فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال پانزدهم شماره 2 (تابستان 1402)

Color is a silent but a powerful language. According to the high expressive quality of color in communicating and attracting people's attention, identifying the color preference of women and the factors affecting it can create an efficient tool in many areas of the modern world such as communication, trade and goods and content production. This article aims to identify the effects of the factor of openness to experience (as one of the dimensions of personality) on women's color preference changes. In order to collect research data, demographic questionnaire, color preference and five-factor personality test were used. The statistical sample includes 213 women living in Tehran who were randomly selected. Data analysis using the one-way variance method in relation to the level of color preference shows that women with different levels of openness to experience have different preferences in relation to the level of preference for purple, red and orange in such a way that as the level of openness to experience increases, preference score of red and orange increase and purple decrease. in this regard, data analysis in the selected color preference section shows that women with high levels of openness to experience choose red as their preferred color. The results of multivariate variance analysis in relation to the preference of warm, cool and neutral colors show that women with different levels of openness to experience have different preferences in relation to the preference of warm and neutral colors. The interpretation of the results in relation to hated color indicates that women who hate blue and white have a lower level of openness to experience. According to the graph, as the level of openness to experience increases, the average score for warm colors increases and for neutral colors decrease. The results of the present study confirmed the need to pay attention to the agency of openness to experience in predicting color preferences. The findings of the current research can be used in many practical fields such as psychology, marketing, communication, advertising and fashion design.

With the rise of the Pahlavid dynasty, the modern education of women became a necessity for the innovation project in Iran. Therefore, women education became pivotal in the discourse of modernization advocated by the Pahlavid dynasty. Due to the political standoff as a result of Reza Shah’s exit from Iran, the modern education for women underwent discourse turmoil. With the empowering of the rival discourses and their arrival on the political scene, the dominant discourse for women education lost its vigor and the central focus of innovation which was predominant in Reza Shah’s era lost its force. This led to the formation of the concept of “Muslim Woman” versus “Modern Woman”. This historical era, regarding the education of women, is the time of the formation of policies and educational programs which finally led to the educational revolution in 1345 S.H. This Study employing the traditional continuity concept in history through a descriptive – analytical approach intends to survey the plans, and the pace of the changes in girls’ educational programs as reflected in high school text books, in order to identify the identity of women and their role in the modernization of Iran.Key Terms: Women education, Innovation, Educational policies, Mohammad Reza Shah

In today's world, the amazing and unimaginable growth of the media has made them a powerful tool that not only fulfills the informational task inherent in their nature; Rather, they have gone further and entered and influenced all aspects of human life. The diversity of the social roles of women and men reflects the fact that the concepts of femininity and masculinity (gender) are strongly influenced by social factors. Men and women are each reflected in the media. The image of women in mass media has an ideological aspect for the continuation of patriarchal relations. Against the subjectivity of women in patriarchal discourse; The strategy of struggle to deconstruct and break stereotypes has flowed in late modernity. The aim of the current research is to analyze the discourse of Iranian women's subjectivity in the Instagram social network. The research method in this study is qualitative content analysis. The technique used is critical discourse analysis and specifically Fairclough's discourse analysis approach. The community studied in this research is the pages related to the theoretical class of discourses of subjectivity in the Instagram social network of Iranian users, which were selected with theoretical considerations and qualitative content analysis. The final categories obtained in the research include the objectification of women, glorification of narcissism, gender class system, de-importance of role, naturalization of superior status, deprivation of rights, double otherization, which is consistent with the discourse of women's subjectivity.

Territorial behaviors are one of the most important and influential behaviors related to the environment and the use of it. Therefore, if the space is in accordance with these behaviors, it can lead to an increase in the quality of the environment and it makes them use it more and better. In line with the study of women's territorial behavior, the present research seeks to identify a concept called "semi-private territories" and achieve its characteristics in public spaces, which according to the research conducted and the hypothesis of the research, is compatible with the territorial behavior of women. It is also in line with women spatial preferences in public spaces. After conducting library studies and compiling the research literature, field studies have been used in a qualitative way using interview tools and contextual conversations to achieve the research goals. In fact, in order to explain the concept of semi-private territories and its characteristics, the opinions of various women in relation to their spatial preferences and territorial behavior in public spaces have been collected and analyzed. The qualitative analysis of the findings has been done in the form of coding and in the platform of Atlas.ti8 software. Based on this, with the study of women's territorial behavior, the concept of "semi-private territory" is defined. The semi-private territory is a territory that is neither completely private nor public, which, while being located in a public arena, has characteristics close to and similar to private territories, but has less public characteristics. These territories have characteristics such as: relative privacy and coziness, relative separation of space by visual and non-visual limits and boundaries, reducing the amount of access to the space compared to the public territory, etc, which is in accordance with the territorial behavior of women in public spaces and provides the necessary conditions for their presence in the space

