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In numerous cultures, men are predominantly responsible for the profession and industry ofweaving and knitting, while women are primarily responsible for domestic sewing andweaving, provided that they are conducted within the confines of the home. However,cultural critics contend that these works did not merely demonstrate feminine taste or lovefor the home; rather, they delineated the expectations placed on females to remain silent,obedient, and compliant. The objective of this article is to examine the works ofcontemporary Iranian women artists. Feminine language is intended to convey theexperiences of women and to facilitate the comprehension and reception of women, asidentified by Luce Irigaray. This article addresses the issue of how female visual artists havetransformed knitting and sewing into a means of exploring the language of female identity.In order to address this inquiry, five art exhibitions were examined and analyzed, including“Tajali Ehsas (Manifestation of feeling),” “sew+zan,” “Women Create,” “Nakhsh (Design),”and “Pressbook,” using the methodologies of “Trend analysis” and “Event Study.”Thefindings demonstrate the evolution of the experiences of contemporary Iranian women artistsfrom the 1990s to the 2020s. Sewing and knitting have been depicted as symbols of desirablefemininity in the works of certain Iranian female painters, particularly during the “TajaliEhsas (Manifestation of feeling)” event in the 1990s. However, in the wake of socio-culturalshifts, female artists have employed sewing and knitting as a critical and linguistic action toreevaluate the identity of women in artistic events such as the exhibition “sew+zan,”“Women Create,” and “Pressbook.”

The implementation of development programs of the second Pahlavi is analyzed from an economic or political view, while they are implied in the field of culture. The Iranian woman's identity has undergone changes under the influence of these cultural development policies. In this article, we study the representation of female identity in the movies of this period with the aim of investigating the changes of that. Considering that this representation was made under the programs of capitalist development, the theoretical framework of Adorno and Horkheimer's cultural industry from the Frankfurt school was used to critically show the representation of the implications of capitalist development on the cultural industry in the cinema of this period. In accordance with the framework of the Frankfurt school, the critical discourse analysis method of Laclau and Mouffe was used to identify the discursive changes of this representation in different periods of production and distribution of cinematographic works. Based on the findings of the research, four discourses have been identified from the beginning of the second Pahlavi period to 1327, the implementation of the construction program (1327-1343), the Ministry of Mehrdad Pahlabad (1343 to 1357) and the emerging discourse of the "new wave of Iranian cinema" (1340-1357). The analysis of these discourses shows that the representation of female identity in the cinema of this period has gradually changed from the traditional veiled identity to a more naked western identity, and the latter identity has been represented as the identity of the progressive and developed class.

Over the past two centuries, the intellectual endeavors of women have introduced fresh insights into the realm of human knowledge and sparked numerous significant inquiries. Feminist criticism scrutinizes the position of women along two dimensions: the authorial persona (the depiction of women in literary works) and the constructed persona (the representation of women in the works of authors). The protagonist of al-Tawaf Hayat al-Jamar, which is regarded as the first female novel in Oman, is a victim of men in life (patriarchal system of prejudices and traditions). Through a deconstructive lens, this modernist novel attempts to call into question the dichotomy that exists between men and women. Consequently, the female protagonist perceives her status and sense of self as outcomes of the patriarchal social structures established by males and male authority. The present study employed the analytical descriptive method to examine the three axes of imitation, protest, and self-discovery as they pertain to the protagonist of the novel. The research findings indicate that the novel's feminist nature is primarily influenced by elements such as protest, self-expression, violence, the repression of feminine inclinations, and the breaking of taboos. However, it is worth noting that the novel also exhibits signs of self-awareness. However, through the author's decision to isolate the hero, he is prevented from reaching the critical juncture of self-exploration and developing a distinct identity, which is devoid of imitation and opposition.

