دیوارنگاره

This investigation applies Spivak's "Subaltern Theory" to undertake a comparative examination of Mastaneh, the History of the Forgotten and Nine Parts of Desire. Spivak maintains that comparative studies in world literature are currently predominantly conducted in accordance with the logic of globalization during the capitalist era. She is of the opinion that the field of literature is currently only used as a means to ensure the survival of Western powers. When they wish to investigate other cultures, they refer to them as "Third World" and regard them as an undeveloped "other." These criticisms are exacerbated when the Western world interacts with subordinate subjects, particularly the female gender. Due to the fact that they only provide an appearance of the situation of women in relation to their objectives. For the sake of its own objectives, it only presents a semblance of subalterns, particularly those of the female gender, and achieves an idealistic and essentialist policy. However, the subaltern subject is aware that a gender that is both expanding and developing is the most advantageous scenario for her when she speaks and behaves as a woman. It is regrettable that the subjugated and marginalized individuals should disclose another history of the oppressed, which has been neglected, in the shadow of this game. Through an examination of a selection of Spivak's theoretical works, including "Can the Subaltern Speak?"(1985), Death of a Discipline (2003), and "Rethinking Comparativism"(2009), this research will demonstrate that the Subaltern can articulate her pure experiences and self-expression through literature without the assistance of global powers, correction, or assistance.

Saqanefars are structures from the Qajar period that are derived from the indigenous andritual architecture of Mazandaran. In contrast to comparable structures, Saqanfar Kijatekiyehin Babol is characterized by a plethora of pictorial themes that are specifically focused onwomen. This research aims to explore the themes and significance of women's roles in thesemurals. The research questions are as follows: -What is the reason for the increasedprevalence of women's motifs in Saqanfar Kijatekiyeh Babol in comparison to otherSaqanefars? -What are the reasons for the prominence of women in these murals? - Whichthemes are illustrated in the murals of Saqanfar Kijatekiyeh, Babol? The research employs adescriptive-analytical method, which involves the non-random selection of specific imagesfrom epic, otherworldly, symbolic, and quotidian activity motifs and their description usingan iconological approach. Significant developments and changes in women's status werereflected in the Qajar era, which saw a zenith in the redefining of women's roles in society,family, and art. The northern regions of Iran underwent a change in gender concepts as aresult of their geographical and livelihood conditions. The development of women's roles issignificantly influenced by historical, social, political, and cultural factors. The Tekiyehbuilding's simultaneity with the Qajar period, the fundamental changes in social relations,clothing styles, political positions, and aesthetic concepts of women, as well as theabundance of women's images, suggest a direct connection between these motifs and thepolitical and social developments of the era. This is indicative of the impact of indigenousartists on the representation of political and social conditions within a particular historicalcontext.