جستجوی مقالات مرتبط با کلیدواژه « Qajar » در نشریات گروه « ادبیات و زبان ها »

The role of place is implicitly or explicitly undeniable, in the formation of discourse and the production of meaning. Objectivity and abstraction are two predominant characteristics of places, which each give their place according to their practical context in various discourses. The main question is, how can discourses be the place of spatial challenge and pave the way to pass from the state of action to the state of transcendence and imagination? Dissociation from objective space and place, phenomenal aspect of presence and sensory-perceptual reception of place can take shape to spatial transcendence. By adopting the descriptive-analytical research methodology and relying on the "Paris appeared from afar" as the corpus of research, which is a collection of travel descriptions of Qajar period travelers, the author seeks to an answer to the following question, how does enunciator achieve a transcedental and spatial aspect of Paris by negating the actional aspect of the place and by relying on the co-presence surrounded world and sensory –perceptual experience? This perception of the word and live experience reveals the phenomenological aspect of the place ad gives the reader a new insight of the “other place” and existence.

Life style and its relevant issues are among the subjects that have been paid attention to in the didactic texts of Persian Literature for a long time and which have sometimes been called as ‘household policy’ or ‘household management’. Since the late Qajar era, attention to issues such as life style and its instruction was booming and it seemed that didactic literature became widespread with a new style and technique. In the present study, periodicals of the late Qajar and the first Pahlavi eras were reviewed and articles related to life style issues as well as comments made by their pros and cons were analyzed. Among the most important subjects discussed in the periodicals mention can be made of social life, arranging formalities, house management principles, physical health and clothing etiquette. Through reviewing published topics about life style in the late Qajar and the first Pahlavi eras, it can be concluded that movement towards modernity was advertized in different areas and western models were introduced to the Iranian society as superior examples of life style. However, in some cases these models were not much compatible with the Iranian life style and the culture of Iranian society. On the other hand, it seems that only women were to be instructed in life style and men did not require such teachings. This was due to the dominant cultural views of the then Iranian society.

The tile painting of the story of the court of Hazrat Suleiman the Prophet (pbuh) and the demons is a rare example of a tile painting related to the head in a house of the Qajar period in Shiraz, which, in addition to its artistic and religious features, shows the connection between art, religion and politics in this period, and has not been introduced and investigated so far. Is. This rare head was offered at the Bonams auction in 2010 and displays the tradition of painting and the evolution of tile painting in the Qajar period. In the present research, it is important in terms of cultural and artistic investigations. Tiled gates of the Qajar period and especially of Shiraz city express the cultural and artistic features of this period and are important from this point of view. Head on the topic that was introduced in the Bonams auction and is complete; According to experts, the auction is an exceptional example. Despite these cases, no serious research has been done on the shape of the head in the content and content, and it shows the necessity of the current research and its innovation.

This research has been carried out in a descriptive-analytical way using library and survey resources. The header images are downloaded from the internet version. The statistical population of this research is the Qajar era tiled headland with the theme of Suleiman Nabi's court and they are analyzed using relevant criteria and in a logical and analogical way. The method of analysis is based on the examination of visual principles and rules used in the appearance characteristics of the door, based on logical and comparative analysis. In this research, its characteristics are studied.