Feminist criticism emphasizes the position of women within society. The novel Alati Ta’ud al Salalim (She who counts the staircases) was authored by the Omani author Hoda Hamed. In her novel, she takes a critical approach to women’s position in society critically in her novel, addressingconcepts like social class inequality among women, cultural challenges they face, and masculine dominance. The present study aims to investigate this novel based on four gynocriticism models that Elaine Showalter has proposed: biological, linguistic, psychoanalytic, and cultural. The objective of this study is to provide an answer to the following inquiry:  “how does the writer reflect women’s components in her novel?” She has brought up concerns regarding childbirth, female circumcision, and pregnancy, considering the biological model. In terms of the psychoanalytic model, she has made reference to bipolar disorder, obsessions, compulsions, and sleep. Hamed has produced an exemplary and enlightening piece by utilizing noticeable linguistic characteristics, including vocabulary and Arabic dialect, to address women’s concerns and cultural challenges, like women trafficking and physical abuse. According to the findings of the research, she has effectively identified women who are concerned with the social and cultural issues of women. Furthermore, its feministic nature is confirmed by the high frequency with which the components of Showalter’s model appear in the novel under study. The narrative places such an emphasis on the cultural dimension of women that fundamental and profound cultural concerns are overshadowed by biological and psychoanalytic issues.

Beauty especially for women,is important in the modern world.Physical identity in disabled people is different from others.The present study was conducted with the aim of identifying the feminine identity and body image in blind girls.It follows qualitative approach and interpretive phenomenological method.The field of investigation was blind girls in Tehran.The participants were 19 students of Tehran University who were selected by available targeted sampling.The data were obtained through a semi-structured interview and analyzed by Colaizzian coding.According to the findings,female identity from the perspective of the participants includes three general categories:dimensions of femininity,femininity of the blind,and body image.Female identity has inner,physical and social dimensions.The femininity of the blind is formed in relation to social roles,communications,acceptability and social activity.In the attitudinal dimension of body image,attention to appearance and satisfaction with it were rated high in the participants.In the perceptual dimension,beauty was not recognized as a criterion of merit,except in short-term relationships.As a result of the findings,the female identity of blind girls is similar to others in the inner dimension; But visual impairment and its consequences have caused the female identity of blind girls to be formed in a physical and social dimension different from other girls and bring challenges for them.

Iran has experienced extensive internal migrations in the last few decades, and this migration trend continues to increase in the inter-provincial dimension. These migrations have been associated with vast challenges in the country’s regions. Therefore, the current research seeks a female narrative of migration waves, which are formed due to the two-way instability in the immigrant-sending and immigrant-receiving regions.

This research followed the qualitative method and used the grounded theory approach. The participants were 21 women who immigrated to Yazd city from different provinces. They were selected purposefully and by theoretical sampling. The data collection tool was a semi-structured interview. Data analysis was done by open, central, and selective coding methods.

The findings of the present research indicate the existence of stable instability in the internal migration cycle of the country. As a result of the inefficiency of the regional policies, the immigrant-sending regions have faced widespread instability, which has become the basis for large group migrations from these regions. On the other hand, the ineffectiveness of the policies in the immigrant-receiving regions in properly and proportionally absorbing the immigrant population has caused the balance between population and resources to be disturbed, and the foundations of these areas have also faced severe instabilities in various dimensions.

The continuation of this process, without timely and appropriate government intervention, will cause a new wave of migration from these areas, in which priority is given to people with more human and economic capital to move to more developed metropolises. Therefore, this path requires more accurate monitoring and efficient management and policymaking

The specificity of the coronavirus pandemic is indebted to the ironic fact of returning to the ancient tradition of quarantine at the threshold of the 21st century and the utmost progress of medicine and hygiene. Considering the gender aspects of home quarantine, this research aims at understanding women’s gendered experience of COVID-19. Under the verstehen interpretive paradigm, we analyze the experiences of twenty-three 30-52-year-old, married women who were interviewed during the first home quarantine in 2020. The content analysis of these women’s experiences gave us four conceptual patterns include crisis, female double subjectivity and endurance, feminine suspense and body management under the panic, and masculinity and the deconstruction of the dominant image by returning to the importance of fathers’ status. Overall, the calling of women to the center of the crisis and the disruption of the usual social order offers the Iranian women a historically subjective role and the opportunity to construct a different image of their feminine self in individual, family, and social levels. Meanwhile, the genealogy of pandemics shows that the centrality of the “housewife” as the dominant discourse under crisis is temporal, as the society returns to its misogynist origin with the passage of the crisis..

