نشریه پژوهش های انسان شناسی ایران
سال یازدهم شماره 1 (پیاپی 21، بهار و تابستان 1400)

This article attempts to examine the cultural-social construction of the gender subject and the impossibility of gender by theories Jacques Lacan and Judith Butler on the Transsexual subject. The interplay of Lacan's orders (Imaginary, Symbolic, and Real) indicates how the Transsexual subject forms through the gap between imaginary identity (Ego ideal) and symbolic identity (Ideal ego). Lacan argues sexual difference is beyond the sexual organs and is based on linguistic signifier as normative ideals, and Butler presents it as discourse structures that shape bodies and are expressed by performativity. The research is qualitative, data are collected through interviews and analyzed in terms of narrative research via theoretical concepts. The research field in Tehran, and research participants are seven Transsexual people who have been selected by the snowball method. Findings depict that the impossibility of realizing gender as signified represented through physical signifier by performativity. The subject's attempt in the symbolic to align with the imaginary gender dealing with the real is an insurmountable gap. The focus of gender difference/identity on the axis’ the signifier/body in the symbolic causes the loss of gender that constructs and destroys the subject by performativity as fantasy. Gender is linguistic and performative not immanent.

The education system in Iran has taken a male-patterned and gender-based approach to up bring its desired and ideal man. Based on dominant masculine discourse, the education system aims to hegemonize this discourse of womanhood through the school curriculum and one of the main specifications of it is women’s body. We have based our discussion on Foacault's research methodology, the concept of Representation of Stuart Hall, and the Discourse Theory of Laclau and Mouffe and various feminist theories to discuss the relations between the political discourses and representation of women's body in school textbooks after the revolution. We seek to uncover the ideological-political representation of womanhood and women's body in the images of school textbooks that we think is masculine.According to the findings of this article, the representation of women’s body uses a different discriminating ‘visibility’ system in images in school textbooks. This discrimination shows itself in different levels and layers, including representing the only acceptable type of sexual system in the society, mainly heterosexuals, and ignoring or excluding ‘other uncommon’ types of sexual tendencies from the images as well as the uncommon types of attire that one may choose to use differently from the acceptable and official one.

This paper focuses on understanding the function of music in religious gatherings of women in Tehran. In addition to analyzing and classifying these gatherings with a focus on music, the key role of music in shaping these ceremonies is also explored. While observing different neighborhoods of Tehran, Sangelaj district was chosen as the research field due to its diverse cultural context. The qualitative research method in the form of a case study was chosen as a tool to understand the subject in a specific period of fourteen months. In this way, participant observation was conducted on all ceremonies based on the Shiite calendar. In the historical background section, all documents, travelogues and diaries were studied. In order to study and analyze the music, the texts of the eulogy were transcribed and categorized. Based on the analysis of the data, the female majales (religious gatherings) were categorized according to the music. Due to religious and traditional considerations and restrictions for women in Iran to sing in public, women’s ceremonies take place away from the media, cameras, and public recording and broadcasting. Although some research has been conducted on women’s religious gatherings, the present study takes a new approach by considering music as the main component of these ceremonies

The main issue of the present study is the recognition of the consequences of women’s access to water resources in thesocial structure in part of the Central Plateau of Iran’s arid climate . This article aims to study women’s gender status in order to understand the issue of access of these social-cultural actors to water resources in the structure. Using purposeful sampling, the required data were collected based on “Kerman State Endowment Registry” in the period of 1871-1923 with a focus on the women’s gender status and the existence of water endowment properties and some documents from the collection of the endowment trustees of the target population until reaching theoretical saturation. Data analysis follows a qualitative, inductive approach based on content analysis. The results indicate the access of Kerman’s women to water resources during the Qajar era. The findings reveal the implications of women’s access to water resources in such contexts as the “link of actor and structure” giving women the opportunity to act and respond to the triple needs in certain frameworks.