 In the analytical study of the main part of the tile painting of Hazrat Suleiman (A.S.), which can be seen in the horizontal rectangle part of the work. Hazrat Suleiman has a government that no one after him was worthy of. By God's permission, he has mastered humans, birds, devils and demons. The Qur'an in verse 12-13 of Surah Saba recounts a corner of the greatness and vast facilities of the court of Hazrat Suleiman (AS) and says: "... and We tamed the wind for Suleiman, which sometimes travels the path of a moon in the morning and the path of a moon in the evening and the fountain of copper. We made the (melt) smooth for him, and a group of jinn worked for him by the permission of his Lord, and any one of them who disobeyed our command, we made him taste the torment of the burning fire, and they prepared for him whatever Sulaiman (a.s.) wanted. Temples, statues, large food containers like basins and fixed pots that could not be carried because of their size, and we said to them: O family of David, give thanks for all these blessings, but few of the servants are grateful..." (Surah Saba, verse 12-13). It is also stated in verse 20 of this surah: "He looked for the chickens and said: Why do I not see Hoddh? Is he absent?" It didn't take long that he came to the presence of Hazrat Suleiman (AS) and reported the excuse of his absence based on verses 23-26: "I have brought a certain news from the land of Sheba located in Yemen, I saw a woman who rules over the people of Yemen and It has a huge bed. That woman and her people prostrate to other than God and do not worship God, the God who has no deity but Him and is the Lord and owner of the great throne. (Surah Saba: 20) Also, in verse 35 from the language of Balqis, he says: "And I do not consider war right now, I am sending them a precious gift to see what news my messengers bring." At first, Balqis tested Solomon by sending expensive gifts. These two verses are the story of the words of the Queen of Sheba and the image that the artists of the Qajar period painted on the front of the court of Hazrat Suleiman. In this scene, Hazrat Suleiman is sitting on a blue and gold throne with a halo of light in the center of the picture and is taking a letter from Hudhud, the yellow circle represents Hudhud and a letter is flying at its tip The three elders who are shown in the picture with headbands and crowns and trays of golden gifts are the bearers of the gifts. Demons are seen on both sides of the image, black, spotted and with two wands in analogy on both sides of the image. Two lions are sleeping at the bottom of the throne of Hazrat Suleiman (a.s.) and two Simorghs are above his head. A peacock, another bird (nightingale) and a hooded owl can be seen with a letter in its beak, and two elves can also be seen linearly on the picture page. This is the main part of the Sardar, which deals with the verse of bringing gifts from the Queen of Sheba Balqis to Prophet Suleiman (AS).

In the art of the Islamic period, iconography and images of prophets and imams have been common. According to the existing examples, the art of tiling and engraving in the Qajar period and especially in the city of Shiraz was very important. In this article, a rare tiled dostun door head from the city of Shiraz, belonging to a house, was examined for its content and theme in the Bonams auction. This door somehow connects the religious and romantic themes in Qajar period tile work. This scene from the court of Hazrat Suleiman (AS) and tile iconography is one of the unique and less paid samples that has significant symbolic and artistic values and the writing according to his order shows that This issue was ordered directly by the owner of the house, the writing in the factory of master Ebrahim Mara introduces the artist of the work. The study of different parts of this headboard and columns shows that the initial theme of the headboard is based on the narration of the court of Hazrat Suleiman (pbuh) and the bringing of the letter by Hodhod, the importance of this bird, the bringers of the gifts of the Queen of Sheba, and it is repeated once in the headboard and four times in two pairs. Is. The presence of lions, birds, divan, and jinn in the image indicates the mastery of the Holy Prophet and his conversation with the animals and the surrounding of his rule over them. The secondary theme of the story refers to the love story of Hazrat Suleiman (AS) and Saba. Anthropomorphism, demonism, birdism, and romantic themes are depicted in the margin of the main image on the columns. Lion and sun drawing; red flowers; The landscape painting is similar to other examples of tile painting in the Qajar period. Sardar directly refers to the court of Hazrat Suleiman (AS) and Hodhud, but in the columns, the love story is depicted in a symbolic and allegorical way, and Hudhud as an influential role is the only role that is repeated both in Sardar and the columns. The subject of its religious and literary function and its connection with the features of Qajar period art has turned it into a unique and remarkable example.

Malouli Shirazi is one of the few women who have survived to have organized and codified poems. However, like other female speakers, the description of her life and poems is placed in an aura of ambiguity and isolation, the identification of which is the main subject of this research. In this Essay, we have tried to introduce this little-known poet to the literary community.

The present study is written in a descriptive and library research method.

Using tazkare books and manuscripts of Divan of this poet, his life, circumstances and thoughts, were identified and his literary and stylistic characteristics were Definited.

In this research, it was determined that this poet of the return period, usually wrote poetry with reference to the poems of Saadi and Hafez, and sometimes, verses that include new innovative features that mentioned.

