WOMAN IN CULTURE AND ART (WOMEN'S RESEARCH)
Year:2017 | Volume:9 | Issue:3 |Papers Count:7

Jacques Lacan, influenced by Freidrich Hegel, registered dialectic of Master and Slave into psychoanalytic discourses. Sigmund Freud's psychoanalysis, commonly known, is considered the science that examines the impact of unconscious actions, searching for signs of disease. Over time, psychoanalysis has been concerned with various sciences such as philosophy. One subject of dialectic of master and slave is linked with the analyst raised earlier by Hegel. The current paper aims to examine this theory through analysis of the relationships between four pair characters presented in Asghar Farhadi's film, About Elly (2009), using a qualitative research method. The data were collected by the film's observation and library sources, then its content was analyzed based on interpretive phenomenological analysis with a psychoanalytical approach mainly inspired by Freudian school. The first mode of such master-slavery contradictory is formed by Sepideh-Amir relationship, in which both of them are in struggle for power. The second mode is formed by Nazi-Manouchehr relationship, in which Nazi (female) is Master and Manouchehr (male) is in Slave status. The third mode is formed by Shohreh-Peyman relationship, in which the female figure confirms power of the other, as she is a slave, but at the same time she pretends to be the master herself. Finally, the last mode is formed by Elly-Ahmad relationship, in which both sides have tendency to be slave. The findings show that the master-slave dialectic, present in Iranian patriarchic society, is represented in defensive psychological processes of characters in Farhadi's film.

Since women make up half of the structure of the Islamic community, it is very important to address them in worship-political arenas. The importance of this issue has been shown more than before with the Islamic Revolution, the emphasis of Imam Khomeini (PBUH) and Imam Khamenei. Mosques and Mosalla of the country are conceived as the most important parts of women’s worship-political presence. As surveys show, a new pattern of women’s Shabestan (nightlife) has been formed in Mosalla, a pattern which is somewhat different from the original patterns of mosques and Mosalla. The current research aims to investigate the typology of contemporary and historical mosques and Mosalla, examining their compliance with Islamic values and providing a more consistent pattern with the Islamic and Revolutionary theoretical foundations. Therefore, some ways and methods are presented for future design of women’s Shabestan. Research methods include logical reasoning in order to set theoretical foundations, history studies in order to examine historical examples, and logical reasoning for ultimate inferences. Based on the research findings, women’s Shabestan space was simple in the earlier mosques, and it was separated from the main Shabestan using only one barrier. Over the historical course, more separation of space has occurred resulting in a more sophisticated and decorated space for men and marginalization of women space. Today, three general patterns can be identified in women’s section in Mosalla. Among these patterns, women’s Shabestan in the form of balcony (like letter U) is more prevalent. The current study aims to provide architectural solutions to improve the quality of contemporary common patterns through examining their benefits and advantages.

"Cross-dressing" defined as the concept of wearing female dresses by men, and male dresses by women, entered the plots of movies from the early ages of the emergence of cinema, and has still survived. The reason for cross-dressing, according to what has already been witnessed, is to gain the merits of the opposite sex, as well as the progress of the drama by the cross-dressed person. In the current article, the function of cross-dressing has been studied in 18 films of the Iranian cinema, within the poststructuralist framework of Foucault, and the post-feminist approach of Judith Butler. The movies analysis shows that there are themes in which a man dresses like a woman, or a woman dresses like a man in order to prove something to other people, or to get rid of a miserable situation. Most of the considered films are comedies, and in most cases, the films have happy endings. Based on the research findings, cross-dressing of women in the Iranian films are done out of their frustration and despair, and their secret is revealed only when a disgrace takes place, whereas cross-dressing of men is usually carried out for their personal profits.

