فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال پانزدهم شماره 4 (زمستان 1402)

The pictures of women in pictorial carpets were mostly woven in the form of mythological figures or images of European women in the Qajar era. Among these carpets influenced by both of discourses there is a carpet with a woven image in a seating position, which is preserved in the ‘Ahadzadeh Gallery’. This work is highly similar to the carpet of the queen of Armenia. It is also influenced by the ‘world carpet’ in which world is placed on the back of the cow-fish.Considering that this carpet is inspired by carpets with a mythological concept and picture of a woman, therefore, in this study the relationship between different texts is being addressed. The research also aims to review and study the connections between the England's ‘Queen carpet’ and the ‘world carpet’ with the carpet preserved in the ‘Ahadzadeh Gallery’; the study targets the following question 1. how the relationship between these carpets could be justified, considering the European and mythological concepts behind those two carpets? 2. What changes have occurred in the process of establishing these relationships? This study is performed based on a descriptive-comparative research method and analyzes outcomes according to the hyper-textuality concept of Genet. The findings of the research indicate that there are two kind of relationship between the existing texts of hypotext and hypertext, 1. Imitative or homotextuaity relationships and 2. Changed relationship. The relationship between the first and third text is kind of ‘hypertextuality’ and the relationship between the second and third text is kind of ‘intertextuality’. Also there is a transtextuality between the first and the third texts as there has been a change in both the style and the content of the text, as the new text does not only addresses one discourse, but also interpret a connection between the two discourses of Archo-Eropean, and the target carpet has acquired a new identity.

Character is a fundamental category in Arab literature, influencing both literary and nonliterary works. In resistance poetry, its significance is particularly conspicuous and vibrant. In order to double the impact of one's own words on the audience, the poet may express the characters indirectly and without specifying their names at times, as a result of the political and social conditions in the war-torn regions. At other times, the poet may do so explicitly. The character within the poem serves as an embodiment of the poet's thoughts and imagination. Through the portrayal of a living individual and the immersion of that persona into the realm of his imagination, the poet endeavors to establish a meaningful connection with the readership while also allowing the character to embody his own sentiments and behaviors. Philippe Hamon, a renowned and contemporary French theorist, is among the few authorities who has a precise and exhaustive theory of the context of character. A comprehensive understanding of the hidden meanings and concepts in characters can be attained by adhering to his perspective, which incorporates the views of earlier theorists.By conceptualizing character as a symbolic context comprised of the signifier and the signified, Hamon broadens the fundamental semiotics of character. In doing so, he argues that character is not merely a psychological construct, but rather a real-world entity. Characters are processed in accordance with four principles, according to Hamon's theory: types, character dimensions, signifier, and signified. As a result of the shift in the political and social climate of the modern era, which compelled Nizar Qabbani to address women's issues and defend their violated rights, he devoted considerable poetic space to this segment of society and depicted the physical and spiritual beauty of women. Nizar's poetry exemplifies the exquisite unity of women and poetry; these two elements are so intertwined that they cannot be separated; this is the reason why she has earned the reputation of a woman poet within the realm of Arabic poetry. Hence, the poet's poems prominently feature the female context. The present study employs a descriptive-analytical approach and draws upon Philip Hamon's personality theory to analyze the diverse facets of the female persona in Nizar's poetry courts. While emphasizing the significance of this context in Qabani's poems, it also clarifies its function as a means of conveying the poet's intended message. In conclusion, the research findings indicate that Nizar Qabbani's poems comprehensively illustrate every facet of Philip Hamon's theory. By opting for a moderate approach rather than ambiguity and a direct tone when expressing ideas in his poems, he has effectively increased the value of his poetry. One could say that Nizar's poetry and thoughts have elevated and evolved the status of women; the majority of the female characters in his romances are figurative, which is consistent with the general tone of his poems concerning the corrupt Arab society of the time. It is compatible because the poet often had to suffocate and communicate his ideas in an invisible manner. Furthermore, since he does not believe in the central reader, he employs the method of application the pronoun of the audience to represent the female characters. Thus, the character in question disappeared from the reader's mind and submerged her poem in an aura of ambiguity, which is the consequence of the ominous phenomenon o Furthermore, one may observe an intermediary, a pointer, or a reference, in addition to virtual characters. Frequently, the external and psychological aspects of the description of the female character are conveyed, and the poet employs a variety of literary devices, particularly similes, to establish an intimate connection with the reader. The reader is able to readily envision the poet's depicted character. Furthermore, an examination of the meaning reveals that the majority of the information regarding the nature of women originates from the poet himself. This is evident on both quantitative and qualitative levels, with the poet's descriptions being melancholic in the quantitative sense. And to evoke empathy in the audience, he added melancholy; he utilized both direct and indirect methods in the qualitative dimension. However, upon closer examination of the evidence, the reader discerns a discrepancy between the characters' portrayals and their actual performances, leading to the conclusion that the nomenclature and origin of certain characters are not connected to Hamon's theory