Iran's ornaments throughout history, in addition to their decorative status, express meanings, concepts and culture that have chosen art as their language. The ornaments of the Qajar era have provided thisopportunity and possibility to create their belief system in the course of rituals and social behaviors, the study of which is one of the appropriate ways to know the culture and art of Iran. The purpose of this article is to identify and analyze the symbolic motifs used in the jewelry of the Qajar period, relying on the Nasseri period. This research tries to answer the basic questions of whether the motifs used in this period were influenced by similar examples in previous periods. Also, whether the motifs of this period are based on religious and mythological beliefs or they are only decorative and artistic? Utilyzing a descriptive-analytical method and collecting library information This research, introduces and analyzes the commonly used symbols of ornaments of the Nasseri period, relying on 26 ornaments. The results of this research show that the images used in these ornaments follow and continue the symbolic meanings in the past art of Iran, although in an exaggerated way and mostly inspired from nature.

Mirza Seyyed Yahya Modares, deceased (1282 AH), nicknamed Fadai Yazdi, is one of the scientific and literary figures of the Qajar era, who has numerous works in poetry and prose in Persian and Arabic. His divan is a collection of Sonnets (Ghazal), Odes (Qasida), Mathnavis (Masnavi), Pieces (Ghat’e) and Quatrains (Robaei). In addition, he has two poems in Arabic. This article is dedicated to examining the stylistic and content characteristics of his poems from linguistic, literary and intellectual aspects. The purpose of this study is to determine the ability of the poet as one of the ode writers of the Literary Return period.

The present study is based on a descriptive-analytical method with library tools which has been done on a valid manuscript with the poet's own handwriting in the personal library of Seyyed Yahya Modarresi.

Fadai Yazdi has proved his ability in composing praise poems. His skill is in simile and metaphorical illustrations in the introduction of the odes. His poetry is full of beautiful literary industries. The use of expression techniques, especially sensory-to-sensory similes and novel balances and allusions, has a high frequency in his poetry. The choice of Bahr Mujtas and Raml makes the weight fit with the content and the use of heavy Arabic rhymes is one of the characteristics of his poetry. Intellectually, the main theme of his poems is praise, and his main praise is the great men of religion, especially Imam Ali (as). In the content of Fadaei Yazdi's Odes, the description of nature and the beloved and also complaining about the life and the expression of despair and hopelessness can be observed.

Fadaei Yazdi has been a powerful ode composer. One of the prominent features of his poetry is the frequent use of words and combinations of Arabic language, which sometimes makes it difficult for the reader to understand the meanings of the poem. Like his contemporary poets, he followed Khorasani style and imitated predecessors and has considered their poetry in choosing weight, rhyme and themes of his poems. He was well acquainted with the poetic features of previous poets and has been able to reflect their linguistic, literary and intellectual features in his poems.

In the nineteenth century, the European governments competed in the Indian subcontinent, the developments were wonders. The center of developments that transformed the fate of the eastern regions of the Iranian plateau. The French-Russian competition with Britain and the attempt to reach India led the British to take control of Baluchistan by adopting a policy of forming governments and segregating areas of Iran and Afghanistan. The central Iranian government sought to restore and consolidate its weakened power by expanding its influence in Baluchistan, which was an obstacle to the achievement of British objectives. The purpose of this article is to examine the history of political and social developments in the southeastern Iranian border and to study the role of Engels's strategies in India and the separation of Baluchistan in the Qajar era. The method of research is based on the method of historical research and in the form of documents and libraries. This study shows that British and European competitors ' goals and policies have been preserved in the east of Iran in the eastern Iranian region, and its rich resources and interests are in India's strategic subcontinent and increased influence in the area.

The phenomenon that is called "child marriage" today and is one of the important social and cultural issues and harms related to women, is a historical issue that in the Qajar era in the struggle between tradition and modernity, gradually to the issue and subject It became important, at least among sections of Iranian society. Child marriage or marriage of girls at a young age, although a common phenomenon in pre-modern Iran, does not mean that this phenomenon is not considered as a social harm and a critical phenomenon. In the silence of historiographical, official and even political sources in the face of this issue, literary texts that are considered as the main sources and sources of social history in Iran have considered this important issue as a source of social criticism and in a thoughtful way in They reflected their poems and writings. Relying on texts and literary sources of the Qajar and constitutional eras and new research, this article has analyzed the approach of texts to the issue of child marriage in a descriptive-explanatory method.

