فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال یازدهم شماره 3 (پاییز 1398)

Cinema, as a medium that has gained a solid standing amongst popular institutions, can be analyzed and explored in addition to artistic aspects, such as sociology. Reflection theory is one of the theories underlying the sociology of cinema and looks at the theory from the point of view of cinema where the existence of a close and unbreakable link between films produced in a social context with that context itself in general and its constitutive institutions in particular. He considers it inevitable. In this study, we try to analyze the social role of female characters in films made between 2011-2017, using qualitative content analysis method, based on this intellectual position. The target population was purposely selected from the winners of the Best Film, Best Script and Best Film sections from the viewers of the Fajr Festival. In the main section, the analysis of the social role of the characters is based on five characteristics: 1. The genre of films 2. The social class of the characters 3. The type of the characters' work 4. The social self-efficacy of the characters 5. The characters' actions. In this way, the position and social status of women as the constituents of half of Iran's population - through the depiction of the image presented in the cinema of these six years - is determined.

In any society, artworks present a set of information about the social status, which by decoding and understanding the language, one can realize the features of the contemporary society. Music artworks, as an art and an important element of the cultural system, have a significant role in shaping and reflecting the societies’ gender relations by displaying the concept of woman and different kinds of femininity. Iranian traditional music, as an art that is produced and published in socio-culture environment of Iran, can be effective in identifying the cultural characteristics of Iran. This study with the subject of the representation of women in Iranian traditional music in the sixties (1360s), aims to explore the ways of women's representation and women’s image in the lyrics of these works. This study is conducted based on a qualitative approach and qualitative content analysis method. Using inductive categorical system, this study deals with the content analysis of 35 poems form 35 albums published in the sixties. The results of this analysis with 21 concepts are categorized into three titles named the woman as social object, the woman as romantic and erotic love object, and the central category of woman as perfect love object. Analyzing the status of woman in this love relationship, we can realize the state of woman’s representation in both the private and the public arenas. The lyrics content analysis indicates the women’s minimum presence in public and social arenas, and that there is a negative view in the form of cultural codes towards them. However, in private arena, the woman has an outstanding position in love relationships and as man’s love object. A healthy love with having symmetry and a prerequisite of equality is expressed towards her.

This article was conducted with the purpose of the archetype analysis of the "Red Ribbon" film directed by Ebrahim Hatami Kia, focusing on the female character of the film. The story is about a woman named Mahboobeh, who returns to her father's home in the south after the war. She encounters two men, Davoud and Jomeh, the first of whom is in charge of destroying landmine and the second one of them lives in a land full of tanks left by the war, and there are incidents and clashes between them. The theoretical framework of the article is based on the viewpoint of Jean Shinoda Bolen, who achieved new ideas by combining Jung's psychological and mythological achievements. She analyzes the personality of individuals based on ancient features inspired by Greek myths such as Zeus, Demeter, Hephaestus and Athena. Bolen believes that each of these archetypes possesses characteristics such as seeking power, seclusion, eloquence and order that overlap with their performance in Greek mythology. These characteristics also exist in humans in different proportions and make the individuals have their own personality, character and choices in life. The results of this research which was conducted in descriptive-analytical as well as the library and field methods show that Aphrodite, Hephaestus and Hermes archetypes are dominant in Mahboobeh, Davoud and Jomeh, respectively. Both men were trapped in the past, ignoring the present and the future. In fact, the one-dimensional and extreme life of Davoud and Jomeh attracts them to Mahboobeh. Eventually, however, a new development takes place following his interest in Mahboobeh and his aphroditic energy.

