شهرام پرستش

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

According to Bourdieu’s cultural theory, the author’s trajectory reflects the dialectical relationship between his or her habitus and conditions of the literary field in a given historical situation. Habitus is dialectically tied to the field and constructed with different capitals. In an author’s habitus, cultural capital plays the main role as the most significant capital. The field of literary production prepares an appropriate atmosphere in which the author breaths, grows and gains his or her literary capitals. The literary field is distinguished from other fields by cultural capital as its currency. The different conditions of the field can be displayed on a spectrum from the heterogeneous pole in one side to the homogenous pole in the other side. Different conditions of the literary field reveal a variety of relationships between this field and the field of power. If the field of power respects the borders of the literary field and does not invade its territory, the pure literature will emerge in the pole of limited production. Otherwise, the literary field loses its independence and leads to the production of committed literature in the pole of mass production. In this article, the trajectory of Simin Daneshvar’s literary life as the first woman novelist has been sociologically quested. Simin Daneshvar’s trajectory results from her positions in the Iranian literary field during different historical periods. These various positions that illustrate her literary trajectory depend on the dialectical relationship between her hapitus in one hand, and the conditions of the literary field in the other hand. To distinguish the share of various capitals in the author’s habitus, the process of its construction is explored. These investigations regard the dialectical relationship between the literary field and the author’s habitus, following genetic structuralism as a method that studies the genesis of habitus and field with a historical approach. Based on Bourdieu’s theoretical and methodological approaches, three novels of Simin Daneshvar have been studied, adapting to her positions in the literary field during different periods. The structural homologies between Daneshvar’s habitus, the literary field and the worlds of novels are obviously apparent in the selected novels. According to Simin Daneshvar’s several biographies, she was expertise in Iranian literature as well as the world literature when she was writing her first novel. This balanced combination of inner and outer cultural capitals allowed Daneshvar to write a creative novel that not only provoked literary critics to consider it as an important event, but also promoted her status in the field of literary production. Regarding Simin Daneshvar trajectory, she occupied the centre of the literary field with her first novel, Savushun (1969) but she could not retain it with her two other novels— Wandering Island [Jazire-ye Sargardāni] (1992) and Wandering Cameleer [Sāreban-e Sargardān] (2001). This article concludes that the decline of cultural capitals in Daneshver’s habitus and distortion of the literary field are major factors that cause her loss of status in this field. After publication of Savushun that unpleasantly coincided with Jalal Al-Ahmad’s death, she could not update her knowledge on the contemporary movements in literature and her cultural capitals begun to decrease, at least compared to her past. Besides, the literary field had lost its independence and its golden age. The dialectical relationship between these factors propelled Simin Daneshvar’s position in the literary field, from the center to the margins. This trajectory is represented in her novels and their protagonists. Indeed, there is a structural homology between Simin Daneshvar’s trajectory in the field of literary production and the protagonists’ trajectories in the world of her novels.

Since antiquity onwards, Damavand has been a noteworthy phenomenon in the Iranian culture. Even though the object of Damavand is fixed, yet one could not assert that it has always maintained just a single meaning. The mythological meaning of Damavand is unequal to its national meaning. The meaning of Damavand in Šāh-nāma differs from that of Bahar's ode “Damaavandieh”. Different meanings of Damavand are examined within the long history of Iran using the “Representation” theory. According to this theory, true phenomena, while entered to the realm of humans, acquire new meanings that are affected by historic and discourse related backgrounds. Hence, a phenomenon such as Damavand that has a firm objectivity, finds different meanings in different times or for different individuals. Once, it’s a myth, and once an inspiration for poets and/ora national symbol for people of today. Damavand has obtained a new (further) meaning every time, yet a meaning of the same nature of man. That is for Damavand acquires meaning in the realm of humans, other wise Damavand per se is merely a mountain.