Common language is one of the most important determinants of the identity and nationality of human groups. It plays a major role in communicating among the various inhabitants of the same land.Persian language and literature, because of its valuable features, has been a central focus of Iranian civilization and culture and has been a unifying factor. The Qajar period was the starting point for Iran to deal with the outside world.As a result of this encounter, aspects of the distinction between the "self" and the "other" were highlighted. In other words, the notion of 'identity', without necessarily speaking about it, appeared in some written works of the early Qajar period. The two bloody wars and the historicization of Iran and Russia marked the beginning of the introduction of new nationalist and patriotic ideas into Persian poetry.During the Iran-Russia wars, "Habbooten" increasingly became the work of poets and writers of the period, and the geographical territory of the country was read as home to those with an Iranian identity.Fath Ali Khan Saba is one of the most famous and, in a word, the greatest poet of the Iran-Russian wars. By revisiting ancient notions of nationality and patriotism, he has recreated the linguistic identity of Shahanshahnameh in a new way.

During the Qajar period, one of the influential painters was Mirza Ali Akbar Khan Natanzi, known as Mazin al-Dawlah, a resident of Kashan. Mazin al-Dawlah, a student of the great artist of the Unger era, was educated at Paris School of Fine Arts. Due to Mazin al-Dawlah’s significant role and teaching in Dar al-Fonun as well as his upbringing of students such as Mirza Abutrab Ghaffari, Ismail Jalayer, Musur al-Molk and Kamal al-Mulk, his life and works are worth discussing. To this end, first the teaching of academic painting in Dar al-Fonun in the Qajar era and Mazin al-Dawlah’s role are examined. The purpose of this study is to find out the role of Mirza Ali Akbar Khan Mazin al-Dawla's teaching in Dar al-Fonun as well as the mentioned artists. The research question is: what was the role of Mirza Ali Akbar Khan Mazin al-Dawlah as a teacher and painter in the Dar al-Fonun school? Research deploys a descriptive-analytical method involving library resources and museum samples. The results of this study show that the Dar al-Fonun school and the teaching of painting have played an important role in the development of Qajar art, and Mazin al-Dawla- as a manager, teacher, and talented artist- has proved so important to this growth. He, as a master in the field of landscape painting and artistry, has been influenced by European academic art and accordingly trained a brilliant generation of Iranian painters. He established the Western style of academic painting in Iran in the Qajar era. His teaching and management experience in Dar al-Fonun as well as his training of the brilliant generation of painters along with his teaching of French and of music have made this artist a legendary figure in the Qajar period that is unrepeatable

By the emergence of Modernity in Iran in Qajar Era many intellectuals believed in developing reformations in Iran’s Community. Besides reformations, the society of Iran should be awakened from deep sleep by thinking transformation and reach Modernity and this issue is evident in all works of intellectuals in Qajar. Undoubtedly many trips of intellectuals of this era to European countries have influenced their thoughts. Pre-constitutional intellectuals enumerated the reasons for Iran’s mustiness as despotisms, lack of legal governance, invasion of Arabs to Iran and finally religion and superstitions. So they tried to find a solution for solving these problems. They became familiar with modern government elements in West and proposed some solutions for mustiness of Iran like: reformation of governance structure, making law, reformation or changing the procedure, renewing ancient traditions, eliminating or reforming religion, etc. the thoughts of these intellectuals aren’t limited to a same realm of meaning and the method of each case is different for solving the problems of the country. However, their thought is related to modern governance. Among the pre-constitutional intellectuals is Mirza Agha Khan Kermani. He found out the reasons for Iran’s mustiness by observing western countries’ situation and comparing it with Iran. He became aware of Modern governance elements and criticized traditional situation of society of Iran and tried to find a solution for solving this crisis.

The current paper is based on analytical-descriptive method and governance theory of Michel Foucault and examines perception of Mirza Agha Khan Kermani of nature of Modern governance on the basis of his work, seven treatises.  The problem is that what are the basics of modern governance in the thought of Mirza Agha Khan Kermani? The hypothesis of this paper is that Mirza Agha Khan Kermani criticized the nature of traditional system of Iran and his different perceptions of Modernity and modern governance led to a different interpretation of mustiness. About the research literature we should say that some works have been written about thoughts of Mirza Agha Khan Kermani that the most important ones are Facing with Modernity by Abdollah Ansari, Basics of Modern Government in Thinkers’ Perspective in Constitutional Era by Shah Mohammadi, Thoughts of Mirza Agha Khan Kermani by Feridon Adamiyat. These works have examined dimensions of Mirza Agha Khan Kermani’s thought.

