فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال دوازدهم شماره 3 (پاییز 1399)

The image of women in Iranian cinema has always been represented in various genres. From the feminist discourses that seek to portray the existing discrimination against women in each period to the genres that refer to the role of women in the war years and beyond, each has addressed this issue in some way. In the meantime, however, less payment has been made to women in a particular religious ideology. "when the Moon Was Full" is one of the few films that represention the image of a woman in a religious ideology (Taliban group) in the form of a love story. Therefore, in this article, by combining Bart's semiotic analysis method and his analysis narrative, we will seek to explain and represent the image of women in this film. The results of the analysis show that the director of the play, with the dramatic narrative of a senior member of the Taliban, seeks to show the ideological impact of thinking in which no obstacle can lead to the achievement of the sacred and lofty goal of the Taliban. This image is narrated from the Taliban ideology that a religious man must even go through his wife (mistress) and child in order to achieve his goals, and their preoccupations should not stop him from carrying out the missions that the Taliban group has planned for them. As a result, the image of women in this group is considered a worthless asset against the values and goals of the Taliban and even an additional obstacle to achieving them.

Clothing and ornaments play an important role in shaping the collective identity of tribes. How the body is decorated is a kind of indicator of the structure of life and culture of a people. Adornment has always been an important part of the life tradition of people, especially women. In this regard, Turkmen ethnic groups that are considered subcultures of Islamic civilization and live in parts of Central Asia and Iran, they are divided into different tribes one of which is the Tekke tribe. The ornaments of the Turkmen tribes have special identity features while preserving the collective identity of the Turkmen people, it also differentiates the identity of its tribe. The women of the Tekke tribe have an ornament called Tumar, which, as a protective frame for prayer paper, adorns women, especially the young bride of the tribe. This article intends to study the identity, belief and ritual signs of " Tumar". These are the basic questions of this article: What semiotic layers have been used in the design of this ornament (Tumar)? And apart from its basic uses (prayer frame and decorative cover), what other semantic implications does it have in the semantic discourse of the Turkmen people? In the article, visual signs in 7 sample Tumar have been qualitatively read semiotically. Data were collected from written, oral and field documents. The method of descriptive-analytical study is layered semiotic approach. In the semiotic analysis of the Tumar ornament into six perceptual layers, it was concluded that the description, analysis and interpretation of the signs make significant use of its initial use. The semantic implications of the signs refer to deep and rooted concepts in ethnic beliefs and shamanic and Islamic faith.

the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is to study the characteristics of women and their presence in the coffee plantations of house in hossein and agassi . in this regard , the present study seeks to answer these questions : how is the visual characteristics of women in these pictures ? the method of this research is analytical and data collection method is library type . the results indicate that women as a dynamic element in agassi 's paintings are present and have a high place with islamic - iranian coverage in the composition of works . in his works , women are more considered in epic forms , women in his works are depicted as heroic and masculine , while preserving women 's identity . in shahnameh , women play the main roles and play the most important role of men , but this does not mean that they have never had a significant impact on the process of playing the role of men . these women are wisdom , wisdom , wisdom . in this paper , it is concluded that using visual cues to influence the audience in the works the main character of women have formed . to use these symbols to visualize a different discourse in the meaning of their works on the role of these women .

Cinema is one of the tools that republish and establish definitions of gender in society. So it can be assumed that the filmmaker can subvert and conceal these concepts in this way. Chantal Ackerman uses arrangements to consult with feminists and the dominant elite to expose hidden ideological contradictions. It seems permissible for the characters in the film to be challenging the traditional characters and so selecting the most special posts in these fields, by accepting many different norms for women. It is assumed that he wants to show in his works, by the reflecting women in the field of work, family and society, how affect the ideology and discourse of gender the formation of attitudes and perceptions of individuals, its relations and social interactions.This is manifested in the content of these films, feminist theory in postmodern, feminist literature, such as Laura Malloy will be used, and who believes the birth of creativity. There is always a way to change the code, which has become power. These images prove cinematically that the domestic lives of women is an artistic thing. In other words the private lives of women are being destroyed by the forces of history as much as they are living in the political arena. Besides that, unquestioning, unchallenged, and irreversible pressure on women in family roles, such as in prison, is social stupidity. And eventually leads to destruction. This is the kind of violence that can lead to more violence.

During the reign of the Timurids, the art of painting reached such a level of development and evaluation that it became a model for all future schools of painting in Iran. According to the approach of the Timurid rulers, we see the maturity and perfection of music in this period, by studying the existing Painting, one can understand the very important and prominent points of musical life, including the presence and service of female musicians and the instruments and innovations of this art in this period. In the history of Iran after Islam, the Safavid era is also a turning point in terms of important political, cultural, and social changes, and Safavid miniature, like other branches of art, was no exception to this rule. The present article intends to comparatively examine and explain the identity and social status of female musicians with a comparative approach and in a descriptive-analytical and historical method and according to library sources and museum documents left from the Timurid and Safavid eras. The main question of this research is as follows; How are the two dynasties’ insights into female musicians explained in works of art? Studies show that despite the similarity of the maps of these two periods, in the Safavid era, however, greatness and respect for women and musicians were more than the Timurid period. In the Timurid era, female musicians were performed in quiet, unhurried gatherings with the king, usually in the lower house. In the early Safavid period, women were depicted with court men and close to the king, and in the late period, in crowded scenes; Instead of playing more, they dance and their position has seen a temporary decline.

Comparing Subjective and Objective Dimensions of Body Contouring among Three generations of Women in Arak City Abstract The study of changes occurred in perception and performance of different generations is based on the assumption that, through experiencing different social revolutions, different generations have different experiences of beauty values, norms and performance. Based on this, the present research was carried out to study subjective and objective revolutions of beauty among three generations of women in Arak city. Theoretical framework of the research is developed based on theories by Bourdieu, Giddens, Inglehart, and feminism. The research methods were cross-sectional survey and causal-explanatory. The sample was calculated as 383 from three recent generations of women in Arak city (age groups 19-68) based on Cochran formula; but, to consider sample loss, the questionnaire copies were distributed among 390 women. The results showed “intergenerational distinctions in beauty's objectivity and intergenerational congruence in beauty's subjectivity” based on which we see that even if there are no significant differences among young, middle-aged, and old generations regarding physical self-concept but there are significant differences among these three generations regarding manifestation of and attempt to body contouring which appears as body management. Keywords: women, beauty, medium, inclination towards body contouring, body management, norms, self-concept

This study has investigated some factors affecting the childbearing ideals of married women in Tabriz. In this regard, various theories have been used that have discussed fertility and childbearing from an economic, social, demographic and cultural perspective. The research method is survey and the statistical population is all married women aged 15-49 in Tabriz.Through Cochran's formula, the sample size is 446. Sampling method is multi-stage cluster sampling. In a generational comparison, this study examined and compared the two age groups of 15-34 and 35-49 years old. According to the findings of the present study, in both generations of married women aged 15-34 and 35-49, the cost of children has a negative and significant relationship with women's ideals of childbearing. In the younger generation (15-34 years), there is an inverse and significant relationship between the age of marriage and the ideals of childbearing. But this relationship was not significant in the generation of 35-49 years. Also, in both generations, the relationship between women's socio-economic status and ideals of childbearing has not been significant. According to the results of multivariate regression test for two generations of women, the variable of children's cost had a greater impact on the fertility ideals of the generation of married women aged 15-34 years. Given what has been said, the cost of childbearing has become one of the major concerns of families in today's society. Increasing the age of marriage and increasing the livelihood and educational concerns of families can affect the determination of the family dimension and the future of the country's population.