Objective This research examines the challenges of forming a trade union in Iranian theater and if this research is not done, theater artist, unlike the previous decades, will still be unaware of their rights in art associations. They can determine their profession as a job (not as seasonal work) and defend their rights. Research Methodology The approach of this qualitative and documentary research is based on labor laws and trade unions and quasi-trade union experiences, and by reviewing and comparing limited laws and theories, the researcher was able to find solutions to identify the employer and the legal personality of the theater artist according to internal experiences. Findings The findings of this research state that the official occupation of the theater as an employee or worker is not defined according to the national employment and the social security laws, and the theater artist as a professional and freelancer is assigned by the government's cultural institution (Ministry of Guidance) to the insurance organization. Social worker is introduced to enjoy the basic insurance of social security, but no other rights and benefits have been awarded to him. Due to the lack of definition of the official job of theater according to Iran's labor law, so far no universal trade association and practical job services for theater artists have been established, and thus, theater artists do not have the support of the trade union, insurance and protection of the labor law. In Iran, based on the solutions of the world theater trade union, the most important of which is independence from the government, income generation, and the right to freedom of protest and strike, there is no theater trade union, because the labor and employment laws and the labor and employer organizations of Iran and the world in terms of function, license, and service delivery , are different from each other. That is why theater quasi-unions are formed with the purpose of union work and in the form of the cultural-artistic association, and they lack the basics of union work, which is the determination of the role of the employer and worker and the labor contract. Due to the lack of a legal mechanism governing the identity of workers and artistic employers, Iranian theater artists do not have full health and pension insurance, unemployment insurance, pension rights and job protection because their job is not registered in the labor law and they do not have an employer. According to the law approved by the Islamic Council, a worker can benefit from occupational pension and insurance services if he has a certain income, a work contract and an employer. For this reason, in the system of the social security organization, it is defined as a free profession and occupation, which is called "professionals and free occupations" in the legal definition; Like drivers and carpet weavers who pay the major part of the insurance themselves. The lack of an employer in the theater has caused the employer's contribution to the Social Security Organization not to be paid, and unemployment insurance, retirement benefits, and full labor insurance for artists are not formed. The social security insurance for artists, though limited, is established for professional theater people, while non-professional theater people and artists who work independently and are not members of theater institutions, do not enjoy the same incomplete insurance of artists, and their number is tens of thousands; From students and graduates of theater, to whom 2000 people are added every year, to experimental amateur artists and independent professional artists without government or association affiliation.  The problem is that the same insurance for artists does not include all artists and those who are insured do not enjoy all insurance and public pension services, and in addition to these inadequacies, the stagnant record before joining a theater organization is also lost, and all this is the result of third-party management. The big theater, the lack of economic mechanism in the theater and ultimately the lack of formation of an official and independent union was due to the lack of the employer's role. In the theater of the world, theater guilds play the role of patrons, but they are not employers, but with legal means, they receive the artist's rights from the employer and support him when he is unemployed. Therefore, the employer has the main role in the labor rights process and the trade unions have a supporting role with their independence. In Iran, there is a deficiency on both sides of this process, because the temporary employer (theatre or director) is not required to pay salaries, and there is no official and independent guild to support the artist. For this reason, the government has entered into trade union activity and supervises the artistic work by paying subsidies to artists. In fact, the government is not the employer and does not pay the employer's salary, but by paying a subsidy to a part of the artists, it has a supervisory role over all. The question is why during the past decades, why has not an employer been created for the theater so that a legal job can be formed and its guilds grow?  The answer to this question is related to the theater's income, economy and disorderly management. In a theater where the artist lives on a government subsidy and according to the statistics of the General Department of Performing Arts of the government, most of the performances are bankrupt, there is no possibility for the formation of a legal relationship between the employer and the worker and the union. It is in such conditions that pseudo-unions are formed for the social presence of artists; Institutions that have the goal of trade union work but do not find the legal and occupational possibility of trade union work based on what was said. Discussion & Conclusion As a result of this research, for the first time after the beginning of professional theater in Iran, the challenges of forming a trade union in Iranian theater are identified: Failure to identify the legal roles of the employer and the worker (the person who works) in the theater; Lack of union independence and dependence on the government; Lack of union concentration in one institution; The impossibility of economic work and income generation in existing trade union laws; Disconformity of legal and service guilds with theater guilds of the world; Incomplete medical and pension insurances for artists; Lack of unemployment and accident insurance; The mass birth of government guilds and quasi-art guilds, instead of an official and united and universal guild; Lack of historical transition of guild and syndicate in theater and small and scattered guild experiences; Lack of trade union knowledge and trade union management among artists; The government's involvement in the formation and licensing and trade union supervision; Lack of permission for unions to cooperate with the people and to benefit from the economic power of the people for the members of the union; Lack of research in this field; Failure to inform artists about trade union rights