In today’s visualized world, documentaries can reveal some aspects of human life, society’s perception and human civilization’s attitude towards it. Each frame narrates and frames environmental issues in its own way and influences responsible behavior towards the environment in different ways, which can be indicative of a social or media attitude towards the issue. This study aims to answer the question of how documentaries about the water crisis in Iran have placed the issue within the framework of environmental justice and has examined in detail how these documentaries use this framework. To achieve this goal, 22 documentaries from the 2000s and 2010s were studied using the theory of frame analysis. It indicates that the environmental justice frame does not appear very often in these films. In the films that show the issue in the context of environmental justice, the axis of “inequality in social causes of environmental conditions” is based on natural causes and blaming the environment as something self-sufficient, independent, powerful, and beyond human control, without mentioning the human causes of drought. In the context of “inequality in the consequences of environmental conditions,” this framework shows the unequal distribution of development benefits or climate change by showing the details of people’s lives on the ground and comparing the situation before and after the moment of disaster in their lives. Here, the environment is the “source of use” of people, which is exploited in an unequal way, and the affected people are powerless and passive. The “axis of inequality” is absent in the consequences of “environmental policy and management” and the social problems and conflicts around environmental degradation policies have no place in the framework of the documentaries. The general frame of these documentaries, according to the definition of “us and them,” is often based on the geographical division within a national unit.

Forced displacement and involuntary resettlement are typically due to a variety of reasons. Among these, the implementation of development projects, including the construction of dams, is one of the most important factors. This study was conducted with the aim of assessing the social impacts of forced displacement and involuntary resettlement resulting from the Kangir Dam Project in Ilam Province using a qualitative method and ethnographic approach. Data collection was done through participant observation and ethnographic interviews. The research results show that there were different types of resettlement, including resettlement within the project area, personal resettlement, and resettlement to the new site. The first type of resettlement is the most appropriate option because it allows people to remain in a familiar environment while causing the least disruption. In personal relocation, some people prefer to organize the move themselves. This allows them to live in a place of their choice where there are better income opportunities for them. However, the third type of resettlement, relocation to a new location, is usually less preferred and has negative consequences for the new residents in many ways that can be called unsatisfactory resettlement..

Traditional medicine has long been part of and accepted by the public health system. Traditional medicine is a part of people’s culture and has a significant impact on solving cultural health problems. Despite the increasing use of traditional and complementary medicine by people around the world, Iranian traditional medicine is not directly used as a complementary treatment method during disasters.  The present study aims to investigate the effects of using traditional medicine and herbal medicines during and after the earthquake. It aims to explain the extent to which the disaster-affected society utilizes the potential of traditional medicine alongside modern medicine. This study investigates the impact of traditional medicine and its use in different areas of Sarpol-e Zahab city from the fifth day after the earthquake and over a period of three years through in-depth interviews with pharmacologists and associated shopkeepers, experts in the field of traditional medicine, and consumers. The results show that traditional medicine played an important role in preventing physical and mental diseases during the earthquake among the people of Sarpol-e Zahab..

Anthropological demography has emerged as a new field aimed at a deeper study of demographic phenomena. Researchers seek to achieve what John Caldwell called the “illuminating experience” by integrating qualitative and quantitative data. The purpose of this paper is to examine the demographic changes and increasing aging in the historical city of Naragh. In terms of anthropological demographic approach, this paper used several data such as ethnography and historical studies as research method. The results of this study show that historical reasons such as famine, Hossein-Kashi rebellion in Naragh, earthquake and religious conflicts are related to macro-demographic approach and other factors such as culture and disadvantages of a social institution such as gender and economy prevailing in this region are related to micro-demography. In summary, all the above reasons have led to the emigration of many people (mainly men), negative population growth rate, age structural transition (AST) and increasing aging in Naragh over time.

This article deals with the process of gentrification of the historical neighborhood in Kermanshah metropolis. The theoretical approach is based on some opinions about gentrification and the research method is ethnography. The data collection techniques are observation and interview. 30 former and current residents were selected and interviewed through purposive sampling. The results show that Feiz-Abad, a 300-year-old neighborhood, has been transformed in the last decade by some interventions such as road construction, mass construction, and sidewalks. Economic changes in the housing market, displacement of a number of residents, especially underprivileged groups and the elderly, changes in family shape and size, and the prevalence of individual living patterns. Finally, there is a high correlation based on the history, identity, and long-term relationship between residents that has resulted in the displacement of local residents in newly built housing complexes. This interrelationship is not conscious and organized, so it cannot withstand gentrification.