Mirza Agha Khan Kermani is one of the intellectuals of Qajar Era. His thought is full of nationalism, documenting the governance right of nation, freedom, fighting with Russian and English colonialism, fighting with despotism, litigation, human rights, Islamic unity thought and criticizing social situation (Ajoudani, 2014: 79). He criticized the nature of traditional system in Iran and his different thinking tendencies have influenced his perception of Modernity and modern governance elements.This has caused that he has a different perception to lagging behind. One of the modern governance factors in his thoughts is national government. He considers the reason of the emergence of government the human being’s requirement to meet his needs and necessity of cooperation with others in meeting them. In his opinion (Kermani, 1945: 69) establishing a society and necessity of leader I the factor of people’s solidarity and prevents disunion in society and it is considered as main motivation of community to modernity.  Kermani considers government a necessary tool for society progress (Kermani, 280). His attitude to government represents establishing a legal system based on Modernity because it is “legally bound” and its nation enjoys freedom rights (Kermani, 1933:162). He reprimands despotic traditional government as the people finally make a revolution. It doesn’t seem that he wants to transform all political structure and make a revolution in it but conversely, he is reformist and tries to avoid despotism. In his opinion the existence of law is the main technique for modern governance. Kermani focuses on law as the main element in reaching democracy in Iran and believes that it has been from the beginning and it has been eliminated by Arab attacks and their dominance to Iran (Kermani, 285). Mirza Agha Khan considers lawlessness of this event as the origin of all misfortunes of Iranians.One of the structural components in the transformation of Mirza Aga Khan's thought is the unpreparedness of the society and the illiteracy of the majority of the society. In this regard, he considers the basis of life and the basis of human civilization in science and knowledge and considers science impossible without education (Kermani, 1945: 16). He did not believe that Iran was useless in science; But with the invasion of this land by the Arabs, they destroyed their sciences and technologies and burned the books of Iran out of jealousy and ignorance and trampled on the sciences of Iran for several thousand years (Kermani, 1989: 23). The intense attacks that Mirza Aga Khan repeatedly pays attention to the ignorant Arabs and their customs and traditions in his works show his attention to the political system that ruled the situation in Iran at that time.In the face of the modern government in the West, Kermani considers the ruling tyranny as one of the reasons for the backwardness of the governments in Iran, which seeks power and has not paid attention to the development and education of the nation and deprives the people of their rights and freedoms. Kermani gives people legal rights (Kermani, Bita b: 74-73). According to him, the people should be aware of their rights and the nation should form a great force for itself against the strength of the government. His emphasis on the concept of the nation and the granting of equal rights demonstrates his efforts to involve the people in the political life of the country in order to achieve a modern government in society.Kermani has a broad view of women's rights among intellectuals before him, so much so that he pays special attention to women in all his works. In the field of women's rights, she believes that they should have equal rights with men: "Women should have equal rights with men and learn them from any science, technology and industry, and be aware of good and bad, and women should not wear hijab and not speak. He is not forbidden from having sex with a foreign man so that he does not produce any sins and obscene acts at all ”(Kermani, 1933: 10). Therefore, he considers women to have equal rights with men as a condition for the perfect progress of the human world.

Mirza Aga Khan Kermani is one of the pioneers of modern government in Iran, who at the same time has tried to look at tradition in its historical context. His efforts to critique the past as an important component of his thought are influenced by the West. He can be considered an admirer of the ancient religion and cultural values ​​of Iran, which he tried to revive and to take the political foundations of the West, such as the establishment of national government, the expansion of social and political freedoms and finally the absolute separation of political institutions from religion. He emphasized. He brought government and religion together and considered the rule of law to be appropriate for Iranian society. Mirza Aga Khan's legacy not only reduced the role of tradition to advising the ruling system, but he also opposed and rejected the authoritarian system in the political sphere. Mirza Aga Khan Kermani, as one of the progressive intellectuals, called on the people to participate in the government and demanded the overthrow of the authoritarian government by the people.

One of the most important branches of biography is autobiography. This literary genre is a self-written biography of the external and internal aspects of life. Iranians" attention to this type of literature begins in earnest from the Qajar period. This literary genre has the ability to reflect the socio-political and literary issues of a particular period. One of the first examples in the political arena of Iran, namely the autobiography of Amin al-Dawla, is one of the famous men of the Qajar period. This research has been done with the aim of introducing and analyzing the stylistics of Amin al-Dawla"s autobiography.

