was aware of such problems and tried his best to liberate the female gender from the dominant restrictions, but the restrictions hindered him in moving away from society's discourse. In his poems lies a great soul which is reinforced by Islam. This type of poem is mainly based on the feelings and sympathy that are bestowed upon the poet's soul. According to Rasafi poems, he is a Muslim who under the influence of western culture deviates from Islamic culture but ultimately returns to the dominant and deeply rooted Islamic culture. This reminds the famous proverb: Such is the tree, such is the fruit.

Fable literature is one of the bases in which sexual stereotypes are reproduced. Like all other scientific fields, it continuously delineates a repetitive image of women. Therefore, this article aims to study how literary texts reflect sexual discrimination in a specific culture and how they deal with reproduction of sexual division; specially how these injustices are drawn in Mr. Dolatabadi's selected works.The Results of the research shows that in Hejrate solyman, Bashobeyro,Jaye khaliye soloch, kalidar story books, harshness plays the main role and appears with various origins and in different forms (clear and hidden) and thus overcomes and defeats women. The method used in this research is content analysis.

The purpose of this article is to investigate the differences between men and women’s painting regardless of being limited to presuppositions about masculine and feminine art. Therefore, first the appearance of differences between men and women art during the eighteenth and nineteenth century is considered. Having done that, various types of women’s painting, Feminine painting and feminism painting are compared. Finally, by presenting a theoretical model, the article delineates the differences between visual technique, artistic style, and coloration in men’s and women’s painting. The statistic universe contains 2525 painting and the sample universe contains 370 painting which are presented in 60active gallery in Tehran in the first quarter of 1387. It is concluded that regarding visual technique, women’s painting is brighter, more ordered, clearer and more decorative than that of the men’s painting. They are also more symbolic and decorative from the point of style.

This article is aimed at investigating the Cultural-artistic exchange and its influence on female costumes in the most critical part of the history; that is during the formation of the Parthian Kingdom in the great Achaemenid’s realm after the invasion of foreigners such as Alexandra and the Greek. This paper also examines the causes that have lead to transformations in the type of woman's clothing during the Parthian history. The dissemination of Hellenism in East especially Iran led to great changes in various fields such as economics, religion, culture, art and etc. Therefore it is significant to understand the extent to which the new culture has penetrated into the ancient Persian civilization. In this article different types of women's clothing are analyzed in Iranian and Greek civilization. The details of each piece of clothing are delineated and the similarities and differences are compared and contrasted. The article also analyzes the extent to which the two civilizations have mutually influenced each other. The method of research is documental analysis and the results reveal that the culture of Iranian and Greek clothing have significant and deeply rooted relationship with each other which is mainly due to various wars between the two civilizations and the influence of counter factors in artistic style of each civilization thus the type of tailoring and styles of ornament are mutually influenced by each other.

The purpose of this article is to investigate the differences between men and women’s painting regardless of being limited to presuppositions about masculine and feminine art. Therefore, first the appearance of differences between men and women art during the eighteenth and nineteenth century is considered. Having done that, various types of women’s painting, Feminine painting and feminism painting are compared. Finally, by presenting a theoretical model, the article delineates the differences between visual technique, artistic style, and coloration in men’s and women’s painting. The statistic universe contains 2525 painting and the sample universe contains 370 painting which are presented in 60active gallery in Tehran in the first quarter of 1387. It is concluded that regarding visual technique, women’s painting is brighter, more ordered, clearer and more decorative than that of the men’s painting. They are also more symbolic and decorative from the point of style.