COVID-19 as a critical global incident in the 21st century emerged in the utmost development of medicine and of global health metrics. The unknown nature of the pandemic and of the preventative and treatment methods, in addition to the fear of the high risk of contamination and death, added to the curiosity of the disease and the mismanagement of the whole condition. In consequence, the most they could do about it has been to apply the traditional Middle Ages method of quarantine. As the sole preventative and even treatment method, home quarantine turned home and family into the main alternative in front of governments in retreating COVIC-19. The social understanding of COVID-19 as a disaster in its primitive treatment framework finds additional gender orientations.
Research Question(s)
The current research answers two questions: 1) what is women’s gendered experience of themselves and the male other during COVID-19? And 2) how has the process of women’s subjectivity in their reflexivity of selves, the other, and the social world during COVID-19 been experienced?

Gender is the most important and original element in the construction and meaning of the self (Wharton, 2012: 37); thus, it provides the major source of knowledge for constructing the male or female self (Goffman, 1977: 301-331). It is constructed through the social process known as tenderization (Macé, 2015: 17-18), representing the social status, and the rationality and legitimacy of one of the fundamental divisions and various social orders that are observed in every society. It is the socio-cultural and micro-political produce (West and Zimmerman, 1987: 125-151) that is maintained in a body of gendered behaviors and expectations constantly obtained and lived as part of the socialization process (Holmes, 2010: 125-151). Understanding gender as a social phenomenon that has stood the test of time, adds to the significance of gender experiences in a crisis-relevant framework.
Disasters expose individuals to conscious action by interrupting the ordinary flow of everyday life and setting them free of the habitual norms of thinking and acting (Schütz, 2003: 19). Crisis is defined as a trial opportunity in terms of encircling people in painful situations that oblige finding new skills and creative problem-solving capabilities, mostly accompanied by pain and pressure (Martuccelli and de Singly, 2012: 73-80). The trial and the social experience that comes with it, are the intersection of individuals and the social structure, in which the rationale for action emerges during the trial situation and the social experience, itself composed of three segments: “integration”, “strategy” and “subjectivation” (Dubet, 1994: 136(. The social world is the context in which effective action takes place in the heart of experience and the knowledge of the surroundings. The individual’s knowledge of the social lifeworld is organized around the meaning of her actions under circumstances where she targets the control of her lifeworld and social relationships and locates herself at the center to recognize and utilize the elements that maximize this purpose (Schütz, 2003: 10-11). The social experience and the improvement of capabilities that are required for dealing with difficult situations are inclusive of the two processes of subjectivity and reflexivity.
Subjectivity is a fulfilled social process formed around the reflexive subject in which, in a process of working on the self, the subject attains new consciousness for the constant reflexivity, redefinition, moderation, and reformation of one’s consciousnesses and actions. In this process, personal life turns into a project open to new restrictions, worries, and concerns as well as new opportunities and untried experiences (Giddens, 2021: 22). Reflexivity is performed in a bedrock of the individual’s critical distanciation from and assessment of oneself, others, and the social lifeworld (Martuccelli and de Singly, 2012: 73-80). Therefore, reflexivity and “the narrative of individuation” in modernity are understood and experienced in the context of internal and external clashes (Bertucci, 2009: 43-55).

