Is the concept of love in the poem of Iranian young poets different from the concept of love in the poem of Iranian classical poets? In this research the above raised question has been dealt with and clarified as much as possible In other word this research is the literary and sociological confrontation with one of the most important subject matters of Iranian poem in the past and present periods. The methods used in this study to answer the main question were based on qualitative analysis and documentary studies. Statistics data of this study was based on nine poem books of young 80’s poets which were chosen quite purposely. The finding of this research shows that the concept of love in the classical poems and today’s young poems are only the same in the word of “love”. But basically the use of concept of love in each of them reflects different content and also in this research we found that the reason for this different in the Iranian young poets today is because of epistemic structure of Iranian society within the place of modernity as a tradition and a new concept of love has emerged in Iranian poetry The modern man experiences and interprets the common human existential experiences with a new adapted social and biological context

Abdul-Qādir Bedil’s life is full of contradictions and paradoxes. These paradoxes are the result of his dualistic life as soldier-poet or soldier-Sufist, a phenomenon which is unique in Iran. Meanwhile, the poets or writers with such paradoxical experiences are also very rare in the world. Bedil’s life is concerned with the difficult, fearful, adventurous, humoristic, rude atmosphere of militarism on the one hand and with ascetic, Sufistic, seclusionist life of a Sufist on the other hand. Therefore, Bedil can be contrasted to the typical figure of Iranian poets which are generally writer-poets. Focus on colloquial language, sympathy towards people, candor and divulgence are symptoms of rudeness of militaristic life in the turbulent society of late eleventh and early twelfth century (Hijri) India. On the other hand, his sufistic life is a combination of Iranian Sufism and the Indian mysticism of Upanishads. Bedil is not resentful of his or his fathers’ militarism and is prepared for it. Meanwhile, like the typical examples of Iranian-Islamic Sufism (e.g. Sanai, Attar, Jami and Rumi) and Indian Sufism (Buddhism and Hinduism), he seeks asceticism, avoids relations with royal court and focuses on the hidden aspects of Being. These two different worlds become unified with the unique language of Indian style. The extensive formalism of this language makes possible “secret speaking” and criticizing “governing power” with least harms and does not destroy his relations with the political system of Indian states. On the other hand it allows Bedil to express the everyday life (mostly with deriding and satirizing people’s life) by metaphors adopted from the colloquial language. Then Bedil’s formalism is not an elitist formalism (unlike Iraqi style) which is focused on aesthetic obligations of the poet, but is a formalism which can resolve the dualistic contradictions of the poet as militarist-Sufi. This does not mean that the understanding of Bedil’s poems is easy and he is obligated to speak clearly. In his view, artistic form should make people try hard to grasp its meaning. This meaning is fluid from a poststructuralist point of view and never reaches certainty. This is why the understanding of Bedil’s poetry and prose requires a “fast comprehension” in his own view. By giving examples from some of the Bedil’s poems, this article tries to show what kind of relationship exists between Bedil’s society and his poetry and how he uses language to resolve the contradictions of his dualistic life

According to the muted group theory, domination of men in society is manifested in man-made structure of language, and women cannot express themselves in this language; thus, they become a muted group. This article aims to find out whether based on the muted group theory by Kramarae and the rhetoric of domination theory by Starhawk, are there any dominant strategies in the novel of "the lights, I'll turn off" by Zoya Pirzad and, if there is which groups are included? It also investigates empowered actions used by groups under domination to resistance against the dominant system. In this regard, seven sections selected from this novel have been analyzed using quantitative content analysis and rhetorical analysis. The study results suggest that withdrawal and manipulation are the main strategies in the relationship between men and women within the novel. In this novel, the muted group does not merely include women, and in some cases, the novel characters are not necessarily in a dominant or under domination position permanently. It seems that Pirzad's view to the muted group is beyond gender, and place of residence and class can be a basis for formation of these groups. In this novel, Pirzad has also considered empowered actions in muted groups.

