The evolution of contemporary legal discourses, especially with the prominence of identity and cultural challenges and structural inequalities, has made the classical concepts of public law insufficient to respond to new demands. In the meantime, "collective rights" as a coextensive concept requires re-explanation in relation to the existing legal order and coextensive concepts. This article, focusing on the conceptual and philosophical analysis of collective rights, seeks to recognize the position of this concept in the system of public law, especially in distinction from individual, group and public rights. The type of research is theoretical-analytical and, by utilizing international sources, human rights documents and the opinions of contemporary scholars, reconstructs and formulates concepts such as "socialized individuality", "right to collective cohesion" and "identity-building rights". The study shows that collective rights have an independent identity based on shared belonging, historical memory, and the need for restorative justice and are not redistributable to individual or public rights. While public rights are concerned with the interests of the whole of society and the maintenance of public order, collective rights are concerned with the protection of groups with distinct identities and demand the redistribution of status and resources. The results of this analysis provide a conceptual framework for rethinking the design of institutions, multicultural policymaking, and legislation in plural societies, including the Iranian legal system, which faces diverse identity and cultural challenges.

In this article, football has been considered and studied, from an anthropological perspective, as a fully social event. It has been attempted to examine and survey the carnival and collective behaviors related to football as a subculture. Then, its relationship with the other cultural and social phenomena has been demonstrated. Carnivals and football festivals are suitable atmospheres in which the individuals and various groups try to promote their symbolic positions. Hence, a carnival or festival plays an important part in forming the identity element. In these national carnivals, i.e., football festivals, the marginal groups are activated and play a significant role in forming the cultural values and identity. Thus, football is a suitable atmosphere for the emergence of the social individuality . Based on the field research findings, one may conclude that the various aspects of this carnival subculture in Iran are as follows: Dancing; using fire materials; breaking the things around; changing womens clothes; not feeling socially apart; taking advantage of forbidden symbolism; telling jokes; saying bad words; etc. The carnival subculture in Iran may be noticed in flags, clothes, make-up, horns, noise-making, dancing, and sometimes few riots.

The possibility of the painter's emergence as an "author" in Isfahan Painting School is discussed in this paper from a sociological approach focusing on the modes of art production. Therefore, by adopting a descriptive-analytical method, on the one hand, historical documents related to the modes of painting production at that time, and on the other hand, the subjects and forms of the works of painters of the style of that school were examined. The historical evidence shows that the production of works was still done collectively in the court's libraries during this period. This incumbent closed system only allowed few people access to these works. Here, painting is not an independent medium; however, along with arts such as calligraphy and illumination, it serves the "verbal narrative". In this respect, illuminated books represent the authority of the "verbal arts". As a result, there is less context for the emergence of the "author" in paintings compared to the verbal arts. On the other hand, in these libraries, an "artwork" was not commissioned and wages were directly attributed to the "labor" of the master painter. The emphasis was more on the "quantity" of work than its mental "quality in this payment system". In other words, the multiplicity of productions was more important than the "idea" embedded in "each" work or the artist's particular creativity. In such contexts, valuation typically depends more on mechanical factors, such as the finesse of details, dimensions, number of figures in assemblies, and the material foundation of colors, rather than on the painter's "mental expression". In this process, "authorship" meant "aggregation" and "completion" rather than creativity. The findings indicated that there was a limited but influential current in Persian painting from the mid-Safavid era that could produce works to some extent independent of the court library. Numerous reports indicate the existence of an independent market for painting in that period, and some local rulers and wealthy people emerged as new buyers and commissioners during this period. Obviously, the mainstream painting depended on court libraries, but this new movement introduced a new force into the Persian painting tradition. However, the popularity of the production of single-page paintings in this period prepared the ground for ordering and purchasing artworks by more people, facilitating the differentiation of painting as a medium. In the same proportion that individual creativity and transient, monotonous mental designs were used in the painting style, "individuals, " "faces, " appeared more and more in the works. Also, Safavid historical texts also refer to the seclusion of the prominent painters of the time, which can show sparks of the "melancholy spirit" of the artist as a genius. The manifestation of this trend is especially evident in the works of Sadeghi Beyk and Reza Abbasi, two prominent painters of that time. The few surviving works in this style show sparks of the painter's position as an "author. " Although it is impossible to delve deeply into the art economics of that time, Traces showed interesting examples of different styles in the Persian Painting tradition.

Jahangirnameh, written by Qasem-e Madeḥ is one of the epic poems that describes Rostam’s life after the death of Sohrab and then explains his acquaintance with Delnavaz, the daughter of Messiah, the praytal (Massihaye Aed) and the birth of Jahangir and the narration of his courageous actions. In the first section of the story, Rostam who feels lost, confused and sad after killing Sohrab, leaves his home land and goes to Mazandaran to start an inner journey through entering the unconscious world which transforms his personality. Rostam‘s journey to Mazandaran, the events he goes through and what he experiences can be reviewed as an archetype. This research Using the notion of the process of individuality based on Jungian analytical psychology studies the archetypes in Jahangirnameh, including mask, Anima, shadow, the sage, etc. and analyzes the process of individuation of Rostam. In this story, Rostam, after killing Sohrab, becomes ready to regain his lost individuality by leaving the conscious world (Iran) and entering an unknown unconscious world (Mazandaran) and confronting the elements and aspects of unconsciousness. Rostam’s individuality which has been distorted after the death of Sohrab, is reconstructed after facing Jahangir who is a substitute for Sohrab.

In the 17th century, the concept of natural education was proposed by Rousseau in Emil's book, and despite the public and private acceptance of this book since its publication, Researchers have different opinions about whether Rousseau's words were oriented towards individuality or the collectivism of natural education.Although the scope of this controversy affects the whole of Rousseau's thought, an attempt has been made in this article After this issue is clearly stated in the book of Emil the opinion of, one of the most important contemporary commentators of Rousseau's educational views, Jürgen Oelkers, is given an example in favor of the individuality of Emil's natural education And with the help of her clarifications of Rousseau's educational views, a deeper understanding of Emile can be obtained, which can preserve the unity and coherence of Rousseau's thought in a lower layer; In this way, although individuality and population are natural characteristics of two distinct periods of the desire's development, But the principle of submission to necessity resonates throughout Emile, and it is this principle that keeps the unity of Rousseau's educational thought intact.

individuality, one of the important metaphysical issues among peripatetic, illuminational, transcendental philosophers, as well as Imamie and Ash' ari scholars, has also drawn the attention of Abd al-Razzaq Lahiji. The theological views of khaje, Eiji, Jorjani and Davani make Lahiji analyze and evaluate the views of peripatetic philosophers on this issue. Lahiji believes that individuality is subjective since it does not have an independent existence in the external world and is not but the very specific existence of the thing and its individual essence. Like the existence, individuality is unified with the essence in the external world and is separated from it only in mental analysis, and in the mind, the essence is attributed to the existence. In this article, it is shown that there is no difference between Lahiji and Mulla Sadra views on the definition of the individuality, the manner of its being and what it depends on. Both of them maintain that individuality is the especial existence of the thing, the existence which is the same as its reality and its external existence.