فصلنامه پژوهش نامه زنان
سال هشتم شماره 3 (پیاپی 21، پاییز 1396)

Gender and environmental issues in recent decades, in addition to race, ethnicity, class, language, etc., are a new challenge in the different areas of the human sciences. The eco-feminist approach, grounded in political, social, feminist movement, is based on the specific relationship between women and nature. Echo-feminists use this connection to protect women and nature. Investigating the damages women and environment have borne in social and political crises such as wars, which have brought about a profound human and natural tragedy, reveals the signs of simultaneous and similar oppression of both. The Sorrow of War is a narration by Kein -Vietnamese soldier- of the US -Vietnam devastating war. The main aim of this paper is to re-read the novel, in which numerous female characters are present, through an eco-feminist approach and a descriptive analytical method. In addition to examining the simultaneous oppression of women and nature during the war, the narration will be analyzed based on cultural or symbolic eco- feminist.

Abdellah Algadami, a contemporary Arab critic has explored the feminine characteristics in Arabic poetry. In his book The feminization of the poem and different drive (2005), he believes that masculinity has been dominant in past Arab culture. Due to the dominance of this male-dominated infrastructure in public culture, Arabic poetry, from the beginning to the contemporary era, almost was empty of feminine language features. The emergence of Nazik Al-Malaika, Iraqi poet, in contemporary Arab poetry and the invention of her new poetry style changed the Arabic poetry structure slowly. Over time, her new poem style encouraged other modern poets. Challenging the male-dominated infrastructures of ancient Arabic poetry, this innovative process led to the growth and prosperity of female language oriented poems enjoyed linguistic elegances. This paper through a descriptive and analytical approach examines the leading critical views of Abdellah Algadami in the Arab world. Algadami believed that the only way for women to return to their rightful status both in literacy and in society, is their awareness of the language and writing reflecting feminine characteristics. This new and innovative language introduced the features of feminine language against male-oriented language.

The present article considers poem as a narrative of language and, based on the ideas of Russian formalists (literary highlighting and linguistic norm-evasion), analyzes the lexical and semantic level of female poets’ poems in pre-contemporary periods (Parvin Etesami), contemporary (Forough Farrokhzad) and the revolutionary period (Fatemeh Rakei), then examines the gender variable in the vocabulary choice and the meaning of their poems.
The results are as follows: the vocabulary used in Parvin’s poems refers directly to her feminine viewpoint generally, although her maternal poems both in terms of words and meaning imply her womanhood and her motherhood. Forough uses words which are sexual meaning laden, and man-woman dichotomy analysis is prevalent semantically in her poems.
The femininity of Rakei’s poems is evident in feminine vocabularies and feminine names she has employed in her poems. Semantically, motherhood is the dominant aspect of her poems. She has developed this dimension and has universalized motherhood sense in her poetries.
The research method of this paper is a qualitative of the content analysis kind. It has been shown that femininity has been influential not only in standard language, but also in literary language.

Since family is one of the most important social institutions found in various forms in any society, the study of this institution and its developments is important in understanding the developments of other societies, especially developed societies. In the contemporary era, along with changes in the attitude toward family, the relationship between women and men in this institution has undergone significant changes. Emphasizing on the developments resulted from the changing of views on family relationships and concepts, in the second wave of women's movements in the West, this paper examines the changes in the way of interactions between couples, and with the help of a movie by Ingmar Bergman, i.e. ‘Scenes from a marriage’, attempts to understand the meaning of love in these societies. By means of grounded theory approach, seven categories have been extracted from concepts and data analysis, among which ‘rereading the concept of love’ has been identified as a central category. Also, in the semantic extension resulted from the analysis of the logical relation between categories, the concept of ‘rebellion in liberation’ was perceived as the response of Western modern man to the transformation of the traditional meaning of love, which in some cases could be interpreted as the cause of human perplexity in the sudden confrontation between family and the flow of modernity.

Seeking to compete with the Ottoman regime and in order to balance the power, Safavid rulers expanded relations with other countries, and these interactions affected the social life of Iranian society deeply. The social status of Iranian women improved and women had become prominent in the political and cultural spheres. The image of women has also been affected by this process in Iranian painting (miniature), and they, which were presented as complementary elements previously, had become the single or main element of the miniatures. Reza Abbasi is one of the greatest Safavid miniaturist and one of the pioneers of single-miniatures. In his work, women have been illustrated independently and men have been depicted as sub-elements. The present paper through a descriptive-analytic method and based on visual and textual data, is aimed at achieving the characteristics of woman's portraits in Reza Abbasi's works.

The female subject (Harem women during Naser al-Din Shah Period), in the picture, not only does not resist patriarchal discourse, but establishes it. Through analytical measures of ‘replication’ and ‘margin and center’, and also considering woman subjects, the other, and eventually shah, the power relations are revealed in portraits. All this occurs at the surface of the portrait, and analyzing the picture in the context of the visual culture, one can grasp what there are beyond of the linguistic documentation of that era. As a result, picture is such a prison in which the imprisonment of woman's identity and the expansion of patriarchal authority or the pattern of (passive) woman / (active) man is represented