نشریه پژوهش های انسان شناسی ایران
سال دهم شماره 2 (پیاپی 20، پاییز و زمستان 1399)

In this research, we have studied the perception and encountering of the new generation of girls with the concept of virginity. The research focuses on the life experience of girls who have had free sexual intercourse. Each of them makes different decisions about their body and destiny in the face of virginity and non-virginity concepts.  In the theoretical part, we have used the purity and danger theory of Mary Douglas because of the overlap with the issue of virginity in Iran and the relationship between purity and impurity of the body in the concept of virginity. In the methodological section, the focus of the research has been on ethnography and fieldwork. In this study, 50 participants were interviewed. The age group of the participants is 18 to 30 years old, single, with university education, and economically and socially in the middle and upper-middle level. Young girls' perceptions and encounters with virginity are vague and complex. The young generation, with conflicts and contradictions between individual desires in sex and social pressures related to the value of girls' virginity, despite the initial violation of the norm, but eventually girls are forced to follow and accept the prevailing norms, and in order to be accepted in society they must provide physical virginity and they have to perform virginity restoration surgeries.

Proverbs in every society mirror the lifestyles of members of a community and are part of the cultural heritage of previous generations. Gender proverbs in every language and culture determine the social status of men and women. The expectations of the community outline their members, the way they are prioritized, and ask their members how to take their paths.  Laki's culture and language are full of gender Proverbs that imply the construction and representation of gender culture. These proverbs are based on differences and oppositions, and they have imaged a woman as other than a man. In some of Laki's proverbs, the identity of men and women is relative to one another, and their status is defined relative to one another. In Laki's gender proverbs, men are portrayed in a superior social position than women. It is assumed that men have more intellectual and mental abilities than women do. In these proverbs, the lineage is patrilineal, and the male children of the family are depicted as flag bearers and survivors of the family as well as family name and traditions.In this culture, there is a strict attitude towards raising boys and girls and it is recommended that bringing children up to be avoided in social and economic conditions of comfort and welfare. And in sexual deviations, prejudices and judgments are negative about females, and women are thought to be seductive and provocative.

The painting of the Shah during the Qajar period is one of the main subjects of court sculpture. The face of Naser al-Din Shah (1247 AH - 1313 AH) during his reign goes through a different path from beginning to end. In the early period, his face conforms to the standards and aesthetics of Iranian painting and in the last period of his reign, his face is influenced by the photography industry and social change. A trip to Europe changes European realism and painting. The general question in this article is as follows: What are the changes in the sculptural images of Nasser al-Din Shah in the early and late Qajar period, and the aesthetic criteria of each period due to changing social conditions? Given the importance of paintings of the Shah during the Qajar period, these changes in a painting by Nasser al-Din Shah Qajar are the subject of this study. In order to investigate this issue, the first sculptural painting in the Nasiri period is examined, and then the evolution and differences and similarities of paintings. The content of the present study is qualitative and the method of collecting information is documentary (library) and the research method is historical-comparative. The results indicate that during the long period of Nasser al-Din Shah, Sculpture painting with the theme of the king is seen as one of the main themes in the art of painting. In the early period of his reign, Shah's painting was influenced by the Iranian painting art of the previous and early Qajar periods and has an ancient and idealistic look. In the painting of the last period, due to the influence of social developments of this period, he tends towards realism and photography. The face of the king is humane and real. The subject of a painting by Nasser al-Din Shah can be seen in both periods, but the view of painters has changed according to the social and political conditions of the early and late period, and this is reflected in every painting with the subject of the king. These developments are the result of the Shah's change of mind, connection with Europe, social change, and the use of the art of photography. These factors show that art in both periods is affected by social changes and the view of artists on the subject of sculpture changes with social factors and shows the view of the subject of man in the art of sculpture. [1][1]. This article is the result of a research core entitled "Study of the Art of Sculpture Painting of the Qajar Period" approved by Al-Zahra University

A vast majority of specialists in the field of rites are of the belief that the ritual is a phenomenon that they can NOT recognize unless they observe it. Most of the rituals have elements in common but differ in their function and purpose. One type of ritual that plays a significant role in human life in many cultures with different religions is the “Healing Ritual”. Since mankind and its needs, in particular, the issue of healing in a therapeutic phenomenon is important during the process of studying therapeutic rituals carried out by theologians, ethnologists, and anthropologists, all aspects of the researches revolve around humans. For this reason, the dissertation aims to investigate two significant stands, one from the scientific view represented by Malinowski and the other from theologians represented by Eliade. In the process of this study, we get close to the possibility that biological humans and religious humans lie in a situation in which they are coincided in the critical moments, the ritual situation in which they take action to solve the crisis. The research methodology is based on field, documentary, and analytical studies. Regarding the field study, direct observation of the Zār therapeutic ritual, as well as interviews with local organizers & informants in this field have been conducted. Regarding the documentary study, Persian & English books, research papers, and documentaries relevant to the subject have been reviewed.

