فصلنامه مطالعات فرهنگی اجتماعی خراسان
سال شانزدهم شماره 2 (پیاپی 62، زمستان 1400)

Folk tales are the cultural heritage of the people from very distant times, which reflects the general culture of the people of that region throughout history. Folk tales are rooted in the beliefs, rituals, and customs of the people of an area. The role of women in folk tales reveals the social status of women in the public culture of the people of each region. Therefore, the present article has been written to examine the role and personality of women in Kurdish folk tales of Kormanji Khorasan. In this research, twenty-six Kurdish stories of Kormanji Khorasan have been collected by library and field methods and analyzed with a descriptive-analytical approach. In these stories, the active and passive female characters were examined. Women with active, positive personalities with the attributes of resistance, warlikeness, chastity, wisdom, chastity, sacrifice by accepting unconventional marriage, guardian of cohabitation, an advocate of spouse or suitor against father, destiny changer, builder of an ideal life, dependent and fascinated by children And ... have been introduced. Women with negative active personalities often have roles such as stepmother, sister, uncle's wife, and mother-in-law. Passive female characters have also been introduced as submissive to the will of the spouse and the fate of the villain, or are prizes for the hero. The positive active character is nineteen percent in these stories, and a woman is seventeen percent. The negative dynamic characters are ten percent male and seven percent female. The passive nature is twenty percent, and that of a woman is fifteen percent. Due to the lower population of negative women than negative men and sedentary women compared to passive men, it can be concluded that in the culture of North Khorasan, women have an equal position with men.

The study of "form," which means components of perceptible artwork, requires distinctive considerations in different works and arts, in such a way, that the form is in numerous media formats as well as various social and cultural contexts. There is a different presence and existence, and this different entity has led to some works titled "fine arts" and others "applied arts." The study, description, and analysis of form in the applied arts is an incomplete process without considering the biological, social, and cultural identities of the productive societies and the practical necessities of these works. The main issue in this research is the analysis and analysis of the type of feminine component of carpet as one of the essential applied arts in Iran with the cultural context of its production, to recognize and interpret the kind of impact of the components of cultural and social relations and interactions of carpet manufacturing communities on the formal characteristics of the product. The type of research correlates with the required information gathered by library and field methods (observation card). This information has also been analyzed using "third type quantization" and "cluster analysis" methods as efficient methods in social and cultural studies. The results of this study, while presenting a clear picture of the type of distribution and clustering of form characteristics of the carpet as well as the cultural components of the production of this product in the target community, show the association of the various orientations of the femoral features with the social and cultural context of production; Specifically, these orientations are more evident concerning the type of social-cultural structure of urban/non-urban carpet producing groups Including the influence of formal characteristics of the carpet production system and how it continues, as well as the geographical dependencies of producers (especially in areas where the lifestyle and cultural context of production communities are more dependent on geography and natural environment).

Throughout human life history, literature has played an influential role in recognizing and artistic dimensions of his existence. Among these maps is the aesthetic role and function of literature. In this research, by descriptive-analytical method, works such as Jafar Gholi Zangeli's Divan; Diwan Aref Bojnourdi; The Bird of Paper and Olives by Abasalt Rezvani, two poems by Mahmoud Reza Ekramifar: The sea is thirsty, and I can say that I love you will be examined. The goal of the painters is to explain and analyze the rhetorical and aesthetic structures in the poems with their enduring themes. This study shows that Aref Bojnourdi, in the style of Khorasani and the form of a glorious and measured language and romantic pieces to the story of Ashura, full of mystical images and teachings his religion to the martyrs of Karbala beautifully It all pays off. Ikramifar expresses his affection for the Innocent Imams and his subtle and gentle social criticisms in simple, smooth, unpretentious, and popular language. Abasalt Rezvani, by choosing the Indian style and using the subtleties and subtleties of this style in moderation, and Jafar Gholi Zangeli in the form and language of Kurmanji, enlighten his compatriots. His unique rhetorical tricks are in four areas; The first is the form of poetry, the second is the brevity and simplicity and simplicity of language, the third is the combination of mysticism and mystical themes in poetry, which previously had only a terrestrial aspect among the poems of this dialect, and the fourth is bringing poems in four languages.

The Red Lion and Sun Society of Iran is one of the first charities in Iran, the first attempts to form it date back to the Qajar period. This Society works in various service, medical, educational, social, and cultural sectors inside and outside the country to alleviate human suffering, establish lasting peace, and protect human health without considering any discrimination between them. The present article tries to explain the actions and activities of the Red Lion and Sun Society of Iran, its actions and activities in Khorasan by adopting a documentary study approach. The present study's findings indicate that the lion and sun Society has been active in supporting the poor, providing relief to survivors of natural disasters, fighting diseases, caring for and educating orphans, establishing nurseries and public clinics, and providing free medical services.

The holy shrine of Imam Reza has become a valuable treasure in the Islamic world by having very beautiful tiles in different periods. The walls, entrances, and porches of the old and new courtyards located in the shrine complex are decorated with unique tiles from the Qajar era. Since so far, the motifs used in Qajar era tiling in the shrine have not been specifically addressed, so in this study, some collected samples of Qajar tiles in the shrine of Imam Reza with the aim of recognizing and categorizing the content of Haft-Rang (Cuerda Seca) tiling motifs in Atiq (old) and Azadi (new) courtyards have been studied. The questions are; First, what kind of designs are used in the decoration of the Haft-Rang tiles of this building? Second, what concepts do these motifs contain thematically? This article is a research achievement that has been explored in terms of nature and method, descriptiveanalytical. The data amassment is based on library and field studies. To achieve the results and answer the questions, at the beginning, the characteristics of Qajar tiling are examined and then the selected designs on the tiles of the shrine are introduced. The results of this study show that the decorative motifs used in the tiles of the Qajar era in the shrine classified in herbal motifs (vase of flowers, Arabesque and Khatai), figural motifs (human, animals, birds, angels), landscape, inscriptions and finally geometric designs. In the meantime, the images of angels, the capture and tearing of man by lions, are images with a special discourse that, although limited, have higher meanings than a just visual image. Also, the high variety of designs in the shrine shows that the Qajar era tile painters used the features and capabilities of organic motifs with various designs and patterns for use in a sacred place to create a new identity in accordance with the evolutions in the Qajar world.