This research was conducted in a descriptive-analytical manner.

The findings of the research show that at the linguistic and literary level, "Amin al-Dawla" has used various linguistic and literary tools to express her meaning, the most important of which is the combination of Persian phrases with verses, Arabic proverbs, Coming from the language of humor in various forms such as metaphors of comprehension, elaboration, etc. In terms of content, the author has lengthened and marginalized the representation of issues related to the court and its events, and on the other hand, the basic problems and troubles of ordinary people in society have little place in this work.

Amin al-Dawla"s memoirs are writings that he wrote as a document proving his innocence from political currents. Such biographies cannot inherently adhere to the Covenant of Autobiography, ie truthfulness; Therefore, it can be said that Amin al-Dawla has acted "selectively" in narrating her actions and ethics and has used linguistic and literary tools and arrangements to convince the audience.

Rumors about the rulers formed an important part of the political culture of the people in the pre-constitutional period. Therefore, it is very important to know the role of rumor in the political action of the subordinates and its function in the face of domination. Our research questions are: In which part of the political life of the people was spreading rumors used? And which of the domains did it challenge? Our assumption is that rumor was used in all three main approaches of the subordinates: denying the official narrative of the government, thwarting the strategies of the rulers in shaping this narrative, establishing dialogue with the hegemons, and paving the way for rebellion. Rumors cast doubt on the capability of the government’s military forces. It denied the claim of inherent superiority of the ruling elites. It also rejected the ruler’s adherence to religious precepts. Some rumors also incited the people to revolt. In addition, people turned their hopes and aspirations into rumors as an excuse to reduce exploitation. The theoretical framework of the research is the theory of hidden transcripts by James C. Scott. He has tried to identify and explain the methods of the lower classes to resist domination.

One of the less-introduced types of the visual arts of the Qajar and Pahlavi periods is the painted ceramic beehive covers. These lids, approximately 23 cm in diameter, were installed on wicker hives of about 85 cm long and had a hole for the crossing of the swarm. This article introduced dozens of these lids that were made from the late Safavid period to the first Pahlavi era. The most important aims of this research were the identification of the place of production, a thematic classification of the paintings and inscriptions, and an analysis of their content. It can be said that these works can be classified into three general groups: non-illustrated inscribed examples, religious paintings and secular paintings. Among the inscribed works, some prayers have been written that should be considered as an amulet to ward off calamities from the products. Moreover, some prayers and Quranic verses are related to increasing the blessing of the crop and also repelling the evil eye. In addition to several Shi’ite inscriptions, all the identified religious paintings are also related to the Shi’ite beliefs. The religious paintings include images of the Duldul (prophet’s mule, which was presented to Ali ibn Abi Talib), Khamsa, and shrines of Shiite imams. Among the secular paintings, the most frequent are the images of animals, showing them in hunting scenes or in the motif of the tree of life

Safa al-Qulub is a valuable work of which there is only one manuscript in the National Library of Tabriz and it has not been corrected yet. This book was written by Abdul Rahim Hazin Shirvani in the Qajar period in 19 speeches and 11 anecdotes and a short conclusion in the prayer for the good of the scribe, following the bread and halva of Sheikh Baha'i and in its weight and format. The present article is documented-descriptive and based on library studies, and seeks to answer the question, what are the most obvious features of the purity of the heart? For this purpose, the most important features of Safa al-Qulub at three levels of thought, language and literature, along with the introduction of the version and its calligraphy feature, have been examined and the hints and guarantees used have been extracted and confiscated. The research findings indicate that this work has the characteristics of the old style in a sense and the traces of modern words and expressions and new uses are evident in the lab of this version. The stylistic and calligraphic features of the version can also be seen in the other two versions. Only 7% of the verses are different. Following bread and halva is also evident in various places in the version. Apart from Sheikh Baha'i, the author of this work has also commented on the poems of Rumi, Attar and Saeb.