Rites are a collection of actions and speeches that are held in a cult and community which believe that existence of the effective presence of supernatural beings has influence on them in particular ways. A number of them are collective rituals, which votive dastarkhans are from this group. A significant portion of them are performed only by women and only in the presence of women. In this article, we have attempted to answer the question of how can the votive dastarkhans in Iran be regarded as a rites de passage and analyzed on this basis? As the results of the survey show, these small communities, though not defined by Arnold Van Gennep , are not fully indicative of rites de passage stages, but with the more developed Turner's perspective, the components of these rituals can comprise Turner's stages. The present research is based on recognition of a part of Iranian women rituals that have been so far less scientifically explored, and are usually only referred to as folk customs. Therefore, a number of votive dastarkhans ,in five region, have been studied by qualitative method using rites de passage theory, and after the analysis of ritual components according to the nature of the passage stages. Previously, there have been found examples of aspects of communitas and liminality, as well as the forms of the sacrament transmission.

Based on archaeological and anthropological findings, some of ancient societies were governed by social system of matriarchy. Among the ancient civilizations of Iran, Shahr-i Sokhta is a proper case study to examine the social status of women, due to its continuous publications, which are results of long-term scientific excavations. This article is a historical research with descriptive analytical method and quantitative and qualitative data, looking for evidences of matriarchal system in Shahr-i Sokhta. Seals in an ancient society represent prominent social status, state power, or participation in trade. In Shahr-i Sokhta graveyard, seals are almost entirely owned by women. Based on the high number of valuable objects, many of the buried females can be considered rich. Plentitude of these objects, especially in the second period, when the city’s population and commercial capacity reaches its peak, reveals that women of Shahr-i Sokhta (at least in the second and fourth periods) were on average richer than men. Guns are rarely found in Shahr-i Sokhta, and instead, alongside the deceased women often there are decorative objects and various accessories. Given the ownership of the seals, it can be suggested that the goods manufactured in the surrounding villages, have been sold in the city or exported to other regions by women. Based on the evidence analyzed in this article, the author believes that the society of Shahr-i Sokhta was governed by a matriarchal system, at least in an important part of its 1300-year history, and its women have contributed significantly to the social and economic formation of this civilization.

The aim of this study was to understanding the status of Kurdish women in the Kermanshahan tribe community in the Qajar era and their impact on social, economic, and political structures based on traveler's reports, documents and documented archaeological data in the region. Travelers provide unique information about the life of the nomads and the tribes and other aspects of the social life of women. They consider women to be the backbone of any effort and believe they have played an important role in the sustainability of the family and the tribe system. An interesting point is that has been preserved the gravestone of women in this area, which belongs to the Qajar era. The motifs of the gravestones of the Kermanshahan tribe community have reflected the social and individual status of the deceased in their time. Therefore, this research is based on a descriptive and analytical approach and based on library resources and field data, examines the subject. Research findings show that Kurdish women in the Kermanshahan tribe community in the Qajar era have played the undeniable role in social, political and economic structures. So we witness the presence of Kurdish women among the Kermanshahan tribesmen in the role of the lord and the head of the society, the ownership of women on earth, the production of handicrafts and their role in the "waqf" operation.

Understanding how opportunities and resources are distributed is effective in shaping inequalities.The perception of gender justice is influenced by discourse space and Subjective structures. The purpose of this study was to conduct a deeper study of gender justice in the context of ethnicity as a socio-cultural context of social phenomena, using with qualitative method of a qualitative Grounded Theory method. The sampling method of this study is purposive type of Maximum Variation Sampling. In-depth interviews with 19 people Turk, Kurd and Gilak subjects continued until theoretical saturation. The types of perceptions of gender justice, the categories and determinants of gender justice were explored using the Grounded Theory method by MAXQDA software. The findings of the study showed that Ethnicities have two types of perceptions of gender justice: 1. perception of Traditional gender justice 2. perception of modern gender justice. They also redefined Perceptions of gender justice into four major categories: 1. The Perceptions of ritual of gender justice, 2. The Perceptions of gender justice in empowerment, 3 The perception of exchange gender justice, 4. The Perceptions of justice in freedom of action. Factors discovered in the emergence of gender justice from the narratives include: emotional capital, symbolic capital, cultural capital, economic capital, social capital, stereotype.