فصلنامه زن در فرهنگ و هنر (پژوهش زنان)
سال چهارم شماره 1 (بهار 1391)

Women, as half of the effectual population of Iranian society, have always been active in different aspects of life including social, economic, political and cultural ones. Entailment is one of their contributory areas of presence which has not been discussed much. In South Khorasan women entail some of their properties to charities symbolizing their benevolence and their status and economic independence. Since Safavieh era which was a new point in history in entailment in Iran until Islamic Revolution of Iran women have always been charitable. In this present research which is based on the documented studies, researches show that the most entailing women belong to Qajar Era and their entailments were mostly spent on Imam Hossein martyrdom rites with a descending trend unit the present day.

Ghassan Kanafani (1936-1972) is one of the most famous Palestine romancers who has created different personality types in four romances of “Men in the Sun”, ” All That's Left to You”, ” Returning to Haifa”, “Umme Sad”. Symbolic personality is one of the most important personality types that he has given more attention to, whether feminine or masculine, they have been used abundantly in his four romances. Perhaps it seems that Kanafani’s symbolic view to the feminine personalities has increased the content and technical richness in his romances. But the writer’s insistence on highlighting the symbolic dimension of personalities in the two romances of” All That's Left to You” and “Umme Sad”, is a matter that has made difficulties for real dimensions of these personalities in theoretical and technical points of view and has limited their freedom. The origin of this problem refers to this fact that the writer’s commitment and prejudice to Palestine in these two romances like his other romances, with enthusiasm and sensation follows to propose his idea about Palestine’s daily crisis and problems and their solutions. The symbolic personalities of romances are the tools to propagate and to promote these frequently revolutionary ideas. Therefore the main part of narrative and inherent potentials in these two romances, Instead of dedicating to enhance the natural and humanism dimensions of woman personalities are dedicated to enhance the symbolic and mythological dimensions of personalities in order to convey the message of the romances completely.

Although the status of women in dramatic literature of resistance has always been criticized by critics and researchers of theatre in our Country, there has been no change in the authors’ approach or their policy making. It seems that despite diagnosing the problem researchers and writers feel uncertain in how to tackle the problem and change the conditions. The main reason is the lack of knowledge about the nature of patriarchy that imposes its unwritten and unchangeable rules on dramatic literature in the form of unattainable tablets. This article seeks to find out the patriarchy rules governing the dramatic literature of resistance, and to prove them for detailed explanation of the subject with focusing on seven specified plays named: Gabriel’s Wings Song(Tashakkori,2005/A) Beyond My Dreams(Arian¬far,2005) The Guest of Sleep Land(Yasrebi,2000) Zookh(Ashrafnejhad,1988) Repeat(Khanian,2005) Azar (Pourrezaian,2008) From Acacia(Tashakkori, 2005). Getting out of the unwritten state and clearly expressing the stated rules play a major role in violating them and transition from the previous status. In this structuralist research, through descriptive analysis method, beside the study of women’s image in the resistance plays, the patriarchal rules and similar cases were extracted for reasoning and were arranged under each rule as facts. This paper tries to collect the patriarchal rules governing dramatic literature of resistance and to express the main and applicable methods for violating these rules. This research can influence the expression of current women’s situation in dramatic literature clearly and away from any generalization.

Cars are one of the most important symbols of modern technology which contain various social and cultural messages about concepts like gender, ethnicity, age, social class, etc. and are interpreted differently based on the needs and motivations of users. Since the main aim of this research is having a deep look at use of cars among female drivers, we will first take a look at the conceptual relationships between gender and cars. Then through the “grounded theory” methodology as well as through deep and semi-structured interviews with 15 women owning privet cars, data analysis will be performed and the reasons and results of women’s driving will be explained via a descriptive and interpretative approach.The findings of this research show that in daily activities women’s motivations of driving include feeling secure, generating income, communication and consuming tendencies which directly affect women’s driving private cars, and will have impact on their Individual and social identity.

This research aims to make an analysis of the content and semiology of the image of the women society in the cinematic works of Ebrahim Hatamikia. The (statistical) society of this research consists of four movies (The Watchman, The Scent of Joseph's Shirt, The Red Ribbon, Invitation) out of total movies produced by him during four separable chronological sections in Iran i.e. imposed wartime, construction period, reform period and fundamentalism period from 1986. Two methods of semiology (coexistence and substitution) and content analysis have been used as variables for analyzing film content (cast role duration, age, social class, occupation type, situation, and type of dressing and theme of dialogues) and, then, a main question and three subsidiary questions were proposed. The results were analyzed quantitatively and qualitatively, using the method of semiology and content analysis. The findings of the research show that the early movies produced by Hatamikia do not give the women a notable position because of the war-based background of these movies. The male gender is placed at the heart of the events and the description of the females is not feasible without the male characters; the cases and themes to which the women have no affinity. The early cinematic works of Hatamikia lack the women presence and role. However, in his later works when he enters the civil space and makes a focus on the social matters women gain some place and take role in the works of Hatamikia. But, these women are all showed as individual characters every time, who take prominence in the course of time gradually.

Anima and Animus are two ancient and very famous models in literature, which were first proposed by Psychologists like Jung. This image has been repeatedly presented by researchers out of the poems of different poets. The ancient pattern Anima is a semi female part of men and Animus is the semi male part of women. The formation of these ancient patterns is influenced by the mother and father and it may change depending on individual and social circumstances. A sense of oneness with the ancient model will lead in maturity of personality. Safarzadeh has unconsciously presented these images in his poems in different forms. The initial formation of the image in the family is very positive, but in some circumstances it may appear nagative.

In Persian society, illustrators and skilled portraitists developed a particular method of painting in Qajar era, a period in which artwork and historical treasures can be considered among the best, especially in painting and they reflect the tastes of kings and social circumstances of that time. One of the best works of that time is illustrated pen cases created mainly in Tehran, Shiraz and Isfahan by skilled portraitists. The majority of these illustrations are women’s figure and partly European figures contemporary with Qajar time. A large number of such pen cases are collected and preserved by Nasser Khalili in London. Careful studying of the paintings on pen cases shows the people’s believes and their points of view especially towards women as an important part of society of Qajar era and also the impressions of western culture upon the Iranian community.