Bakhtiari handwoven is considered a clear example of cultural and artistic products that have always had an economic purpose. However, due to the limited market demand and reduced production range, their economic role has diminished today. While in today's society, the introduction and use of all or part of these arts in order to continue in the next generations, strengthening identity, repairing economic shortcomings, production, indigenous, creating development and sustainable economy is especially vital, especially among Bakhtiari tribes. Therefore, serious attention to the economic and artistic development of these weaves is necessary. The purpose of this study is to investigate the role of factors involved in the economy of handwoven dependent on the areas of production, distribution, and consumption in the current situation. The research method is descriptive-analytical and in terms of qualitative nature. Information has been collected in two ways: library and field and their analysis has been done based on thematic analysis. Using targeted and non-probabilistic sampling, 34 people were interviewed by snowball method. As a result, in today's society, handwoven according to the existence of a set of social and economic factors, have less opportunity for economic emergence and success, including low wages for a weaver, high prices of weaves, low level of knowledge and type of presentation of woven products, the low role of values and activities of ethnic networks, entrepreneurial role, the role of exports and advertising.

In the light of the history of the ancient religious beliefs of the indigenous peoples of the Iranian plateau, and especially of the eastern lands, the effects of the Mesopotamian religions have remained somewhat obscure. One of the examples that can be mentioned is the influence of the Ishtar goddess in Greater Khorasan, which is manifested in the tomb of Estir on the desert shore. This Article is based on signs; Small but solid signs that, with proper placement, give a relatively clear picture of the presence of the Babylonian Ishtar goddess in the heart of Khorasan. Statements such as Star etymology, the gender of the pilgrims, and others reveal Piere Estir's conformity to Ishtar. The method of the present study is based on ethnographic approach using library resources and field observation simultaneously. This study shows that Piere Estir, according to the existing propositions, is the Babylonian goddess who settled in this land and continued to live in the Islamic form until the contemporary period and has been transmuted.

"Shelter" is one of the basic human archetypes that is embodied in the "homeland"; A body for the emergence of the worldview and social structure of people with common cultural, political, linguistic, and historical characteristics. Anthropologists have proposed two components to the definition of "homeland": the originality of the border and what is seen within the borders. According to this issue, land, government, and enemy are components that each have a share in creating this concept and according to the paradigm of each historical period, it becomes more or less important. In Shahnameh, "Iran" or "Iranshahr" is the homeland in which all narrations are formed; But the fusion of real and surreal places, mythical and historical governments, and various enemies in Shahnameh makes it difficult to identify the homeland. "Place" is the most important and obvious component for defining the concept of homeland, so in this study, in order to obtain the definition of "homeland", the "places" of Shahnameh are divided, described, and analyzed. "Surreal places" are a reflection of the Iranian mentality about the settlement and the ideal king, and "real places" depict governmental and social structures. The study of real places and surreal places reveals the fact that "homeland" in Shahnameh is a mental, collective concept and includes a sphere of civilization; it is a collection of cities and people that are interconnected and managed by a powerful central government and protected from enemy damage.

Modernism includes one of the subject matters which were expanded in the various economic, cultural, political, and social fields nearly in the late 19th century. . Modernism entered the fields of literature and story writing gradually and got away from traditional forms and old expression techniques due to enjoying specific literary features. Modernism has characteristics such as anti-traditionalism, humanism, individualism, libertarianism, abstractionism, dehumanization, relativism, protest against the modern industrial world, anti-heroism The emphasis is on the subconscious as well as feminist tendencies. Ms. Mehrnoosh Mazarei is one of the contemporary immigrant story writers who has written several short story collections in the field of Modernist short stories. In this research, we attempt to analyze modernism features existing in the stories regarding votes of Charles May and Susan Ferguson with the descriptive-analytical method, As well as her importance of the place of women's rights in patriarchal society according to the sociological theories of "Anthony Giddens" having investigated elements of modernism in four stories selected by Ms. Mehrnoosh Mazarei. The results of the research showed that she could have figured out her stories by enjoying many elements of Modernism such as starting a story without introduction, Dream-Reality Confusion (DCR), Nonstory, and Character's subjective multilayer.

Glynbala is a doll and a kind of traditional toy for women and girls in most parts of Azerbaijan. Most of these areas have their own highlands, which differ in their physical structure and symbolic social function. In this case study, the focus is on the clay that is built by families in the village of Alvarez in the city of Sarein. The Glenn High doll among the people of Alvarez village also shows the role of the village girls, in other words, educating them about their future duties and social responsibilities. In other words, Glynbala socially reproduces the small scale of Alvarez women and their role in the family for children.In the story of Glynbala, the people of Alvarez have a temporal and spatial item that has a somewhat structural tone and color to the culture of the Alvarez people. The climatic and biological conditions of the story show that the place of the story is a mountain with long and hard winters and short and dull summers. Everywhere in the story is full of difficult social life conditions that take place in winter. The problem of roads and means of transportation is related to the natural ecosystem of this mountain village, which is mentioned again in the story. It should be noted that in the anthropological analysis and interpretation of this article, we have used the theory of symbolic and interpretive anthropology. The Glynbala in terms of appearance and symbolic function with other Glynbalas cannot be said to be fundamental but minor. The story attributed to this Glynbala is for the people of Alvarez. Stories with this theme are rarely seen in similar stories.