Iranian literature and history show that in the past, the women"s community has been absent from the narrative and historical role, and in this absence, the pen has been in the hands of men who have removed or distorted the true appearance of women throughout history. However, the constitutional period must be looked at differently. The course, which was accompanied by an introduction to Western culture, social demands, literacy efforts, letter-writing, journalism, and social scenes for Iranian women, so that it could be the beginning of a period in The history of Iran knew that women had made their social demands. In fact, from this period, we can gradually see the signs of women"s presence in the field of writing, especially in the public and social spheres of Iran. The aim of this study is to investigate the stylistic style of women"s prose in the Qajar and constitutional periods, in order to recognize their real social status in this historical period. In this research, data collection using library resources and historical research Describes and analyzes data. The findings show that gender, social class, level of education and women"s morale have influenced the stylistic features of these works.

In Qajar era, due to the lack of mass media on one hand and the expansion of the general level of literacy on the other hand caused the situation of people from different classes (kings and princes, scholars and clerics, open-minded educated people, poets and writers and even the common people) to be proposed, rather, many of the current issues to be mentioned in the letters, which have been less considered in official and administrative correspondence due to security and secret issues. This period, while from a historical point of view, Persian prose has been transitioning from artificial prose to technical prose; from a cultural and social point of view, correspondence was freed from the monopoly of kings, ministers, writers and people of grace, and the general public also tended to correspondence. This research tries to investigate the role and status of letters and correspondence in Persian prose by identifying the type of writing, terms and literary interpretations used and the ideas and themes of the types of letters left from the Qajar era.

 Nooshafarin-nameh folk story gives the reader , valuable information about cultural and social conditions of Qajar era . Administrative system like that the King gives the governorship to the prince boy and princess . Some customs like decorating the city for different occasions . Some beliefs like reading Azan and Iqame in new born's ear , believe in determinism and fate , reliance , thanksgiving , appealing to Imams and etc. Social etiquettes like entrusting the baby to the nanny , wearing black clothes for mourning and etc. . In this story , mythological theme and archetyping compiled in a way that understanding fiend and black magic and believing in charm won't be derisive beside Islamic beliefs .Our method was analytical-descriptive and using library.and black magic and believing in charm won't be derisive beside Islamic beliefs .Our method was analytical-descriptive and using library.

The ritual of "The King of the Sacrificed Camel" is one of the rituals about which various reports have been mentioned in the historical sources of Qajar era. In this ritual, a man who looks like the king, gets on a camel in Eid al-Adha. But the camel is sacrificed, the man falls down, and loses his superficial kingdom in severe humiliation. However, the study attempts to seek why the government allowed a man similar to the kind to be humiliated? And why this ritual is held in Eid al-Adha? The assumption is that the rite follows the rites of "Temporary Kingdoms" that were held from the ancient ages to recent eras in different territories. The people of these territories believed that the weakness or illness of the king caused drought, epidemic, and famine. So, they had to kill the king before the indications of weakness unfold and his ghost could be transferred to his successor in full health. However, after a while, killing the king converted to the killing of a man similar to the king, and then killing of this man was converted to his punishment and humiliation, though in some cultures an animal was sacrificed instead of him. The ritual of "The King of the Sacrificed Camel" contains both the humiliation of the temporary king and the sacrifice of an animal. The similarity of animal sacrifice in this ritual and Eid al-Adha helped the organizers to use the legitimacy of Eid al-Adha to continue this ritual. The study employs the phenomenology of Edmund Husserl.

The abundance of Iranian jokes, especially about the elite governors of the Qajar era, is important to examine their position in the political life of the mass. Conciseness and irony, as well as the inherent attraction of humor, have fostered the spread of these jokes in society and made them an effective tool in the political struggle of the mass. The question is whether these jokes seek to disrupt one of the official narrative sections of the government and which areas of domination have been denied? Our hypothesis is that among these jokes, the ones that challenged the authority of the state and the inherent nature of its components for the general public have a special place. In the case of jokes denying the authority of the state, there is a clear disobedience of the mass representative to the representative of the government, which leads to the success of representative of the mass, and in the jokes that confront the claims of superior elites, significant personal weaknesses were observed. Simultaneously by this jokes, people challenged the domination of power and dignity, and their efforts were aimed more at neutralizing domination. The theoretical framework of research is based on the theory of "hidden narratives" by James C. Scott, who tried to explain the resistance of the mass to openly criticize power without protest. So far, no research has been done to analyze the political jokes of the pre-constitution period.