After defining the individual and his conception of social reality as the prospects for understanding social phenomena (Martuccelli and de Singly 2012: 76), this research is conducted in the verstehen interpretive framework and constructivist epistemology. The method applied is basic qualitative research (Merriam, 2015: 46-48) and the techniques for gathering and analyzing data are semi-structured in-depth interview and thematic analysis. The sampling method is purposive while the population is made of 23 married women between 30-52 from Tehran and Alborz provinces while maximum diversity in age, appearance and class and religious affiliations has been observed in their selection. Due to the state of quarantine in 2020, the interviews were conducted via WhatsApp application and in the form of oral questions and answers that have been defined based on the research guidelines.

Four dominant meaning patterns and their sub-meanings as identified in the thematic analysis of interviewee’s narratives include: crisis, subjectivity and double feminine resilience (the loss of the functionality of the concept of roles in explaining the complexity of feminine experience, the frustration with being oneself and the resulting duplication of crisis harms, the emergence of woman as the heroin subject), suspension of femininity and body management under disease panic (deference of femininity in the return to the natural body, the unbearableness of the lived time waiting for the disaster, the deferred gendered life in the panic of the moment of crisis), masculinity and the deconstruction of the dominant image in crises (the perplexity of masculinity in the entanglement of the spaces for social familial life, the lack of domestic work skills and men’s avoidance from the private sphere, expectation for disaster and the lack of masculine authority), and the return to the importance of paternal status in the experience of crisis (the absence of paternal emotional authority in waiting for disaster, gendered consciousness in the shared experience of disaster and the demand for the presence of father, financial support as the precondition for good fatherhood).

The COVID-19 crisis as compared to other disasters such as floods, earthquakes, and war, has been experienced around the center of home and family, leading to the disruption of the normal, everyday life order of the house. Defining home quarantine at the core of controlling the disease brings women to the central position in crisis management. At this central position, women begin to work on their feminine self, learn new skills, and improve these capabilities due to the demand that is created by the crisis and the disruption of the previous order of social life. Meanwhile, and especially because of the absence of the government, further pressure, mental and psychological, put on women for appropriate reaction. Overall, in the dominant discourse of social sciences which is defined with pathological approaches, being under such circumstances of extra pressure makes people, especially women, more vulnerable. This is while the COVID-19 crisis has been a historical moment in women’s subjectivity and individuality, especially for Iranian women. Nevertheless, the historical accounts of pandemics as crises and disasters show that though women are the subjects called to the center in all these accounts, as a result of which house and household management around the discourse of the “housewife” turns into the dominant discourse, this centralization of femininity is temporal and restricted to those historical moments. With the return of society to its normal order, women are once again deprived of the central position; in other words, the misogynist genealogy is back there as the dominant discourse.

I am obliged to the Allameh Tabatabae’i University for allowing me to conduct this research. I extend my gratitude to Dr. Dabbaghi, Faculty of the ATU for her kind assistance in compiling the research proposal and completing the interviews, Dr. Shf'ati for joining the team in the initial analysis of data, and Dr. Khazaei, Faculty of the University of Tehran and the main colleague of the project.

In recent years, the share of women's participation in various management and decision-making levels of the public sector has increased. Because their performance and management style have a significant impact on the organization. Therefore, the current research was conducted with the aim of identifying the women’s managerial components in government organizations. The current research is practical in terms of its purpose in terms of data collection. The research population of women managers working in government organizations and employees who are under the management of women. 21 people (14 employees and 7 managers) were selected according to the judgmental method and theoretical data saturation criteria. The research instrument was semi-structured interview. Thematic analyses were used to analyze the data. Based on the results, 25 characteristics of women's management in government organizations were identified, which were placed in five sub-themes and two main themes, in the overarching theme with the title of supportive coaching, two themes of nurturing organization and supportive interaction. In the comprehensive theme of female authority, three organizing themes are collaborative decision-making, perfectionism, and female identity. Finally, it can be said that the diverse gender composition at the highest levels of the organization and the presence of male and female leaders together in the organization improves the overall organization and improves the quality of decisions

