جستجوی مقالات مرتبط با کلیدواژه "folklore" در نشریات گروه "علوم اجتماعی"

Rain, the main factor in the continuation of life, a symbol of God's kindness and grace, has a high place among all nations. Kurdish people, like other Iranians, have performed many rituals to honor the rain. To solve the drought and lack of rain, they performed traditions such as: Hele Hele Helonake, Gā Rovānaki, begging for water, artificial war and conflict, slip, selling water, Buka Bārana, Bil Dāna, Pahlan game, etc. Also, the heavy rain has forced them to perform rituals to stop the rain, such as: Aāsāra ĉez, hiding the Zao milk, burying straw and horseshoes, Ĉel Kaĉal, etc. Rain is present in the naming of Kurdish months such as: šaste Baran and ... Even the axis of many Kurdish traditions such as: "Panjašur", "Xaraga Va ?av mavar", Ĉar Ĉar", "Sešaš" is also based on rain. Traditions related to rain can be divided into two categories: group and individual. In the individual form of these rituals, protest is seen to provoke anger and then God's compassion, and they are considered a kind of talisman or amulet. But its group form is dominated by mythological foundations, collective and spiritual prayer. This article has collected the rituals related to rain in Kurdera regions by field-library method and explained their mythological status with a descriptive-analytical approach.

Folk beliefs in IlamAbstractBeliefs and trusts, as an extensive social system, have been considered part of a broader system of public knowledge and culture. The way to preserve and transmit them, as a common heritage of social life of a group, has mainly been oral and by the words of mouth. The origin of part of these beliefs and trusts (superstitious or not superstitious) caused by human reaction in facing with nature and his surrounding mysterious environment which occurred in crucial situations and moments when trust and confidence in future has been created. With due attention to these beliefs and practicing based on them, people have been prevented from managing the affairs based on logic and planning. This paper aimed at opening a window to understanding Ilami culture and specially their beliefs and trusts. In addition to giving a number of folk beliefs and trusts (without the approval of being right or wrong), applications are also shown. The methods of data collection used in the article consist of library method as well as interviewing the elderly people. The result of this research shows that people of any kind, with any insight and vision, intentionally or unintentionally, can never neglect these beliefs and trusts entirely and put them aside. Keywords: Ilam, south Kurdish, folklore, folk beliefs.

Ecolodge as an important platform to demonstrate ethnic tourism has been developed recently. Expansion of creative tourism which is community-based and empiricist has increased the importance of ecolodge  in tourism industry. It seems that the irregular increasement of  permits of ecolodges that are mostly not supported by socio-cultural investigations, has merely emphasized upon economic dimensions from an beneficial point of view thus needs a critical reflection. Since there is a direct and strong relation between this industry and family life, it is necessary to evaluate pros and cons of this numerical expansion. This ethnographic research with a gender sensitive view tries to answer to two questions: 1- What is the culture of ecolodge? 2- On the other hand how ecolodge impacts on family institution?  Gilan province- the field of this research- has a rich treasure of tangible and non-tangible cultural heritages and is one of the important destination places for ethnic tourism. Beside documental and liberary search, data were collected through participant observation and 74 interactional and in-depth interviews with the heads of selected ecolodges and also 11 specialized interviews with the heads of  the relevant institutions.

Manifestation of spring messengers is a special matter among the New Year signs of Iranian culture.It has been years “Haji-Firouz” is known as a messenger of spring  in cities especially in Tehran city. The purpose of this research is investigating of Haji-Firouz character and an archetypal approach of him reference to the Jung’s psychological theories. Psychology is one of the sciences that has a multilateral connection with rituals and myths. Archetypes are one of the important subjects among Jung’s  psychoanalytic and personality psychology.  Although these elements are   located in the collective unconscious of man, they show signs in the conscious mind that cause the type of archetype to be recognized, and this recognition has made it possible for mankind to understand the symbols and mysteries of the mind and nature.In this research, concentrating on Nowruz ritual and considring Haji Firooz characteristics features ,symbols and signs, the attempt is to explore his nature compared to Jung's archetypal and collective unconscious relationships point of view so that the hidden mysteries in this character have been known more clearly. The questions this study is trying to answer are: What has been the reason of the continuation of Haji Firooz existence till now? To what extent the character of Haji Firooz overlaps the framework of archetypes which are the bridge between science and myth?According to the result of this research, we can look for "self" archetype as the most adjustment of Haji-Firouz and Jung archetypes. Properties such as iteration, correlation of mandala geometric symbol with tambourine, Snake’s bestial symbol and eternity and its connection with Haji-Firouz hat are mediatative in this case as well as the feature of opposites sum and mutual confrontation. Also presences of Haji-Firouz features in “Anima”, “Shadow” and “Mask” archetypes are traceable too. This study shows Haji-Firouz can be consider and placed in the scientific myth framework that is why in spite of deep cultural and political evolutions through the history it has lived in collective Iranian subconscious and its presence has been continued in Iranian objective cultural world. This investigation has been performed based on collecting information which was carried out with a analytical-descriptive method.