Surveys and researchs show that the consumption of luxury goods and services by women in our country is increasing, and for this reason, it can be said that it is an effective phenomenon on the emotional sphere of social activists. Some researches have stated that the consumption of luxury goods It is very effective in the feeling of identity or even turning sadness into happiness, and the social processes of this change of feelings is the goal pursued by this research. Considering that consumption is basically something that appears more for women; The current research was conducted on women. Over time, the definition of emotions has moved away from psychology and found a definition belonging to social sciences, and in the theories of social sciences, emotions are expressed as follows: a physical reaction to social conditions that exist in a space. Symbolic interaction occurs. The emergence of emotion in humans is influenced by social conditions and it is at two levels, micro and macro. At the micro level of a person, feelings do not occur until they are in interaction with someone. acquires a social aspect; The researcher is not looking to study this field, he is looking to study the feeling that arises at micro and macro levels for an activist as a result of this type of consumption.The emergence of emotion in humans is influenced by social conditions and it is at two levels, micro and macro. At the micro level of a person, feelings do not occur until they are in interaction with someone. acquires a social aspect; The researcher is not looking to study this field, he is looking to study the feeling that arises at micro and macro levels for an activist as a result of this type of consumption. h h h h h

As a work of culture and art, cloth ought to be proportionate to the human body. A pattern that corresponds to the anatomical features of the inhabitants of a particular region can increase the output of regional apparel. In this discipline, patternmaking according to the body size of individuals is one of the most crucial parameters. However, sizing may not always be appropriate for all members of the community, as certain individuals' physiques do not conform to global standards. Significant advancements in online purchasing and women's apparel production have increased the significance of gathering precise data to determine appropriate sizes for individuals with varying anthropometric characteristics. Additionally, the absence of a measurement table for ready-to-wear garments is problematic. Size 38 of one brand may occasionally correspond to size 40 of another brand for identical textiles and apparel styles. Nevertheless, pattern-making techniques in numerous non-Western nations, such as Iran, primarily borrow from European and American approaches, oblivious to the variations in physical dimensions among these cultures. The objective of this research is to examine the variations in conventional clothing sizing methods and ascertain the degree to which anthropometric data acquisition contributes to the enhancement of a sizing method. The body dimensions of 1290 women, aged 20-44, were assessed using a random sample. These women were categorized into sizes 32 to 58. A comparison was made between the classified measurements and those of the Müller system. There existed a substantial disparity in several parameters between the limb measurements of Iranian women and those recorded in the Müller system. A set of new measurements was subsequently derived from anthropometric data pertaining to the physique of an average Iranian woman. Our results facilitate the development of a sizing system that is in accordance with the physique of an Iranian woman and provide direction for future researchers who wish to expand the sizing system. Furthermore, our research provides valuable insights to the global and domestic apparel industries. The fundamental inquiry lies in determining how to anticipate the intended outcome through the utilization of data pertaining to individuals with varying anthropometric characteristics. The primary objective of this research endeavor is to determine the degree to which the acquisition of anthropometric information from individuals can contribute to the enhancement of garment industry sizing procedures. This research is applied in that it was conducted through field research, library resource reviews, and the collection and analysis of measured data; thus, it is of a mixed quantitative and qualitative nature.