Rejecting myths does not mean destroying all dramatic relations between the sexes, it does not mean denying the meanings that are truly revealed to men during female reality, it does not mean eliminating poetry, love, adventure, happiness and dreams, it just means that It is requested that the basis of behaviors, feelings and desires be based on the truth. Maybe new myths will emerge. (1) Therefore, in this research, we are trying to answer the question, what is the position of women as female subjects in the cinema of Masoud Kimiaei? Let's examine the position of anti-feminist myths in history by emphasizing Simone de Beauvoir's approach in Masoud Kimiaei's cinema to the subject of women as a symbol of nothingness and death and desire taken from historical myths with a feminist approach; Therefore, in Kimiai's works from Caesar to the contemporary period, we will briefly examine the position of women as evil in Masoud Kimiai's cinema. For example, in the film Crime (2009), the filmmaker shows that dependence on women, even if it does not lead to their betrayal or infidelity, can ruin men's lives or lead them to seditious and troublesome behaviors.

"Female pilgrimage" is a distinct type of pilgrimage that is shaped by environmental and cultural elements, reasons for action by the actors, functions, harms, outcomes, applications, and so forth. The experience of women in "faithful suffering" during the pilgrimage to holy shrines, such as the Arbaeen pilgrimage, is a complex process that can be examined through a phenomenological approach. This approach is based on the assumption that experience can be represented through direct interaction with the world and its phenomena. Given the significance of this issue, this study investigates the lived experience of faithful suffering among 13 female pilgrims through interviews. In this representation, after analyzing the codes, 136 descriptive codes from meaningful units were obtained, which, after merging, resulted in 16 interpretive codes and 3 explanatory codes. "Conceptual re-creation of faithful suffering" emerged within the context of codes such as "breaking routines, being noticed, meaning-making, desirable suffering, chosen suffering, and belief in the future"; "practical declaration of religious beliefs" within codes like "resilience, reward, forgiveness, self-reassessment, spiritual growth, and attaining perfection"; and the explanatory code "reconstruction of the historical experience of sacred suffering" within interpretive codes such as "empathy, participation in suffering, incomparability, and paying homage."

AbstractSocial media brings the benefit to people to make their voices heard, an opportunity which was not accessible in the past. In this article, we have shown that this opportunity has led to the emergence of feminine religion. Women used to be less able to talk about religion - in terms of preaching, advices, explanations and interpretations - but through these networks they have been able to produce extensive content about their religion and religious beliefs. The feminine religion is not always reflected in the same fashion, of course, but in a spectrum of beliefs among the women active in the social media. We can consider all the contents in this area in one picture and discuss the emergence of a new opportunity in Iranian society based on the commonalities between the contents. We have shown that the expression of women in religious life with the help of new media has put the traditional institution of religion in a new position. In addition to the challenges it has caused, unparalleled opportunities are also created for religion continuation. At the same time, feminine religious expressions have played a role in limiting the spread of anti-religious sentiments and have achieved many of the desired goals of religious intellectuals in practice. This study examines the feminine mediatized religion presented on Instagram analyzing the discourses in Iranian women's narratives of religion. For this purpose, five Instagram pages have been examined using the Fairclough discourse analysis method. The results indicate the existence of a feminine religious structure which is characterized by search for oneness, call to life, and production of new teachings in the field of religion.

