Cultural History Studies (Pejuhesh Nameh Anjoman-e Iraniye Tarikh)
Year:2023 | Volume:14 | Issue:55|Papers Count:6

According to the understanding and recognition of the society, dreams have used words and concepts that are consistent with people's beliefs. Dreams, as a medium for recounting the knowledge of a certain period, have considerable credibility, which is related to the immediate position of the dreamer and his cultural environment. In other words, visions in their form and content are a reflection and effect of the cultural environment in which they were produced and used as a means of education, education and even controversy. Therefore, dreams are one of the tools to know the spirit, belief and culture of Iranians. This research, using a descriptive-analytical method, investigates the themes of dreams in the religious books of the Timurid period (771-913 AH) in order to gain more knowledge about the intellectual life of Iran in the Timurid period. . The results of this study showed that dreams were very important in the lives of religious classes and had different uses for them. In other words, crediting the dream has provided the basis for its multiple exploitation. In fact, dreams are a suitable platform for cultivating virtue, gaining social status, persuading people, predicting the future, resolving intellectual and religious differences, solving unknowns, facilitating decision-making in various matters, including following and being guided by a teacher, salvation, good ending, etc. Is.

Sistan is one of the most important Iranian cultural regions with an ancient history, and the carpet weaving of this region is one of the most important fields of study about native culture and art with a variety of motifs. However, the decreasing production from Sistan and the prosperity of Balochi weaves have affected the carpet-weaving traditions of Sistan. The research aims to study the place of female and male figures in the old pictorial carpets woven in Sistan and the historical and cultural background of the region. The research is studied from two perspectives, the composition and abundance of female and male figures. The research method is descriptive and analytical. The images of 16 old woven Sistani pictorial rugs are selected as the research samples of the article. Data analysis has been done by combining qualitative and quantitative methods. The results of the research show that human images are mostly used in the main part of the carpets and rarely in the margins. The carpets are generally divided into three vertical parts and different parts of the story or reproduction of figures. The existence of numerous female images shows the important role of women in society, culture, and the deep-rooted veins and several thousand years of history and cultural identity of this region. Although the designs of Khaajeh Hafez, Khosrow, and Shirin are adaptations of illustrated literary versions, their illustration on the carpet of Sistan has a lot of fusion with the local and cultural traditions of the region. In Khwaja Hafez's design, the figures are represented by the figure painting culture of women and men of the Qajar period, and although it does not refer to a specific narrative, it represents the general atmosphere of lyrical literature and a romantic theme.

Ehsan Tabari (1917-1989) is known as one of the founders of Tudeh party and the theoretician of that party. This causes the contemporary Historians attribute him as a Marxist, often evaluate his behavior and thoughts in ideological and party frameworks and not pay attention to individual characteristics in shaping his personality. While if we examine him as a writer, poet or historian, we can find aspects of his personality that do not necessarily arise from party and organizational behavior, but shows the concerns arising from a truth-seeking thought, which inevitably emerged in the guise of a materialist intellectual during most of his life. The claim of this article is that the historical thinking of Ehsan Tabari never in his lifetime was not completely included in frameworks of historical materialism, and Tabari's ideological revision can be better evaluated when we know the distance of Tabari's thinking from Marxism and historical materialism during his intellectual life. In this article, by examining Tabari's works, neglected aspects of Tabari's historical thinking will be discussed before his ideological revision, and then by focusing on the works of the last years of his life, the themes and historical concerns in these works will be discussed. The title of the article is taken from one of Tabari's interpretations about his ideological revision.

Law as one of the most important concepts of Iran's constitutionalism was considered by all the thinkers of that era. Akhundzadeh, as one of the intellectuals, noticed this concept and thought about it. His discourse on the law consists of several parts. First, the importance of law and its necessity in Iran. Second, pay attention to the point that until some preliminary actions are done as required by the law, we cannot hope that the writing of the law will bring us the results we want. Akhundzadeh took the side of the law in an important action regarding the relationship between the law and the Sharia, and in this respect he was distinguished from his contemporaries. He believed that the law and the Sharia have two different theoretical bases and it is impossible to compare them and make the Sharia the basis for writing the law or consider both as the same. In his critical review of Mirza Yousuf Khan Mostashar al-Dowleh's book he specified his positions regarding these two concepts. In this article, an attempt has been made to examine Akhundzadeh's view of the law and its relationship with the Sharia by relying on his works.

One of the important cultural issues after the domination of Islam is the attitude to music. In the analyses carried out by Islamic scholars, the use of music was distinguished into two permitted and non-permitted flows. As a result of the use of illegal music, two discourses of sanctions and acceptance were formed, which were qualitatively and quantitatively different. In the Ghaznavid dynasty, these two discourses were manifested in a special way, the limits of which is the main issue of this article. The qualitative research method is based on the description and analysis of content and the method of collecting its sources is library. According to the findings, music in itself was not considered forbidden, and non-musical factors such as the text of poetry, dance, drinking wine were the main causes of music prohibition. Except for exceptional cases, the courtiers were more inclined to acceptance of music, but the discourse of prohibition prevailed in the society. The mentioned cases and the dependence of musicians on the court led to the acceptance of some norms that were far from prohibitions. Court musicians felt more freedom to perform these norms in private places, and this connection could be beneficial to the actors of places that did not set limits for prohibitions.

Cross-dressing is one of the ways of temporary( occasional / periodic) and temporary camouflage of gender or social identity, which has been widely used in slang and vulgar(Ayyari) narratives. The purpose of the present study is to investigate the cultural function of cross-dressingin in the first volume of Abu-Muslim Nameh (Joneyd-nameh). For this purpose, first, the types of cross-dressingin were extracted and then studied and analyzed with a cultural approach. Among the three types of disguise (gender cross-dressing, theatrical disguise, cross-dressing) in this story, cross-dressing was observed in only one case due to the dominance of gender discourses and beliefs. Theatrical disguise also creates a humorous and ridiculous situation by resorting to strange tricks, whether in the physical aspect such as beautifying the face and changing clothes or in its more complex aspect, such as techniques and arts such as profane singing, music of Qawali, singing, linguistics, and the like, make the satirical and comedy situation and occupy almost a large part of the story. The types of cross-dressingin in this story have functions such as spying and informing about the situation of the enemies, freedom (latitude) and advancing secret plans, and rescuing the people trapped in the prison.