Masoud Kimiaei's cinema has been reread and interpreted many times due to its social and hero-raising approach. Male and female characters in alchemy films establish significant relationships with each other and with their living environment. In these works, the characterization of women is controversial in many ways. In fact, the female characters of Alchemy cinema, while they have a dramatic function, but it seems that their identity is defined next to the identity of the male heroes. In other words, in his works, the woman is in a secondary position and the man becomes a privileged character. The women in these films do not have an independent female character; And most of these women, depending on the man, assume single and identical roles such as ethereal lover, patient lover, honor, kind wife or mother, etc. and they have an objective appearance in all the works of this filmmaker. In the last few decades, gender studies have become one of the thought processes and the category of gender has been placed in the center of these studies in society, culture and art. The distinction between sex and gender is one of the most important topics in the social discourse of the 20th century. Gender is a structural and social phenomenon that is built in society over time. It seems that the alchemical approach towards women can be interpreted from the perspective of gender and of course gender reversal. The current research, which was conducted in a qualitative and descriptive-analytical way, with the help of library sources and watching the film, analyzes the approach to the characterization of women in alchemy cinema by explaining the category and theory of gender. Male and female characters in alchemy films establish significant relationships with each other and with their living environment. In these works, the characterization of women is controversial in many ways. In fact, the female characters of Alchemy cinema, while they have a dramatic function, but it seems that their identity is defined next to the identity of the male heroes. In these works, the characterization of women is controversial in many ways.

A comparative analysis of Women’s Clothing designs in Minab and kalpouregan pottery in Baluchestan based on intertextual approachAbstractThe political and geographical proximity of Sistan and Baluchestan and Hormozgan provinces is effective in creating their cultural commonalities. Is the study of prefixes as well as the commonalities and differences between the designs used in the two mentioned art industries. The questions of this article are what is the background of the designs of Minab women's clothing and Kalpurgan pottery and what are the similarities and differences between them? This research is qualitative, descriptive-analytical and has theoretical foundations based on the intertextuality approach. Its information is based on library studies and field observations. The results indicate that the use of common contexts such as nature, ethnic beliefs and women's tastes in creating commonalities between Kalpurgan pottery motifs and Minab women's clothing motifs, these commonalities in the use of visual techniques such as repetition, symmetry and balance. It is evident in the design structure of the designs, which includes three types of plants, animals and geometric, especially the widespread use of geometric patterns that are mainly manifested in the form of circles and rhombuses in pottery and can be seen in the shape of triangles in women's clothing designs. The existence of these commonalities along with a few differences leads to the emergence of commonalities in the culture and arts of other regions and, of course, is effective in strengthening their cultural values. Key Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's Clothing.Key Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's ClothingKey Words: Sistan and Baluchestan, Minab, kalpouregan pottery, Women's Clothing

This article(Comparison of the two narratives of the Old Testament and the Qur'an about the temptation of Adam and Job (pbuh) by their wives and its representation in Christian and Islamic visual arts) compares the two narratives of the Old Testament and the Qur'an concerning the temptation of Adam and Job (PBUH) by their wives and its representation in Christian and Islamic visual arts. The comparison of the how of deception and temptation of the two mentioned prophets by their wives that is, Eve's lack of patience towards the sanctity of eating the forbidden fruit and Rahma's lack of patience towards divine trials and their reflection in the visual arts of two Christian and Islamic cultures in the first-hand sources, is of the goals of this study. This is a comparative study and data collection has been done by exploring library documents and works and art treasures. Although in the text of the Holy Qur'an, not only is the fault of the temptation of Adam and Job not on the shoulders of their wives, but there are very clear interpretations that clearly reject this accusation, but on the other hand, some of the covenantal stories asserted the mediation of Eve for the temptation of Adam and also in Islamic hadith and commentary sources we can see traces of attributing some sins to Job's wife. However, the issue of the representation of Adam's temptation by Eve and Job's blaming by his wife Rahma is clearly evident and frequent in Christian art, but this is not the case in Islamic paintings. Regarding Adam's temptation by Eve and its consequences, such as their expulsion from heaven, Islamic paintings do not explicitly blamed Eve and sometimes they have given her equal dignity with Adam, and in the paintings related to the story of Job, no sign is found indicating the temptation of this Prophet made by his wife or reprimanding him by her.