This article examines city representation in Iranin cinema in the 1370s, 1380s and 1390s. The theoretical process of the research is based on Rob shield’s view about Social spatialisation. The research method is qualitative content analysis. 18 movies are chosen and analyzed. The findings show that: in the 1370s most of the duration of the movies is limited to indoor affairs and the part that is dedicated to outdoor affairs is limited to physical, populational, immigrational, suburbanism and impoverished areas dimensions. Urban life of this era is underexposed insomuch that the space-myth “cityless society” is formed in the 1380s dense constructions, extensive changes and development of Non- placess is remarkable among cinema productions. Furthermore, the dull dimensions of these changes such as the polarization of city space (poor/ rich) and social harms such as poverty, unemployment, addiction, runaway girls which have eventually resulted in a sense of disappointment among city residents. Space-myths constructed “negative productivity and city mirage”; in the 1390s a city is represented which in the wake of changes and extensive constructions of the previous decade has now come to a dead end. A city which stands up against its residents using its visional and sclerotic structures and challenges them and in return, the residents take an inactive position against these structures. The central concept of city representation in this decade is “sclerotic city and disabled subject”. Finally, the cinema barely presents an image of city universalism and is focused on dull city dimensions in these few cases.

This qualitative research examines the role of the mothers of missing martyrs in 143 movie and kissing on the moon. In this regard, it has been attempted to analyze the two films using qualitative content analysis method. The results of this analysis show that the role of the mothers of the missing martyrs in the two 143 film and kissing the moon can be divided into five main roles (supportive, ethical, religious, emotional, educational, and political). In the supporting role of issues such as meeting the biological needs, protecting from danger and preventative care, in the dimension of ethical roles such as practical guidance, attention to the barriers to growth, attention to religious values, in the religious role of subjects such as the creation of religious habits, practice religious themes - Iranian-Islamic values, rituals and beliefs in the dimension of the educational role of views such as learning science and correct answers to questions and in the political role of topics such as political orientation and evaluation of the system, including the components and subfields derived from A research that collectively represents the conceptual components of the role of the mothers of the missing martyrs in Fayy These are the same.

Reflection of Safavid Qalandars in "The Composite Camel with Attendant"Abstract Abstract Abstract Composite camel with attendant which is maintained in Metropolitan museum is the composite painting work of Iran and is related to third quarter of 10th -16th centuries. Like other composite painting of Safavid period, this painting has big figure in the center of its composition that is filled with smaller figures. This study is focused on the presence of human figures with different apparent features _one of which has been introduced as Buddhist monk in Metropolitan museum _and related social interpretations. accordingly, the issue of essence of distinguished and smaller human figures and the reason of their presence in mentioned picture; that is, social events which are related to depicting this work are tried to be answered by social history approach and reflection theory, documents and sources and descriptive-analytic method. Meanwhile, the most important findings include determining the essence of smaller human figures as Safavid bohemians (Qalandars) and pointing to the effect of them, their rites (such as Flag- Taking and Water- Carrying) and riots on depicting these smaller figures in mentioned painting.Keywords: Safavid paintings, Composite painting, Figures into figure, Safavid social history, Qalandar, Reflection theory.

AbstractThis exploratory study of the emerging phenomenon of modern handicrafts in social networks era in Iran. In this article, we are looking for the answer to the main question, what is the emerging phenomenon of modern handicrafts, which the creators call brand, and what's dimensions they have? For this purpose, the precise and comprehensive description of the longitudinal and observational study with three years of netnography is presented about about more than 700 modern handicraft brands active in cyberspace. This comprehensive description includes several sections. First, it was explained about the beginning and the process of the formation of the primary core of the handicrafts brands in Facebook as a marketplace, and then the transfer to the Instagram and Telegram environment. Then, the emergence of a modern handicrafts network market, including brand creators(artizana), followers and consumers of brands, modern shops and galleries of crafts, websites for the supply of branded products at home and abroad, exhibitions, charities and festivals, and finally the field of activity and The name of modern brands has been mentioned. The results of this study show that the fourth wave of innovation in the field of handicrafts in the form of the emerging phenomenon of modern handicrafts is an result of the expansion of social / virtual networks. This new phenomenon has been shaped and developed with the economic activity of youth, especially women, and these brands are a form of art entrepreneurship based on social networks.