The objective of the present study is to survey and evaluate the status and image of women in popular stories of Samak Ayyar and Darabnameh. The study shows that women's roles are presented positively in these stories. Although women have an effective role in decision making, governing, wrestling, ayyari and loving, there are cases in which they are treated pejoratively and their roles are ignored. Since these stories belong to the ordinary people, the lower class women have a broader and more effective presence than the higher ones. On the whole, the image of women in these stories is neither completely positive nor totally negative.

City can be subject of love and hate. Particular elements of the city can be subject for popularity and dispopularity as well. In this paper my main attempt is to apply the concept of popular culture to the city and examine the popular elements of the city of Tehran through examination of peoples' love and hate in relation to the city of Tehran. This paper will first discuss the concept of popular culture and its relationship with elitism and symbolic power then from this perspective idea of respondents to the question about popularity and dispopularity of Tehran together with question about symbol power will be the core of the discussion in this paper. The result of qualitative research based on 120 comments of the respondents to popular/dispopular aspects as well as symbol of Tehran is' major source for cultural approach to the city of Tehran. This research carried out on the neutral space of weblog which gives opportunity to receive the profound and reliable answers.

The main behind this study is the morphological analysis of Ashiq stories in the process of formation and development of this genera of folk literature. Hence, a question arises as to: what morphological structure did Ashiq stories have in the Safavidera and how were they formed? In so doing , stories including "Asli and Karam", "Ashiq Gharib and Shah Sanam", "Tahir and Zohreh", "Novruz and Ghandab", "Shah Esmail and Arab Zangi", "Arezo and Ghanbar", "Abbas and Golzar" and "Shah Esmail and Gulnaz" among them have closely been scrutinized.It is assertad that the advent of stories belongs to the end of epic period .the viewpoints of folklorists Iike partev naili boratav , Muharrem Ergin, Hossein Ismailov, and Mohammad Hossein Tahmasb show that the advent of common Ashiq stories serves as a complementary of the gap proceeding the epics of the 15 th century and the previous centuries. Dada Qorqud stories are also considered as a product of a transition period from epics to common stories. Finally, the results of the study reveal that not only has the structure of stories maintained the underpinning of the epics; it has also experienced seminal chenges and has created different characters.

>Contemporary fictional literature has had a special look at the elements and components of Shiraz folklore in the period of Pahlavi. In the present study, considering the extent of the components of folklore, the reflection of Shiraz has been studied popular literature through of analysis of 20 fictional works including fifteen collections of short stories and five novels. The collected data in this article based on library resources have been analyzed in a descriptive-analytical method. The results show that the use of Shirazi dialect, Shirazi and non-Shirazi proverbs and Shirazi songs and chansons have been abundant in Contemporary fictional literature, but fictions(Matal) and stories have had a small presence. Some of the used Shirazi chansons and fictions indicate some of the social and historical events of Shiraz during the period of pahlavi, such as the story of Saif al-Qalam, the uniformity of clothes, and the situation of the wage of employees of the first textile factory of shiraz. generally, according to the style of writing and indigenous interests of fiction writers, the reflection of Shiraz popular literature in Sou va shoun, patchy pants, a city like Behesht, the Alley of Zanboorakkhooneh, The Patient Stone, the last light, The extinguished oven and Barooni has been more considerable compared to other Literary works.

Among the kings of Iran, Shah Abbas I, in Safavid period, is a prominent figure who is mentioned in popular tales. In the stories attributed to him, there are outstanding features that have attracted the attention of researchers due to their high frequency. The purpose of this study is to analyze the salient features contained in the stories of Shah Abbas I and to explain the origin of these features. The method of the present study was analytical-descriptive in terms of purpose and based on library studies in terms of data collection. Visiting the library and searching through reliable sources, the authors have collected all the available stories about Shah Abbas I and then analyzed their salient features and origins. Research findings show that these characteristics are either of historical origin or originated from the imagination of the creators of the stories. Some of these characteristics are specific to Shah Abbas and others are general characteristics of kings. Feelings of the unseen voice, professional dervishes, nightlife, simplicity, wisdom and shrewdness, interest in art, gossip, fulfilling desires, solving problems, marrying the poor and accepting humiliation are some of the characteristics of this king. On the other hand, power, justice and fairness, acceptance of judgment and justice, compassion and mercy, punishment of the oppressors and forgiveness (bestowal and forgiveness, and forgiving taxes) are common features for Shah Abbas and other kings. In this article, an attempt has been made to collect the salient features contained in the stories of Shah Abbas and to analyze them based on their origin. Accordingly, the reader realizes the hidden goals of these features and becomes acquainted with their creators.