Change of women’s clothing during the Qajar era, has given a reason to many experts and researchers to consider the issue in their writings, even so short. Given that not much research has been performed on how and why the clothing style changed during Qajar era as well as its relationship with fashion’s evolution, a deeper and more detailed research seems to be necessary in order to identify the reason for change of women’s costume. The current comparative study aims to evaluate the similarities and differences of women’s costume in Fath-ali-Shah and Naser-al-Din Shah’s court, focusing on fashion and comparing indoor/outer garment components. Indoor garment components included Shaliteh (Breeches), shirts, Arkhalig and headwear, and outer garments included Chador, Chaghchoor and Burqa. Considering that some factors, such as religious views, politics, economy as well as psychological aspects of the kings have direct impact on fashion and its changes, this study using a qualitative approach and descriptive-analytical methodology and emphasizing on two Qajar dynasties, aims to evaluate available pictures collected from this era and study the documents and logbooks which are about costume classifications and frequently used fashion in Qajar’s court, in order to identify and introduce those elements which have influence on evolution or stability of clothing style in this era. Finally, this study has shown that women’s religious view was an important forbidding factor against drastic changes in clothing style and fashion. In other words, women had not a passive role in choosing their clothes. It was also found that kings’ will and views were two significant factors impacting women’s fashion and clothing styles in the kings’ court.

The current study aims to examine the effect of counseling model based on Asma-hosna on marital quality of married women. The research was quasi-experimental using control group, pre- and post- test designs. The population study includes all of women aged 25 to 48 years old whose daughters were studying at high school in Tehran during the academic year of 2017, and statistical sample consisted of 30 women selected by purposive sampling and randomly assigned into two controls and experimental groups. Then, the experimental group participated in 10 educational sessions for counseling model based on Asma-hosna. The content of the training sessions is based on the available resources related to the Asma-hosna and famous Hadith of the Prophet, in which 99 names are considered divine. Both groups completed Revised Dyadic Adjustment Scale (RDAS; Busby et al., 1995) in pre- and posttests. In the end, the results between 2 groups were compared through multi-covariate analysis. The results showed a significant increase in the mean of the marital quality scale and its subscales including the agreement, satisfaction and coherence in post-test in the experimental group (p<0.005). The findings of this research confirmed the effectiveness of counseling model based on Asma-hosna on marital quality of women, and it could be applied by professionals for developing couple therapy interventions.

Xwedodah had been one of the cultural issues in ancient Iran based on political thought. Xwedodah was especially common among royal families. Xwedodah tradition has been carried out for a very long period of time; the same factor explains the importance of this tradition. The emergence of this tradition based on archaeological evidence dates back to the Elamite era which continued in Achaemenid era with some changes. In the ancient Iran, religion and politicswere heavily influenced by “life-worlds” having harmonic horizons. In this paper, Xwedodah is viewed as a ritual demand of political thought in line with the reign immortality which existed in two Elamite and Achaemenid eras and also continued into Sassanid era in another form. This research, using a phenomenological approach, studies the essence and reason of continuation of this ritual along with an objective interpretation of such evidence as water, woman, snake and abstract concepts like "Snake Goddess". Finally, it is concluded that belief in totems and their holiness originate from the demands of political thought on the basis of religion, by the institution of politics and power in both Elamite and Achaemenid eras.

One of the things that may cause damage to the family is employment of husband and wife in jobs that negatively affect family structure. The main question raised here is employment of the wife and husband’s authority to maintain restrictions on family rights in Iran. The current article is written using library method. Employment with emphasis on the right of the wife to the initial decision, in cases where the husband is allowed If the wife's occupation or type it on prejudice family, the husband to the wife of a certain type of job or the employment ban This option can be found in the powers of man as a constitutive element of Los Angeles family including spouse employment ban allowed, what is The woman responsible for the welfare of family, parenting and assistance in compliance task disrupts or jeopardizes the prestige and dignity of the family It is important to emphasize that the husband is to prevent possible misuse of the exercise of this right, couples and demand proof opposed the selected job with family interests or dignity of man or woman And judicial, contrary to the duties necessary to prevent the employment of women in professional and family affairs.