With the significant emergence of economic-livelihood crises from the second half of the 2010s onwards and protests in the country, Teachers have also participated in these demanding in self-motivated street forums. The interesting point in these demands, was desperation and despair towards Guild unions and civil institutions, in the unique conditions that internet social networks have created to organize protests. The main question of the current research is why, in recent years, teachers do not carry out their Guild union Demandings through Guild unions? by using the theory of street politics and by using library and internet resources as well as the field method (Structured interview) and with qualitative and quantitative content analysis method of obtained data, this hypothesis was proposed: the decrease in trust in the functions of Guild unions, their conservatism and the lack of continuous pursuit of Guild union, along with high capacities of mobilization, stimulation and participation of Internet social networks, they have influenced the street and self-motivation of teachers' union demands and the reduction of the role of trade unions in recent years. Therefore, with solutions such as: providing freedom for guild union and institutional activities of teachers, creating arrangements and legal opportunities to deliver demands to the authorities, the need to strengthen legality and belief in the law, the need to continuously follow up demands by trade unions, etc., we can trust the organizations trade union and as a result institutionalized demands were brought back to the society.

An architectural work is a chain linking political, cultural, and societal components of each era. The architect, supporters and founders, supervisors, and conventional and religious rules and regulations can have their own influence on a work. The social history is a branch of history which can examine these issues along with the role of groups in the process of creating an architectural work. Adopting such an approach to assess the Iranian Islamic architecture, in this article we address Ilkhanid era and its texts to discover architects’ social status and architects’ guild in this era as well as the degree of autonomy of their supervisors, supporters and founders. The findings of this study revealed four groups of architects in different social statuses, supervision, and extended latitude held by municipal officers of architects’ guild and urban construction plus a vast range of public and governmental supporters and founders with diverse social statuses.

Teachers' political-guild action during 2020s can be considered a grindstone and a new phase of teachers' political-guild action in contemporary history of Iran. This action is not only and typically differentiated with teachers' political-guild action over last decades, but, is also distinguished in respect of formality, stratification, comprehension, participation and continuity from other guilds' protest action such as labors, truckers, mines etc. The key point is that this action like any other guilds' action has faced some challenges when attempted to achieve its' professional and public aims. Thereby, this survey leads not only to recognizing challenges and obstacles of teachers' guild action but also recognizing and eradicating the challenges and obstacles of other guilds' action through a comparing study. Accordingly, the basic question is "which challenges of teachers' political-guild action has been the most important challenges during 2020s'? In response, this survey, which has conducted through library and semi-structured interview methods of data acquisition, has hypothesized that teachers have three inner challenges (interest conflict, association disability and the lack of cohered strategy) and three outer challenges (policy inefficiency, policy-makers' lack of optimism and international environment) regarding their political-guild action. By analyzing quantitative data (through average measurement and frequency percent) and qualitative data (through prominence technique), this survey has proved that the policy-making inefficiency and the disability of practical-theoretical strategy, respectively, have the most influence and international environment has the least influence among challenging parameters.

Emergence of Non-Governmental Organizations varies in different countries because of socio-cultural, economic, and political differences. Historical preconditions such as cultural tendency toward pluralization and civil society have enhanced this appearance in some nations. What separates NGOs from private and governmental organizations are some characteristics such as solidarity, voluntary participation of members, mutual values, autonomy, cooperation and non-profit affiliation. Although the Iranian society did not have a modern civil society at the time, within a despotic structure, people had realized that they were, nevertheless, able to gain a public identity and reduce governmental pressures through religious and guild associations. Guilds and religious associations of Quajar period had the following special characteristics of NGOs: 1) they had no affiliation to the government; 2) they were non-profit organizations; 3) they had special rules and regulations; 4 ) they were based on non-political activities; 5) they had charitable activities and 6) they were benevolent organizations. In fact one may consider that historical background of religious and guild associations in Iran could be a good exercise and a bridge to the modern civil society and emergence of effective modern NGOs.

Due to the key position of guilds in the provision of public goods and services, it is necessary to regulate them. This can be done in many ways. For example, the government itself does this directly, entrusts the arrangement to the owners of these guilds (self-regulatory) or in a participatory form (co-regulatory). Self-regulatory and co-regulatory models pave the way for the formation of guild systems. Considering the formation of numerous guild organizations in Iran's legal system since the beginning of the contemporary decade, this research seeks to evaluate the legal system governing the establishment and activity of guild organizations from the perspective of legislative policy making and is mainly focused on analyzing the necessities and challenges of establishing specific guild organizations (along with the general guild organization). Based on the findings of the previous research, basically the formation of specific guild systems, in some respects such as weakening the general guild system, discrimination between guilds and theInjuries caused by Legislative inflation should be done for a good reason, while in our legal system there is no specific model for establishing specific guild organizations, identifying the instances of guilds requiring the creation of a specific system is not based on a codified program. Importantly, they have unjustified disagreements, and these challenges, as well as the defects in the general guild organization, have necessited a review of the legal frameworks governing the guild organizations.