Indian popular films, as a global popular culture, are consumed vastly in Iranian society. This is not a new phenomenon and can be traced back to the 1330s. But there has been no investigation about the way these films are consumed and how the spectators communicate with them. The present research employs the approach of cultural studies, explaining and interpreting the readings of Indian popular film among Zahedani spectators. In doing so, we have used a qualitative- synthetic method. This method includes: 1) interpreting the social, ideological and technical codes of Indian popular films, 2) analyzing the sociocultural contexts of spectators, and 3) explaining the reading of spectators. The findings of this research indicate that Indian popular films, as a global popular culture, create some structures and power relations in the world of narrative, which naturalize and are influenced by structures and power relations in the Indian social world. Whenever, due to globalizing processes, global popular culture is consumed locally, its discursive formation will change according to the discursive identity of local consumers and their concerns. The texts of global popular culture can provide a context in which local consumers are able to transcend the framework of space and time and overcome their social, cultural and political limitations.

The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal,at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i. e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal,And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.

Hans Christian Anderson (1875-1805) is a prominent Danish poet, storyteller and scriptwriter with 160 stories and legends, 800 pieces of poetry and 6 novels. One characteristic of Anderson's writings is his attention to popular literature, verbal and speech language. He most of all affects folk tales. To write these myths, he is inspired more by the legends of the Thousand Words and the legends of other nations of the world. In this article, only four of Iran's sources of Andersen stories are mentioned and their adaptation to Iranian stories. These four stories are: Mandel's fantasy and Emperor's new clothes, Gibreel Jolla and the flying box, Big Claus and Little Claus, Judge and Jail, Tomblinia and Aunt Souske. Previously, it talks about the characteristics and origins of Andersen's stories and the background of the subject. In the narrative of these four stories, from different dimensions to adaptation of narratives are discussed. We find that for a variety of reasons, including the familiarity of Anderson with the Thousandists, through his translation of the word "A" to lunch and interest in the literature of the Orient, he is well acquainted with the Iranian myths and is well versed in it, and for his religious and educational purposes With part of the story.

A large part of the culture and culture of any nation, Oral Literature, or Folk Lore; this type of literature included habits, traditions, myths, stories, beliefs, rituals, The songs, traditions and proverbs are very widespread, which was mainly considered in the present era, especially after the acquaintance of Iranians with Western literature and literature. These uses in Persian prose and especially in the literary genre of fiction and novels were more than poetry. Jalal al-Ahmad is a contemporary writer and writer who has used many popular literature in his works. After Jamalzadeh and Sadiq Hedayat this al-Ahmad has used this type in the language of the story; since Al-Ahmad He lived in a mass of people and was in fact one of them; his stories and works are full of folk literature. In general, the folkloric elements used in al-Ahmad's stories can be divided into five main categories - proverbial, proverbial terms (Such as dialects), storytelling parables, popular vocabulary and syntax. This article seeks to study the position of this type of literary works in the works of Jalal al-Ahmad and presenting some of the proverbs and rulings contained in his works and explaining and explaining them the aspects of public literature or parts of it in contemporary stories, and in particular The work of Al-Ahmad, and the importance of this type of application in establishing the relationship with the reader and the general acceptability of his work.

Governance, as a process in which activities related to public authority are carried out, enjoys the nature of the people if in that process, the people are considered to have rights. In the Fiqh (Islamic jurisprudence) literature, despite the wide coverage of governance, the concept of governance in general and popular governance in particular has been less dealt with. However, it seems that Mohaghegh Naeini has paid due attention to popular governance in his precious book Tanbih al-Umah va Tanzih al-Millah. The present paper is an exploration of Naeini’, s contribution in the production of jurisprudential literature about popular governance. According to the author, in this book, Naeini has recognized at least the right of the people in the governance process in the four stages of establishment of governance, participation in governance, supervision of governance and transformation in governance. In this regard, relying on Naeini’, s jurisprudential efforts, we can talk about the capacity of Fiqh to present a jurisprudential model of popular governance and argue about the popular nature of governance.