Roman Mythology holds an immortal and sacred place and is of great value artistically and historically as it personifies gods in the form of human bodies with supernatural powers. The mythical figures, such as gods and demigods, and epic and symbolic scenes are depicted within Roman murals in Syria. Providing an interpretation of morals and traditions, the given murals portray how the society's functional and inner values and religions are pursued. Women's clothing is manifested as a civilizational component in a significant section of Roman Syrian society. The research objective is to identify mythological themes in human patterns and reliefs and grasp their meaning by focusing on the details of women's clothing in five murals and comparing them with those of Syrian women's clothing during the Roman period as analyzed by Malinowski's need and institution components. In the general sense, the concept of functionalism implies a relationship established within an institution. What are the differences and similarities between the clothing in murals and among Syrian women of the Roman period under an emphasis on Malinowski's mythological elements from a functionalistic perspective? The results indicate that in addition to meeting clothing needs, the type of attire and practical colors in the murals and garments of Syrian women during the Roman period also address spiritual solidarity and cultural needs, such as ethicality, social beliefs, and orientation toward religion. There are common grounds between women's clothing in the murals and the garments of Roman Syrian women, and both entail aspects of providing protection, observing social manners, and denoting women's emotional and economic status. In Roman civilization, colors would bear sanctity and represent an individual's eminence. In the case of Syrian women of the Roman period, institutions were to meet women's needs and hold a positive role in society's survival as a whole. In addition to its role in resolving primary needs and taking recourses to meet derivative needs, Roman clothing is also displayed in the form of customs and traditions. The research method is comparative-historical analysis with documentary technique as the data collection method.

The reflection of feminist ideas and projects in fiction texts caused women to have a great desire to create women centered texts at different times. Now, with a cursory look at the previous researches in the criticism of the novel The Curse of Gray (1381) by Mahsa Mohib Ali, it is clear that most of these researches in the form of articles and theses have considered this work as a feminist text only and have limited themselves to the analysis of the elements of this approach, while the authors in the upcoming essay have tried to face the neglected issue of other critics' researches regarding the feminist criticism of the novel The Curse of Gray with a serious question. It can be considered the most important premise of this essay to resolve the ambiguity of the author's approach with regard to his idealistic effort For this purpose, the authors of this article are trying to criticize and evaluate Mahsa Mohib Ali's critical and protest approach towards avantgarde feminism in the form of the novel "The Curse of Gray". This is a research article using the qualitative content analysis method, which has been prepared by using documentary, library, interview and authoritative websites based on the authors' inferences from the research data analysis. The most important achievement of this research is the extraction and in text analysis of elements in th e field o f radical feminism such as: parthenogenesis (virginity) anti-masculinity and realization of woman's individuality, which Mahsa Mohib Ali uses these cases in th e middle of the story by changing his opinion on this. The truth emphasizes that the radical teachings of radical feminism have not achieved appreciable success in reducing gender inequalities an d oppressions, an d this has questioned the theoretical foundations o f radical feminists.

AbstractAccording to Greek mythology, Jean Shinoda Bolen (a follower of Jung's school) distinguished seven archetypes (Athena, Artemis, Hestia, Demeter, Persephone, Hera and Aphrodite) in the human unconscious and generalized them to contemporary women; If these archetypes are out of balance, some personality traits will fall into the shadow; In order to balance the archetypes, in addition to psychoanalytical methods, changing the clothing style can be used as a supplementary improvement method. The question is, how can we design a community outfit that is effective in removing the shadows of personality (women) based on the archetypal theory of jean Shinoda Bolen? In this context, by knowing the personality shadows, their weaknesses and strengths and considering the effect of clothing on the psyche, it is possible to design a clothing style that is useful in the process of the treatment. The current research is qualitative and quantitative and the tool used in data collection was a questionnaire. The statistical population is 254 women, aged 20-45 in Tehran which was conducted using random sampling method. According to the statistics, about 40% of population under study have personality shadow. Data analysis was done using SPSS software in the form of descriptive statistics with frequency and percentage. The results indicate that if it is possible to use motif, form, color, design, etc., which engages the person in communication with herself in the clothing style, it can be used as a solution along with other psychoanalytical solutions. In the contemporary society, where the presence of women in various social fields has become more prominent, female identity is very important, and in the social of Iran, where tradition and religion play a role in the lifestyle on the one hand, and on the other hand, some characteristics of the modern society in the lives has appeared, the clothing style of women as a part of the society that shows the most changes has a double importance.