this article aims at indicating how the process of production and reproduction of urban spaces in Tehran can be understood through reading the social novels produced during the Reza Pahlavi era (1300-1320). It is evident to us that urbanization and novel writing are closely intertwined. 'City' characterized as the carrier of modernity is more and more is taking shape based on the distinction between public and private spheres. Therefore, reporting on everyday life of the people who live in city space requires one to pay attention to a medium that has the capacity of reflecting it. Theoretically we have come to the conclusion that such medium is novel. In other words, people's everyday life in Tehran is reflected in that the social novels produced in that period. Among many novels of this period some are considered as more important in light of their references to urban spheres. They include novels such as “Tehrane Makhoof” written in 1301 and its second volume “Yadegare Yek Shab” produced in 1305 Iranian Calendar both by Moshfegh Kazemi, and “Tafrihaate Shab” published in 1311 Iranian Calendar by Mohammed Masoud and “Ziba” published in 1312 Iranian Calendar by Mohammed Hejazi. The above mentioned novels are analyzed here using a qualitative content analysis with special reference to Lefwebr’s ideas. Henry Lefwebr has established the theory of “social reproduction of space” based on synthesizing Marx’s 'Dialectical Materialism', Hegel’s 'Consciousnes's and Niche’s 'Language and Power'. Lefwebr offers a new vision on space, time and the relationships between these two in urban society in companion with the criticism of the inactive actor in the sphere of everyday life. In his view space is divided into three kinds of physical (natural), subjective and social one. 'Space' is basically a social entity which is produced and reproduced in each period of time in accordance with the demands of time and social, political and economic conditions. 'Space' is also a process; a dialectical process between the subjective and the objective matters that is discernible through the act of individuals, or as Lefwebr would say, between the spatial action and the spatialized body. One of Lefwebr’s problems has been to relate subject and object, that is why he has presented triads in order to relate these two, something that contributes formation of the theory of social reproduction of space. The first group of such triads includes representational spaces, spatial practices and space of representations. In terms of methodological considerations we approach the sampling unit in our study based on the unified text (Holesty, 1373) which includes the three before-mentioned novels. We studies the whole texts as our unit of observation. In order to determine the recording unit (analysis unit) and in light of the hypotheses and research goals, three themes are firstly determined and then their theoretical and practical definitions are presented. These include 1- rhythms 2- production of sphere and 3- exchange value and consumption value.Using Lefwebrian concepts and determining the themes of rhythms, production of sphere, exchange value and consumption value, it was concluded that almost none of people in Tehran are active in production and reproduction of urban spaces and only a small strata of educated, westernized and modern people have reproduced the urban space in accordance with the contradictions of modernity. This is while the state, in accordance with its dominated ideology, has produced and reproduced these urban spaces for the purpose of strengthening its own power. Our findings related to analyzing the “cyclic rhythm” and “linear rhythm” shows that the city of Tehran has been in the starting point of its confrontation with modernity in that period.

Kamal-al-Molk is one of the first Iranian painters who totally dismissed the traditional rules of painting. He redefined the meaning of painter and his career. In this text, we used Pierre Bourdie's theory (one of the latest French sociologists) and the Genetic Structuralism he offered as a theoretical framework and method for analyzing Qajar painting changes and representation of real life in Kamal-al-Molk masterpieces. By the use of Genetic Structuralism we focused on Modernism and the momentous role it played in the future of Iranian Painting. Genesis of the field of painting production and it's relation with the field of power in Qajar epoch were the aspects we took in consideration here. In other words, unlike the other studies, which Explain Qajar painting changes according to west painting, in this study we tried to do the same according to social changes in Iran and its effect on art and painting. In doing so, emerging of the field of painting and its two main poles, independent and dependent poles, are recognized generally. In accordance with the process of modernism and the rule of law, distinction extended in the field of Qajar society and, as a result, the field of painting production appeared gradually. According to the study's conclusion, the field of painting production in Iran appeared around the Iranian Constitutional Revolution (‘Mashrooteh’ in Persian) with Kamal-al-Molk being placed on the independent pole. "Royal Painting" was the main form of painting and in the first period of Qajar, and Fathalishah's court was its main centre. However "popular Painting" was produced extensively in this period. Kamal-al-Molk, one of the most famous painters in his second part of life, changed his mind and created his works just to paint them without any application and royal relations; indeed, he gradually started to create pure painting. He was one of the first Iranian painters who started to be independent from the court and established "art for the sake of art" in Iran. As a conclusion, whenever painters were away from court and the field of power they were inspired by people and their real life. According to this research, the Field of painting production emerged around the Constitutional Revolution in Iran and Kamal-al-Molk is the first Iranian painter who produced some of his works near the Independent pole as a freelance and modern painter. He is an artist who changed the momentum of Iranian painting in distancing himself from the common traditions of the last centuries. However, his new style resulted in the complete freedom of painting in the next decades and in the first period of Pahlavi’s epoch by a group of artists who went to Europe to study art. On the other hand, the establishment of Tehran University and the Fine art faculty, which was a new base for the production of pure painting, happened as art was produced in the independent field and redefined its rules without any relation with other fields. In its real freedom, art was produced by the artists’ desire rather than by authorities’ orders.

This article studies the narrative of Iran-Iraq war(1980-1988) in three novels:”The Journey Towards 270 Degree” by Ahmad Dehqan, “No Watery, No Soil” by Ali Moazeni and”Scorpion On the Steps of Andimeshk Rail Road” by Hossein Mortezaeian Abkenar. In the sight of narrative theories and methods this study first illustrates the novels’ structures and superstructures in order to analyze their deep structures. Life and death, as the principal components of the deep structure, have been defined and classified based on analyzing the text, the genre of narrative and titles of the occurrences. In”The Journey Towards 270 Degree” life is the dominant aspect of the structure and content, versus, in “No Watery, No Soil” death and martyrdom are illustrated as the dominant aspects. Finally, in” Scorpion on the Steps of Andimeshk Rail Road”, neither death nor life are dominant, rather its narrative and structure depict a purgatorial aspect between life and death.

This article traces the way women are represented in three novels written by women during the Reform Government 1375-1384/1996-2005. The most important characteristic of these novels is the internal dialogue of the narrator. This phenomenon helps to penetrate the layers of the female mind and to reach the inner world of women. This is a new phenomenon in the Iranian novel and our aim is to know how it is represented. How far does the mind of the women in these novels correspond to the common paternalistic culture? These novels are analyzed from three different angles, description, explanation and interpretation. The results show that the main characters of the novels have two images of themselves. They begin by acting in accordance to traditional culture and everything appears natural to them but midway they encounter external contradictions and events which upset their lives. They face internal chaos and disturbances and begin to think about the world around them and manage to build a different life for themselves which is very different to the traditional world they lived in.