Since much of the existing commentary has traditionally been written by Muslim men, how gender relations and women's rights are described plays significant role. But with the rise of Islamic feminism, some Muslim women in this movement are debating new evaluations of these traditional interpretations in order to conceive of equality between men and women from an Islamic perspective based on religious principles. They support the Quran. Meanwhile, some pioneers of this idea have focused their work on re-reading the text of the Qur'an as the most basic Islamic source, claiming that Muslim men have read the Qur'an from patriarchal perspective, thereby incorporating gender inequality and patriarchy into the interpretation of the Qur'an. the authors claim that such a rule doesn̓t have a patriarchal view among Shiite thinkers and commentators, and although gender can be effective in reading the text, adherence to the original Qur'anic principles and the centrality of the monotheistic paradigm will prevent biased interpretations. The study of the strength of men over women, which is one of the most challenging verses of the Qur'an on women's rights, from two perspectives of women (Wadud, Barlas and Hebri) and men (Tabatabai, Javadi Amoli, Motahhari) despite differences in intellectual, doctrinal and emergence, It gives similar results, indicating biased interpretations by Shiite commentators. That masculinity is a limited and conditional virtue for men is in order to fulfill family and social responsibilities in support of women's rights, and the meanings of superiority and domination over women are nothing more than misconception.

In order to study the social role of women in the imposed war, the present article examines the activism of women nurses as one of the most important occupational groups. In fact, women (voluntarily as well as paid) made up the bulk of the war nursing force and provided direct medical care to the military and civilian forces involved in the Iraq-Iran war. The data were analyzed using the texts of women's memoirs and narrations (document analysis of about 40 books) as well as several semi-structured interviews to fill the information gap.Data analysis shows that conscious communication action, responsible care, care and observance and intimate care, which are elements of female advocacy action, are the most important features of nurses' advocacy action in the imposed war. Professional, maternal, sisterly and offspring care are also forms of this feminine care. The feminine attitude of caring, in which nurces carefully understand the nuances of the wounded person's condition, and empathetically identify the wounded with their family members, patiently endures hard work in a state of war, and care hopefully with love and compassion, Benevolence, are all dimensions of the ethical model of women caring in Iraq-Iran war.

The family has an important role in reproducing cultural system and socializing individuals. But this institution is not always stable and sometimes undergoes challenge and tension in everyday life. One of the most current tensions in family life is due to misunderstanding between parents and children on different issues. This article deals with this problem by symptomatic reading of the film ‘I am a Mother’ and with the question that what a mother may do in such circumstances to solve the problem. The film shows the situation many families in Iran may have experienced. That’s why dealing with the paradoxical position of the mother in the film, reveals the deadlock of the parental relation in families. The findings show that what looks like maternal sacrifice in the first glance, is a pervert attempt to monopolize familial relations by the mother. Hence, the familial relation which is supported by maternal sacrifice, is susceptible to unexpected pathologies. This claim does not intend to undermine humanist values like sacrificing (especially that of women in the family life), but in some circumstances, the order which prevails is different from what people suppose.

Interest is a rich concept that can be applied to a variety of areas and paradigms. But economists with narrow-minded reductionism always refer to a certain kind of interest (ie, utility). Sociologists, on the other hand, emphasize different types of interests. In this article, I intend to explore the characteristics of women's interests in the field of modern handicrafts in the digital age, beyond the mainstream approach of economics, with the help of the new economic sociology approach. In this qualitative-exploratory research, I will answer the fundamental question of whether women in their entrepreneurial action in the field of modern handicrafts seek to gain a kind of interest  (mainly economic) or a variety of interests? And by answering this question, I will also address the various dimensions of female interests.Thus, the present study shows that productive women in this field have started entrepreneurship not for economic deprivation and desperation, but for various interests  (including independence, emotional interest, self-fulfillment interest and network interest).They also reinforce a variety of interests through networking in the context of virtual networks, thereby spreading the implications of women's discourse among the craft community. Accordingly, entrepreneurship for women is not a need arising from despair and urgency, but a conscious choice for independence and affirmation of the subjectivity of women in contemporary society.Entrepreneurship provides an opportunity for intersection of loyalty to the private sphere on the one hand and participation in the public sphere on the other, while at the same time bringing individual and collective interests to women.