Background and Objectives: Changes in lifestyles and food patterns and consumption of ready-to-eat and fried foods have increased probability of chronic non-communicable diseases (NCDs). Studies have illustrated associations between salt, total fat, saturated fatty acid and trans fatty acid contents of the industrial and guild fried products in Iran. Materials & Methods: In this study, 69 samples, including 18 samples of industrial (potato chips, shoestring potatoes, fried onions and fried garlics) and 51 guild (potato chips, string potatoes, fried onions and fried garlics) fried products were collected from various regions of Iran. Quantities of salt, total fat, saturated fatty acids and trans fatty acids were assessed and their conformities with national standards were investigated. Results: The mean of total fat for industrial and guild potato chips included 42% w/w and for strip potatoes, shoestring potatoes and industrial and guild fried onions included 17, 34 and 47% w/w, respectively. Of 69 samples, only 5. 47% did not have conformity with national standards on total saturated fatty acids in oily phase. The total trans fatty acids in oily phase of all samples was at maximum level, specified for industrial and guild frying oils by the national standards. Conclusion: Due to the high levels of fat in all types of potato chips and fried onions, it can be suggested to use novel protocols for decreasing oil absorption and to revise relevant national standards. The other notable finding is that the specified maximum level of total saturated fatty acids for industrial and guild frying oils (maximum 45% w/w) is very high. High levels of total fat and hence high intakes of saturated fatty acids in the products urge necessary revisions of the national standards.

Background: Nowadays, in order to achieve the best possible discussion of work ethics and ethics management in the organization, there is a need for optimal training methods. Therefore, the purpose of this research is to design a suitable policy model for institutionalizing ethics education procedures in Razavi Khorasan guild rooms. Method: The current research method was mixed (qualitative-quantitative). In the qualitative part, the statistical population was experts and elites in the field of management, managers with experience in the administrative system, 15 of them were selected using the purposeful sampling method, and they were interviewed in a semi-structured manner. The data were analyzed using the Delphi method. In the quantitative part, the statistical population of this research was 850 heads of trade unions of Razavi Khorasan Chambers of Trade Unions, 265 people were selected as a sample by simple random sampling method. The tool for data collection was a researcher-made questionnaire. The collected data were analyzed using structural equation modeling. Results: Using qualitative analysis, 17 dimensions and 21 components were identified as obstacles and bottlenecks in the implementation of educational procedures and policy making steps. In the quantitative part, the results showed that there is a positive and significant relationship between the goals of the educational system, the stages of policy making, and the obstacles and bottlenecks with educational procedures. Conclusion: In this research, it was determined for the three-dimensional policy-making stages (formulation, implementation, evaluation), for the obstacles and bottlenecks in the implementation of the four-dimensional educational procedures (individual characteristics, course design, educational and environmental factors), for the procedures four-dimensional training (before, during, during and after service) and for six-dimensional training purposes (alignment with the organization, updating knowledge, reducing unethical and illegal work, synchronizing with organizational changes, strengthening the spirit of cooperation and improving professional ethics) can be considered.

The social and guild protests from 2017 onward are a turning point in Iran because of intrinsically and formal differences with the protests in past. This research has been done by street politics theory and exploration-content analysis method by emphasis a social- guild protesters and viewpoint of expert. The authors try to answer this question: What are the differences between intrinsic and formal   past protests the social and guild protests from 2017 onward and the past protests and why have been happened? The main findings of this study follow that: This protest intrinsically have been spontaneous- direct in street, leaderless, innovation in protest tactics, distrust to civic- guild assemblies, serial-continues horizontal relation whit other protests and so on. The information of this study shows that economic, political, social, motivational, environmental and legal variables respectively have been impact on this protest, but the economic variables have been in the most effectives.

Karnameh, Shahrashub, Senfi (guild) poetry, and Shahrangiz are the names that are used often interchangeably in the sources due to some similarities and the fact that they share the same root. However, these genres have enough nuances that can distinguish them into four separate genres. Of course, it is more difficult to consider karnameh as a genre since there are few and sometimes incomplete examples of it and that, practically, karnameh is transformed into shahrashub at last. The same is true about senfi poetry in which the professions are described poetically and the craftsman is portrayed as the beloved but, later, they were entered into shahrangiz genre and sometimes became extended and coherent works instead of scattered poems. Identifying the delicate features of these genres requires a lot of precision and, indeed, the inaccuracies have caused some of the experts and scholars to confuse these genres. However, it should be noted that, even at the time of their currency, poets and literary figures considered them as not following any norm and convention. Drawing on original sources and taxonomical studies, this research aims to identify and represent the nuances of each of these genres.