Distinction as the most important component of modernity has been emphasized by a wide range of scholars from Emil Durkheim to Pierre Bourdieu. From a theoretical perspective the children’s world is one of the distinctive social worlds, but other worlds such as adult’s world have colonized it. Recognizing its main rules and guidelines will help to avoid such colonization. Anthropology of childhood is one of the scientific disciplines which try to study these guidelines and rules. These rules make the different logic of children’s behavior understandable. Probably indistinctiveness is the most important rule of this field represented as sexual, class, ethnic, national and even aesthetic indistinctiveness. But the process of socialization reproduces distinctions because children do not have any ideas about them before being taught; we do not notice them them when children are playing freely. Children’s literature is an important tool to socialize children. Unfortunately children have been colonized by this literature because adult writers do not have enough knowledge about the main rules of children’s world. This article intends to show the distinctive foundations of three selected children’s stories. The first one is The Ugly Duckling by Anderson; the second one is The Little Black Fish by Behrangy and the third one is The Sock Suicide by María Asun Landa. The results of this study show that children do not read stories like their authors and do not get the same meaning.

Gender Language which dominants the gender discourse of social climate in Iran, is one of the most influential phenomena in language and non-linguistic actions of individuals. This phenomenon has been revealed as a part of a common outlook on the concept of gender in among the popular magazines. Since the dominant ideology tries to incorporate and apply a self-constructed gender outlook that provides its interests, and since this has dictated itself powerfully in the individuals’ social being, we decided to study the influence and hegemony of this desire in the subconscious mind and the gender discourse in Iranian society. To this end, some of the stories in popular Persian magazines (published in 2007) were chosen with theoretical background taken from the Michel Foucault perspective and Norman Ferklaf methodology, the stories were then analyzed. In this study, the findings of each of the texts were analyzed with regard to the basic categories of male discourse, such as patriarchal, naming, property, wealth and fear. The findings suggest that subjectivity of people of the community, especially women, is influenced by an unconscious which carries the dominant gender discourse. Therefore, they follow actions not completely in accordance with their beliefs and desires, but rather support the discourse which is to be used as a tool for achieving the goals.

This article is supported by Bourdieus theory of literary production. Therefore the main question of this research is concerned with the chiasmatic structure of this filed. First of all I start with reviewing Bourdieu's theory briefly to use it in further arguments. Also I illustrate the polarized structure of the subfield of poetry within Iranian literary associations and institutions. Malekoshoara's journal called “Daneshkadeh” is the best representative of the dependent pole and Rafat's journal, called “Tajadod”, is the best representative of the independent pole of it. The first one was the place of conservative poets and the second one belonged to modern poets. Here the challenge between traditional poetry and modern poetry finds special meaning. Finally as a case study I focus on Nima, the first avant-garde poet in Iran, and try to show structural homology between literary field and the field of power in his trajectory. This article is supported by Bourdieus theory of literary production. Therefore the main question of this research is concerned with the chiasmatic structure of this filed

The role and importance of people’s appearance management on their identity has attracted the attention of social sciences scholars in recent decades. Therefore this study investigates the relationship between appearance management and personal identity of youths. To study this relationship, Giddens theory is utilized. The study has been conducted via survey method and the population of the study has been 15 to 25 years old youths, the data was gathered through questionnaires and sample size was 380 cases. The results of the research indicate that appearance management is so important among the youths.

The subject of the present essay goes back to an anthropological and sociological question about the proccess of poetic creation with regard to social mechanisms. To answer this question, the authors initially refer to Lucien Goldman’s model of study in «Hidden God.» In this text, the similar relations of God, human beings and the universe as tripled elements of society’s structure have been portrayed. After these theoretical introductions, the essay focuses on the development of poetic structure with regard to the structure of society. Then based on the mentioned tripled elements, the mechanical structure of tradditional poetry is associated with the mechanical structure of pre-modern society. Thus, the objective and subjective embodiments of homological relations between God Almighty and human beings in heavenly world is set as an agenda. The essay comes to an end by presenting the overlapping of social structure as the objective aspect with poetic structure as the subjective aspect.

This article draws upon a sociological doctrine. The doctrine regards the political level of Iranian mind as an appearance of the social fact. The social fact has several levels, and its essence is hidden. The article challenges the above-mentioned doctrine with a genealogical approach. The first part deals theoretically with the constructed fact on the one hand, the fact being constructed on the other, and the dual face of the social fact with the two corresponding discourses in sociology. The second part explains the objective aspect of Iranian despotism in the light of Marx and Witfogel’s approaches. The next part regards the political mind as a subjective aspect of this fact. The final part formulates a problem: The paradoxical fact of recent political phenomenon. The objective aspect of this fact has prepared conditions for democracy in Iran, while it’s subjective aspect tends towards despotism.