The school of Bukhara painting emerged along with Herat painting and Behzad’s influences. Mahmud Muzahib, who was one of Behzad’s prominent students and came to Bukhara from Herat on the orders of Obeidolah Khan Usbek, together with some other artists combined the influences of Herat and Behzad with the features of local Bukhara painting and founded Bukhara painting with independent features. In Bukhara painting, more lyrical and historical themes were depicted. Concentrating on the main theme of history and ignoring the edges are the outstanding features of Bukhara painting. The aim of this research is to find out the course of changes of human face in the illustration of Sultan Sanjar and the old woman and to understand the similarities and differences. This investigation answers the question that how the human face is depicted in the illustrations from this period. What visual change has the human face undergone in the illustration of Makhzan al-Asrar by Mahmud Muzahib that is significant? The research method of the present study was descriptive-analytical and the data collection method was documentary (library). The analysis of the work is based on the visual principles and rules used in this illustration. The results show that this illustration is depicted with independent characteristics of Bukhara painting. Nevertheless, slight influences of Behzad can be seen in the drawn faces and landscape of this illustration. The artist has skillfully depicted this story and through the use of the elements used and the expression of emotions in the human faces, he has well rendered the relationship between the people and the description of the event.

Threshold texts resemble the pages that the audience encounters to enter the main text. Among the illustrated texts, the Shahnameh occupies a special place. The paratext pages of the illustrated Shahnamehs before Shah 'Abbas I are limited to two themes: “razm va bazm,” Ferdowsi, and the poets of Ghazni; the paratexts of the most illustrated Shahnamehs of this period, such as Shahnameh 490, feature images of the ascension of the Prophet Suleiman and Belqis. This study attempts to explain the differences and substitution of these paratexts for others in the extant Shahnamehs. Since the aim is to read the paratexts in the Shahnamehs of Shah 'Abbas period by relying on the Shahnameh 490 and explaining the role of social and cultural conditions, the existing texts can be analyzed based on the theory of social production of art. The library information was collected using a descriptive-analytical method. Analyzing the images from Wolff’s point of view,it was found that most of the threshold texts before the time of Shah 'Abbas were openly dedicated to the one who commissioned them. The change in these paratexts from the king of the time to the prophet Suleiman indicates that the goal was to implicitly introduce Shah 'Abbas as Suleiman. The miniaturists showed that the king was identical to the prophet, giving legitimacy by replacing the kings on the throne with his images as the royal prophet.
.

One of the most important identity and cultural assets of the Baluch people, and one of the most well-known areas susceptible to study and analysis in anthropology and the anthropological approach to art, is carpets. Accordingly, presenting their altar rugs as artistic identities and visual examples of the weaving system, as well as recognizing and understanding the cultural significance of rug designs and motifs from the perspective of the creator of these designs and their connection with objects such as culture, myths, beliefs, customs that the anthropology of art refers to, is the purpose of this research. At the same time, the content of the rugs finds meaning and significance based on the understanding, thought and belief of their weavers. Therefore, the main question is: what are the characteristics of Baluch altar rugs from the perspective of the anthropology of art, and how can we understand the meaning and beauty of the designs of these rugs through this perspective and cultural context? Some research findings are as follows: These carpets have a functional, symbolic and decorative capacity in cognitive functional hours. In the semantic dimension, the representations of the motifs are in a non-iconic way (of course, based on references to the past and external examples) and concepts and motifs such as the altar (gate and gate of heaven), the tree of life (symbol of immortality and resurrection) and the peacock, It has added the quality of this dimension as much as possible. In the aesthetic part, the weaver has given a special personality to the space of the rugs, using the geometric (abstract) style and creating abstract patterns with warm and dark colors. This research is of qualitative and basic type and the descriptive-analytical research method and the data collection method is the library.