فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال دوازدهم شماره 2 (تابستان 1399)

One of the determinants of seeking justice and seeking domination is perceptions of gender Justice. This research aimed to study the perception of Women's gender justice and the role of sociological factors in the emergence of this phenomenon in the context of ethnicity. Theoretical foundations of the research are formulated based on the theories of Homens, Bourdieu, and Parsons. The research method is survey type and the data is collected by questionnaire. The statistical population includes all women over 20 of from Turkish, Kurdish and Gilak provinces of Ardebil, Parsabad, Khalkhal, Sanandaj, Piranshahr, Bijar, Rasht, Lahijan and Talesh. The sampling method is quota- Purposive. The results showed that 52% of respondents refer to the definition of gender Justice to cultural and social characteristics and role of natural and biological factors in shaping the perception of gender justice is not assumed. Comparative tests revealed the largest differences in perceptions of gender justice between ethnic of Kurdish and Gilak. Multivariate analysis tests confirmed differences in perceptions of gender justice (Exchange justice, Ritual justice, Justice in freedom of action, Justice in capability) in terms of variables of cultural capital, social capital, symbolic capital, economic capital, emotional capital, and stereotypes among Turkish, Kurdish and Gilak ethnic groups.

The purpose of this study is to analyze the critical discourse of women's inferiority through the analysis of four films: Fire Bride, Lineless Paper, Father's House and Venus. The theoretical framework used is Judge Moradi's theory of self-determination, which has been done by Fairclough's method of critical discourse analysis; Critical discourse analysis, by linking discourse structures and social contexts, can help us to understand the issues that exist. Among the dominant discourse systems is patriarchal discourse, which deconstructs relations between the sexes from a position of power; Also, the discourse of tradition and modernity that causes subjects to redefine their identity. This method has three stages of description, interpretation and explanation; For this purpose, in the description stage, attention is paid to the formal features of the text (analysis of dialogues and sequences). In the second stage, which is the stage of interpretation, inter-discourse (discourse practice) is discussed; Finally, the interaction of macro-social structures on the text based on the theory of autonomy has been investigated. The results show how the transition between the two discourse spaces of tradition and modernity, the order of gender discourse and the power relations inherent in this hierarchy, has led to the inferiority of women and then their resistance to the superiority of men. Modern and traditional femininity not only contrast with each other, but on the other hand, the feminine sign is also represented in front of traditional and modern male subjects.

The archetype in the collective human psyche motivates the performance of various actions in his spiritual mind, and more importantly, the present article seeks to find the connection between psychoanalysis and architecture, as the art is essence of human mind and psyche. Carl Gustav Jung, the inventor of the theory of analytical psychology and the developer of the theory of archetypes, considers architecture as the human psyche. He believes that all man-made phenomena have already imagined in the mind or psyche at first. The number of archetypes, as the main topic of this discussion, is a lot. This research focuses on the two archetypes of Anima and Animus;at first to find and collect the symbols of these archetypes in ethnic thoughts, rituals and beliefs and then to create their proper correspondences in the symbols of some of the most important components of traditional houses in the Central Plateau of Iran, including; Entrance complex, Central yard, porch, Hozkhane, room, Badgir, basement, Sardab and others. The present research has been carried out with the content analysis approach in the qualitative paradigm by inductive and deductive methods. The results show that there is a correspondence between the archetypal symbols of anima and animus and the spiritual themes embedded in the components of traditional houses. As the perfect human psyche has a two-dimensional nature, there is a balance between both feminine and masculine expressions in the whole supreme art of traditional house architecture.