Songs encompass the main body of knowledge and culture, known as folklore. They are works of unknown producers and singers, passing down from generation to generation by words of mouth. Folk songs, according to most scholars, are the voices of the inferior walks of life who talk to us from the depths of history. The simplicity and sincerity of folklore works, together with other historical documents and references, enable us to reach a much more realistic and sensible view of the social history of communities. This study focuses on the theme and content of the song "Rana" within a descriptive-analytical scheme using library sources and field research to know what capacity the research in the folklore of regions does offer for social history studies. The folklore song "Rana" is a lamentation on the adventurous life of a woman from the foothills of East Gilan and, besides its literary and artistic aspects, refers to the social history of the masses of people and the socio-political structure of this region in the feudalism era, making it relevant in the study of social history.

Considering the nature & policies which dominate the provincial networks of IRIB, it is very natural that the “Folklore” has an eminent position in the representation policies. The main goal of this research is to recognize the procedure of representing folklore in provincial networks which is done by a case study of Radio Ardabil programs. In order to fulfill this goal, by applying qualitative content analysis method, 5 episodes of an evening program “Sozlar, Sohbatlar” (Talks & Speeches) from Radio Ardabil, is both categorized and conceptualized. The results show that different elements of folklore are represented both as cultural heritage and national identity of targeted audience. It is also a creative strategy for social criticism and disseminates a desired style of life. “Individual & Social Ethics”, “Respecting Nature”, “Love & Endearment” are of dominant elements of folklore, which this program represents. On the other hand, anomalies such as: (Dis)Meritocracy, Lack of Foresight, Meanness, Injustice, Irresponsibility, and Irrationality are of the cases which can be placed under social criticism through folklore. In other words, in the studied program, in a kind of dialog between folklore & public culture, both values and norms existing in folklore have been represented. Also, with criticizing the anomalies of public culture, sociability and dissemination of desired style of life, will be followed. The outcomes indicate that folklore has a wide spectrum of capacities which provincial networks in addition to distribution & introducing them, can also apply them in various creative methods for criticism, educating and pattern making for audience.

The study seeks to provide an analysis of quality of love representation in Iranian pop music. Methodology is qualitative and method is content analysis. Statistical sample of the study is published albums of 10 features of the most popular pop singers in Iran, and unit of analysis in this study is full text of each song, and melody and music and musical instrument used in the carols are not paid attention. Data analysis method is also thematic analysis. Conceptual framework of this research is based on Bowman's Liquid-Love theory and Giddens Pure Relationship. Results and findings suggest that the perspective presented of love in Persian pop music has features such as being meta-family, randomness, instability, repeatability, be noncommittal, eroticism and terrestriality, ending with hatred, love as a released and public experience, parity of lover and beloved, de-sexualization of love, love as a memory of connection and bitter of love experience. It can be said that love in Persian pop music conforms to Giddens and Bowman's descriptions of postmodern love. Of course, heterosexuality in Iranian love is the only distinction of image of love in these songs with Liquid Love and Pure Relationship.

In the past, men have had a closer relationship with the natural environment around them due to the conditions of the time. Over time, many different phenomena and events on the earth have involved the minds and attention of human beings; and they tried to explain how they were formed. With the inability of early people to understand how phenomena form, they have inevitably sought the help of myths. Myths and geology are related in several ways. Some myths are the result of man's attempts to explain noteworthy features of his environment, such as striking landforms or unusual smaller features, whereas others try to account for conspicuous natural processes, such as earthquakes, volcanic phenomena, and floods. The characters of myths are usually supernatural beings and are always associated with holiness, evil and benevolence. The geomyths, or explanatory, myths are what folklorists call etiological, are the most common type of geologically inspired folklore. Early or primitive people always have been familiar with various fossils and they also have variety utilized, so that over time associated with them, including therapeutic-healing properties and other diverse applications of fossils, beliefs, myths and allegories diversity among them has vogue. For example, one can mention the term of Cheng-e Pari among local people of Eyvan-e Qarb Township as fossils in the limestone are applied. Today, the local-ethnic stories or myths about the phenomenon of Geosciences, named geomythology are being studied. Geomythology is the study of etiological oral traditions created by pre-scientific cultures to explain, in poetic metaphor and mythological imagery, geological phenomena such as volcanoes, earthquakes, floods, fossils, and other natural features of the landscape. Geomythology explores the relationship between geology and various kinds of folklore. In this article an example of geomythology in oral culture Eyvan-e Qarb Township in Ilam province was discussed. In popular culture, these fossils are of great sacredness and spiritual importance and are respected. Based on the results and studies, the necessary steps for the formation of geomyths in popular culture are: Human-environment interaction; Observation and curiosity; Inability to understand the formation of the phenomena; Justification of the issue with supernatural reasons; The early emergence of mythological beliefs; Primary acceptance and gradual extending in the community; Final acceptance and fixation in folklore; Continuity in generation and belief to the myth emerged.