Anthropology of art is an anthropological approach that studies art in the context of the society that produces it, and believes that it is possible to study the art of a particular society more in relation to its place in that society and to understand it somewhere. Which is produced, differs from the understanding of members of another community. In this study, an attempt was made to study the qualitative dimension of carpet weaving, which is called "Hali" in Turkmen, in the village of Doydokh, and to perform qualitative analyzes. Research data were collected through interviews, observation and review of library and electronic documents. The main question of art, especially carpet (silk weaving), what role does it play in the economic, social and cultural interactions of Doydokh village? What is the role of the artist in this regard? The results show that the carpet, while competing, causes the cohesion and unity of people in society and is a kind of link between them. Art and artist in this society are equivalent to work (Ish) and worker (Ishli / Ishchi). The artist has a social, economic and cultural status, skills in the type of texture, texture quality and raw materials have made this product different in Iran and the world, and this has encouraged the artist to try to maintain this distinction. In addition to being the main source of income for the villagers, the carpet is one of the most important factors in preserving and transmitting ethnic and historical identities. Of course, in recent years, there have been changes and developments in the type of carpet designs and it has often been influenced by the tastes of buyers. Nevertheless, the artist of the village of Doydokh creates economic, social and cultural prosperity by creating a special artistic object.

A Cognitive Study of the Mothering Meaning Evaluation and Family Form Changes Mediated by Contemporary Medical Contexts Farzaneh Farshadi[1]Mansour Vosoughi[2]AbstractThroughout the history, the mothering formation has been articulated differently due to the mediators such as health, medicine and technology. The articulation of the mother-child relationship or the act of childbearing has been changed through mediation via historical necessities, and different families, such as the extended, the nuclear, have been formed.Thus, has the content or meaning of motherhood re-articulated in a historical process along with the changes of family form? If so, how do semantic changes occur with the actor’s understanding? This article seeks to discover the answers with theories of Simmel, Husserl through concepts of form, content and consciousness.The semi-structured interview is the base of collecting data and conducts by the components of a researcher-made ideal type. The interviewees are classified based on chronology context.Finally, three types of articulation of the maternal semantic system (Transition, Balanced, Voluntary) are recognized, which are related to three forms (Semi-nuclear and Semi-autonomous nuclear, Adjoining), respectively.As a result, the attitude towards childbearing (value) is also articulated in new understanding by the acquisition of knowledge, understanding of the subject of cognition (body) it is in this new formulation of value that another stage of maternal meaning is constructed for the actor.   Key words: Consciousness, Family, Form and context, lived experience of mothering, Mothering meaning  [1] PhD Student in Cultural Sociology, Research Sciences Branch, Islamic Azad University, Tehran, Iran[2] PhD in Sociology, Research Sciences Branch, Islamic Azad University, Tehran, Iran (Corresponding Author)vosooghi_mn@yahoo.com

Power and Agency and Women's Ritual Performances(A Study in Women's Plays before 1950s) Roya Portaghi[1]Mohammad Homayoun Sepehr[2]Rashidvash Vahid[3]AbstractIn some parts of Iran, women used to perform in private women's gatherings away from men's eyes until the 1950s. To show a temporary picture of their aspirations. The laws of society limited their freedom and power, and their needs were met in an aura of dream. Finally, it was manifested in them through dramatic movements and current narratives. The question is: how did their ritual performances relate to their aspirations and to their position as the second sex? The methods of this research are documentary-field. For field data, 7 women from Tehran in the age group of 65 to 75 years who were the main performers of the plays were interviewed. The most famous female plays were identified and classified through documentary studies to be used in data analysis. The analysis of the collected data is based on the logic of the thematic analysis method. To understand the ritual of female plays, we used the semiotic approach of symbols, and then to explain the contradictions between the patterns in the theatrical structure, the concept of Glackman's inversion mirrors was used. The results indicate the desire for a safer environment and more power and a factor for independence and authority like men.[1] PhD Student in Anthropology, Islamic Azad University, Central Tehran Branch, Tehran, Iran.[2] Assistant Professor, Department of Anthropology, Islamic Azad University, Central Tehran Branch, Tehran, Iran (Corresponding Author).[3] Assistant Professor, Department of Anthropology, Islamic Azad University, Central Tehran Branch, Tehran, Iran.