The image of a woman as a human figure is one of the common motifs in nomadic carpets that are woven in different shapes and structures in different parts of the country and certainly has a symbolic and special meaning. The role of "nine women" is one of the designs in which the image of a woman is woven. In this research, carpets from three different tribes are examined. Researchers are looking for the type of female illustration in this category of Iranian handmade carpets and the relationship between this type of illustration and the appearance and social form of nomadic women. In fact, the type of clothing and makeup as one of the social norms for women in this study is examined. The main question of this research is as follows: to what extent is the type of female imagery in these rugs related to the structure that the nomadic community likes for its women as a norm, tradition and tradition in the form of clothing? This research is done in a descriptive-analytical method by collecting library and internet information. Women's clothing in Baluch carpets is close to the social clothing of Baluch nomadic women. Women's clothing in Kurdish carpets does not have the necessary resemblance to the social clothing of Kurdish nomadic women in Khorasan, and women's clothing in Afshar carpets bears no resemblance to women's clothing in Afshar nomads in Kerman.

Historical texts to narrative men of the rulers and the great men of history, often less than ordinary people, especially women, have said. In fact, women, despite being half of human society and educators of men and the next generation, have had an undeniable influence on social relations, the preservation and perpetuation of traditions, customs and even political games in historical periods. But in most cases, for cultural reasons, less mention is made of their presence in society or defined in the shadow of men. Therefore, archaeological methods and the study of cultural materials are very valuable and useful for clarifying the subject and answering the existing gaps and questions. Because archeology has been using cultural materials to rebuild communities, culture and people's roles. The present article examines the miniatures of the Tabriz school as material evidence of the Safavid period and tries to compare the image of women presented in the texts of the Safavid period with the remaining images of them in the miniatures of the Tabriz school and the contradictions and similarities between discuss the two. Here the miniatures of Shahnameh of Shah Tahmasp, Khamse of Nizami and Haft Awrang of Jami showed that women in Safavid Tabriz School at the same time at least during that period, contrary to historical texts and a more active role in the community have been highlighted.

Tiles as an intermediary medium for expressing art and transmitting the original and ancient features of Iran, which have become widely used to make the surfaces of Iranian and Islamic buildings. "Eram Garden" and "Zinat al-Muluk House" are among the oldest and most beautiful historical buildings in Shiraz. The tile decorations of these two buildings have a great variety of subjects and roles. The designs of the tiles, with precise and delicate performances with a color phenomenon, have a unique coexistence and eloquence that, like an illustrated notebook, show the characteristics and socio-political conditions of the Qajar period. The structure of each work is closely related to its content, which is included in a specific format. The structure of the motifs used in the tiles of Eram Garden and the house of Zinat al-Muluk indicates religious and epic narratives, the main theme of which is the role of a woman based on love and dramatic stories, which often has a historical approach. The motifs used in the tiling of Eram Garden and the house of Zinat al-Muluk are ancient Iranian-Islamic religious epics whose main subject is stories about the lives of prophets such as Prophet Suleiman the Prophet and Prophet Yusuf and the like. Also compare and analyze the similarities and differences of this model with Propp model. In the present study, while adapting Propp's morphology with the structure of these narratives, its religious-epic and epic self-works have been studied, which certainly did not exist in Propp's classification. The results indicate that epic and religious stories in these

In the history of Iranian traditional performances (especially the Siyāh-Bāzi), the presence and action of women has been extremely limited, and in some cases, totally done away with. Also, due to the lack of archival resources, there are very few documents available to reflect the presence of women in this field. However, there has recently been an upsurge in the presence of women during the post-revolutionary years, especially in the field of Siyāh-Bāzi and performing the role of Almās (Siyāh) as the leading character. The present article deals with the presence of women as Siyāh, which was not noticed in the pre-revolutinary Iran. The theoretical framework of this article is based on the postmodern feminist ideas, with reference to Judith Butler's ideas on "Gender identity" and "Cross dressing". We seek to show why women were not present in the Siyāh-Bāzi performances before the revolution, and how they have developed a new discourse in this field in the recent years. The results of this study show that being an "other" results in a sort of deconstruction and the emergence of a new phenomenon referred to as the emergence of a female Almās in a feminine discourse: A new discourse which is the result of turning to a new "other", together with the deformation of the traditional approaches. In other words, the cross dressing of Almās is the result of a challenge for gender equality.