The lion is a stone sculpture that has a variety of cultural, artistic, literary, social and economic uses and functions in Bakhtiari culture. In Bakhtiari, the body is placed on the tombs of sheriffs, brave men, youth and elders of the people. Various types and types of lionesses, considering the structure, tools, experience of the masters, and the process of preparation, size, shape, engraving and various real and abstract varieties throughout its installation and customs throughout the Bakhtiari region, led the author to The material and spiritual functions of the body characterize the body in the native knowledge and culture of Bakhtiari people and show the place of this ancient Iranian art in the contemporary period. This study has been formulated based on field research and conversations with the creators of this indigenous art-industry and occasionally citing library documents. For this purpose, by gathering the necessary information, recording the varieties of oral culture and literature, examples of popular creations and beliefs in Iranian folk culture and art were searched for effective anthropological research, ethnography, and nomadic cultural-literary studies

One of the methods has been common for Badness-removing from the past to the present is the sacrificial ritual. This ritual is one of the manifestations of worship and is believed to be religious and ideological practice. This research which is a qualitative study, tries to study the ritual of sacrifice in the popular culture of Ivan city using a phenomenological approach; The sampling method was a snowball using semi-structured interviews to investigate beliefs about sacrifice among 18 elderly people in Ivan City and its six villages. The results of the research show that the sacrifice in the Ivan's popular culture can be analyzed in five sections and is often carried out for the purpose of Badness-removing and malevolent ward off. The important point is that due to the lack of financial resources in the traditional community, most sacrifices are made without blood except in important celebrations and events such as birth, marriage, mourning, difficult illness and pilgrimage trips that blood sacrifices being offered. In such cases, they believe that if no blood is shed, that disaster won't be repelled. Regarding the moderation of the sacrifice in popular culture, it can be said that the first sacrifice is more commonly in the bloodstream and the more we go, Animal corps replaces with the non-bloody sacrifice, as blood donations are limited to a limited extent today. Mostly sacrifice is offered in the form of prayer, sacrifice or donation of charity and money; including the vow of hair, which is later moderated by the replacement of money, jewelry and forgiveness. One of the most important factors of moderation is the expansion of awareness and understanding of superstitions and the importance of animals such as cattle and sheep in agricultural life and activity.

Addressing women and issues related to them has always been one of the most important issues studied in human societies. The popular culture of every nation, especially stories and myths, is one of the best ways in which one can see the trace of the beliefs, customs and traditions of the people of the present-day societies, And by virtue of which traditional patriarchal thoughts can be rooted in old societies in relation to women; Therefore, in the present research, the role and place of women in the myths of Kerman in four books (Myths of Kerman, Myths of Sirjan, Stories and Myths of Zarand and Culture of Kerman) Is located This research is based on an existentialist feminist and Marxist feminist approach to descriptive-analytical approach and using library resources.

The present article analyzes the sociological discourse of Azari folklore in Iran from the perspective of critical discourse analysis. The current research has analyzed and interpreted the stories and proverbs of the Azari language based on Norman fairclughs critical discourse analysis approach. The main question in this study is what discourses and proverbs of the Azari folk have been used in the discourse and what have been the conditions for the formation of those discourses? To analyze and explain the theories of Laclau and Mouffe's (1990) discourse analysis, Norman Fairclough's Critical Theory (1995), Clifford Geertz's Theory of Cultural Interpretation (1973) has been used as a theoretical and conceptual framework, and Fairclough's Critical Discourse Analysis approach has been used as the research method. The research type was qualitative and the analyzed data included three stories and thirty Azari folklore proverbs that among them two examples of folk tales and ten proverbs were analyzed in this article. The qualitative data of this qualitative research were selected in a purposive manner from three written sources of Azari folklore . The findings of the study indicate that there is a conflicting discourse between politics and the people, and the language of Azari folklore is a means of expressing criticism, protest and criticism of politics and the social situation.