Feminine writing is a systematic linguistic action that realized just through the frequent application of feminine signs and subsequently to the recognition of the feminine voice in order to provide a feminine pattern of writing by emptying the [single] masculine voice in the text. Feminine signs are a set of linguistic constructs that convey the ideas of femininity to the audience. Current research attempts to study the process of depletion of the masculine voice with descriptive-analytic approach through the application of feminine signs in Persian and Arabic stories. Case Study are novels of “Riyadh Girls” by Raja Abdollah Alsane’ and “My Bird” by Fariba Vafi. The results of the study suggest that both novels have a feminine voice in the high frequency application of feminine signs, and both authors have had different experiences in applying their signs to their stories; so that in the novel "Girls of Riyadh" among the 248 female signs included in the story, the particular female colored word are more frequent with 70 times application. On the other hand, in the novel "My Bird" among the 258 female signs included in the story, the particular female specific names are more frequent with 124 times application.

This study aims to recognize the possibility of it in the cultural history of Iran. Delving into the Pre-Bronze and Post-Bronze Age historical eras, we intend to discover the manifestations of feminine knowledge in the mentioned historical period, finding the signs of its permanence in later epochs. In doing so, we have taken the sociology of knowledge into account. The study's method is centered on the historiographical reading of explanatory history texts, which are primarily based on the intersection of two dialectical and hermeneutic approaches, namely the constant interaction between the authors’ subjectivity and the objective history. The study examines the conditions which have led to the emergence of feminine knowledge and its elements in various terrains. This includes theology as the most superior knowledge of any age, myths, mythological theology in the agricultural era and the formation of societies based on that, changes in those theologies, myths after the migration of Aryan, establishing societies rests on State Central. Study indicates how femininity has been altered in these theologies passing such components.Iranian feminine knowledge is primarily centered on "the principality of life and its wisdom", "interwoven subject/object of knowledge pattern," "positional subject," "circular perception of time," and "perception of immortality in material and natural life." Discovering vernacular feminine knowledge patterns rooted in its historical and social foundations, in comparison with the use of non-historical and essentialist theoretical models, will lead to understand and interpret as unbiased as possible the history of Iran, Iranian women and the feminine knowledge.

The education system in Iran has taken a male-patterned and gender-based approach to up bring its desired and ideal man. Based on dominant masculine discourse, the education system aims to hegemonize this discourse of womanhood through the school curriculum and one of the main specifications of it is women’s body. We have based our discussion on Foacault's research methodology, the concept of Representation of Stuart Hall, and the Discourse Theory of Laclau and Mouffe and various feminist theories to discuss the relations between the political discourses and representation of women's body in school textbooks after the revolution. We seek to uncover the ideological-political representation of womanhood and women's body in the images of school textbooks that we think is masculine.According to the findings of this article, the representation of women’s body uses a different discriminating ‘visibility’ system in images in school textbooks. This discrimination shows itself in different levels and layers, including representing the only acceptable type of sexual system in the society, mainly heterosexuals, and ignoring or excluding ‘other uncommon’ types of sexual tendencies from the images as well as the uncommon types of attire that one may choose to use differently from the acceptable and official one.

One of the branches of sociolinguistics is gender linguistics, which examines the effect of the author’s gender on the content of the work. In this article, inductive and analytical methods of feminine and masculine language in the collection of Goli Taraghi’s works are compared based on the theories of social linguists and from the perspective of grammar, in order to evaluate the effect of the author’s gender on the story language and his/her level of success in creating a language appropriate to the gender of homosexual and heterosexual characters. For this purpose, female and male languages in the field of grammar were examined based on the following variables; Vocabulary such as: taboo words and color words, and sentences such as: modifiers and verifiers. The findings show that characters’ language is influenced by the author’s gender, and the clichés of feminine language are repeated more frequently in this work. Based on the above variables it was also determined that the author was able to use a language appropriate to the gender of the characters in many ways. In cases where there is no proportion between language and gender, especially in female characters, it is largely because of the author’s spirit and intent, to show the desire of women against the domination of a patriarchal ruling society.