This study is intended to the representation of the role of the Mythology of ancient beliefs in ethnic – Local and cited of some application examples in current life, and intended to answer the question that how ancient myths and beliefs can create ethnic and national identity. This research trying to determine the role of the mythology and ancient beliefs between the Iranian people. After the investigation it was found that myths and ancient beliefs with creating a bridge between glorious past and ideal future, consolidating groups of people in this idea that who belongs to the nation and the whole unit called the shared future. The subject of this article is to further examine the rich cultural and mythological beliefs of ancient Iranians. After the whole expression of the mythology associated with popular culture, expression evokes ancient myths and folk beliefs of the people of Ilam to the representation of mythology and folk beliefs are related to universe to how much the modern era is still standing today, this research, furthermore, intended to find that how official mythology and ancient beliefs convert to developed and grown ones

Folklore contains vast aspects of life such as customs, rituals, religion, art, knowledge and literature that shapes material, behavior and speech traditions of folklore. Culture is a dynamic phenomenon that is constantly changing and it represents a part of an individual and collective identity. The identity in form and in content will be meaningful in the context of social interaction. Mass media often indirectly but pervasively transfers too much information about people to the audience that can shape their everyday life. The media, particularly television, is one of the factors that make it possible to identify the elements of identity. Thus, in modern times, people form identities with pictures and titles that reflect the cultural industry and media. The present research is an attempt to represent folklore factors observed in the I.R.I.B. series in the last three decades. Thus, two sets of three decades (In my shelter (1373) and Rely on the Wind (1391)) have been chosen and with the aid of semiotics have been analyzed. The results show how representations of folklore factors have been changed over time.

Starting with the first Iranian film, A Girl from Lurestan (Dokhtare Lor), a silent film, viewers are faced with notable insight drawn from ethnic cultures and life in Iran. Different directors have attempted to properly present the lives of ethnic groups in Iranian Cinema and furthermore, employ it to enrich and foster their stories, cultural backgrounds, contexts and motifs. The directors of such films, nevertheless, often reproduce typical images or characteristics of these ethnic groups and sometimes their movies act as an agent for spreading a stereotype among pop culture and the public. Some elements such as food, clothing and place are key components that indicate the cultural image of the ethnicity. Some Iranian ethnic groups such as the Gikak, Lor, Turk, and Kurds have been shown more in Iranian Cinema. This article is dedicated to discuss the representation of Kurdish Ethnic cultures in Iran as an Iranian ethnic group whose presence in Iranian cinema has been remarkable in recent decades. This article concentrates on the key elements in the culture of Kurdish Ethnic groups, including clothing, food and place and reviewed the movies that have driven inspiration from this ethnic culture.

Parents whisper lullabies to put their kids to sleep, these lullabies mostly have come out as a maternal art and they have been acceptable to the audience (kids). Therefore, lullabies have been attributed to mothers and they reveal the importance of the role of mothers in nurturing their kids, and their emotional impact on them. The years of research show that music and gentle words, which are peaceful and orderly like a lullaby, can calm the mind through stimulation of delta waves in the brain and put it to sleep. Lullabies are one of the first and the most basic forms of informal or anecdotal children›s poetry, which are as old as Persian poetry. They are considered as a component of folk literature. Lullaby is one type of oral literature that has a great impact on formation of national and folk discourse. Lullaby is the first rhythmic bond between mother and kid and it expresses mother’s dreams in a stress-free simple way. Lullabies have been common in oral literature of Hormozgan for a very long time. The purpose of this article is to introduce the lullabies of southern Iran and to review the manifestations of nature in them.

The history of Iran is the history of dictatorship and despotism of kings and rulers who just believe in people’s duty not right. People could not say their opinion or opposition against them but Iranian proverbs are full of their point of viewabout governorship and policy.Proverbs are the creativity of both elite poets and writers and ordinary people and there are many comments and ideas that cannot appear in the formal literature but with ironical, symbolic or satiric color, they can echo in proverbs and we can see the most sincerely statements of intelligent people in them. One of the important themes in them is governorship and policy. These kinds of proverbs speak about the bilateral duties of rulers and people and the characteristics of good and bad kings. This paper debates on governorship and policy in the Iranian proverbs.