جستجوی مقالات مرتبط با کلیدواژه « symbol » در نشریات گروه « علوم اجتماعی »

In the historical neighborhoods of Isfahan City, there are houses where special religious ceremonies held during Muharram from the Qajar era until now. People attend long queues before morning prayer. During the ceremony held in this place, a person who recites religious prayers, called Rozeh-Khan next to an old wise man and a painting work are displayed to the public at the end of the ceremonies, for a brief moment. This study answer the following question: what is the relationship between the motifs in the house on the one hand and the religious ceremony performed and the presentation of painting work on the other hand? The research aims to investigate the meaning of the religious ceremony held in the historical Bonakdar house and its connection with the existing decorations and paintings of the building. This research has adopted a descriptive-analytical method in which research data has been gathered by doing a field study based on the library method. The research findings showed the existing motifs and the specific actions of the mourner in the ceremony and during the display of painting work manifest a divine message, which is not achievable without passing through the spiritual stages and understanding these patterns.

The purpose of this study was to explore the meanings of Ashura symbols with dramatic capability, and to map how ashura symbols are represented in movies and TV series, and ways to promote them.

This study was conducted using qualitative content analysis and Janfisk semiotics technique.

The findings show that the symbols used in Ashura-themed movies and TV series have deep meanings that can be used in order to deepen and produce a precise meaning in a theatrical format.

The results of the present study show that Ashura symbols have very high capacities to be used in dramatic works, but the creators of dramatic works do not pay enough attention to how to represent these symbols and in most cases they have made mistakes in their representation. This way of representation has sometimes conveyed other concepts to the viewer in the form of Ashura symbols.

This article explains a group of cultural materials among Qashqaie nomadic pastoralists that as symbols play role in the transmission of concepts and informations. These symbols are stonecuts that take on different meanings in different contexts, but are made similar in appearance. The possibility of such an existence of culture in ancient societies and its material evidence in archaeological contexts has led the present study to describe its characteristics and how getting perception to the nature and application of such data. In addition, this paper, in order to explain the limitations of recognizing and using this type of cultural material as a standard scale for use in ethno-archaeological studies, describes the structural-contextual of the mentioned symbols in the form of a case study. Finally, the present article, by reviewing the key concepts in order to deduce the meaning of a particular type of material cultural that has been addressed in the research, provides theoretical knowledge on how to use them in the analogy strategy

The present paper seeks to explain symbolization in the Sacred Defense Cinema from Mircea Eliade's view, which is discussed in two Movies Didehban (The Scout) Mohajer (The Immigrant).

The data have been gathered through library studies and watching the movies, and have been explained descriptively and comparatively.

According to Mircea Eliade, symbol has sacred manifestation, and man can acquire real knowledge of sacred realms through it and based on his own activism. Based on this view, a way to understand symbolization is investigating religions and denominations through ethnological and ritual lens. Each devotional and religious deed includes a part of symbolization and tries to direct religious man towards a truth beyond experience. For example, we can refer to Iranian warriors' activism during Sacred Defense, which has had symbolic representation and was scenic for people.

The results show that a sacred atmosphere will be created to the extent that the personality's act is in higher existential stage of sacred thing in certain time and place, and ordinary things and affairs acquire symbolic manifestation. In the movies Didehban and Mohajer, personalities' acts in certain event and critical situation create sacred atmosphere, and stage equipment and thing acquire symbolic representation.

The symbol is associated with the conscious and unconscious mental pronoun. Today, by examining and analyzing the symbolic profiles and myths of the remembrance of the past, we discover the past. Some of the symbols presented by philosophers and religious historians in today's intelligible language that illuminate the worldview and perceptions of the past and the outside world and return to the human past as much as possible and to the mystery of facts and content. The superhuman realizes symbols that are beyond the realm of ordinary meanings and experiences, by passing through the appearance of the text and finding its truth and inner meaning as the crossing of the perceptible world and entering into the inner world of truth and truth. Find out. The Sistan area has many shrines that have special respect and respect for its inhabitants. The abundance of shrines and their special symbols, including the Gaz tree, the altar, the bread-baking oven, the bull horn, and some of these monuments on Mount Khawaja, which has always been a sanctuary and special place in various religions, It is important. Due to the fact that no specific research has been done on these shrines so far, this article attempts to investigate the origins of these shrine symbols through field studies and library studies. To be studied and analyzed in Sistan shrines. The results of the studies indicated that these symbols are influenced by pre-Islamic beliefs and the mythical beliefs of the inhabitants of the region.

In this article, while examining Chekhov's latest story entitled "The Lady Bride", the author's views on the issue of women in the last stages of her literary development are examined. To understand Chekhov in this regard, one must be aware of the historical context in which the work was created. Also, while examining the story, the symbolism of the name of the work and the name of its hero, the special fate of the hero and the reason for the open end of the story have been examined. Chekhov created the story at a time when Russia was undergoing rapid changes and it was time to open new doors to the future, but there was still no clear vision for the future, yet the author hoped for a young force and its impact on the country's destiny. And this issue is quite visible in his latest work. The present study answers the question of who is Chekhov's ideal female heroine. Chekhov's ideal female protagonist was different from other Russian writers. If at the beginning of the nineteenth century, Decembrist women who went into exile with their husbands were considered the ideal women of Russia, in the late nineteenth century, women who were able to determine their own destiny were the ideal women of society.

Votive rugs are in fact a kind of small pictorial rugs with an approximate size of 25 x 20 cm that are placed in various designs and colors in the middle of the platform or sometimes hung on the wall of Ghadamgah (Foothold of saints and holy people in past). These rugs are as a decorative and religious element in most of the south Qadamgah of Kerman, especially in Jiroft that share similarities from the point of view of the texture, pattern, and symbolic signs.s, and geometric symbols in the visual structure of the Votive rugs, and main question in this research is, how is the visual structure and composition of the painting of the Votive rugs and what is symbolic meanings based on popular culture? The visual structure and composition of the rug consists of two parts, the margin and the text. The textures of the rugs are wiew in structure, form, image, text or composition. The method of collecting information in this field research is using archaeological resources, historical documents, collecting visual samples and oral interviews with villagers and tribesmen in Jiroft region and the analytical comparative research method is a semantic approach. Since the issue of Votive is a personal and spiritual matter,. the goals of the weavers identified, but based on the images and the name of the prophets, it seems to be requests for prayer and happiness on the text of the weaving rugs that these works have a certain religious and ceremonial function,

The study of art in its social context has a long history in art studies. One of the most important branches of historical art research, which has a sociological approach to art and artists, emphasizes the art analysis in the cultural context. Ervin Panofsky is one of the pioneers of this approach who provided a way to analyze the visual arts in its historical and social context by defining iconology. In this way, the meaning of each visual element is described in direct relation to cultural, social and religious roots, in three layers or three semantic levels (including pre-iconography, iconography and iconology) and finally, interprets the art works.In this article, which has been done in a descriptive-analytical method with an iconological approach, the symbol of the “Octagonal Star” has been studied in a social and cultural context. The “Octagonal Star” is one of the symbols that can be seen in Iranian arts since ancient times before Islam, repeatedly. After Islam, especially during the Shiite periods, the use of this symbol has become more widespread that is not comparable to other kinds of geometrical stars in the history of Iranian art. This abundance is quite evident in Iranian contemporary art, especially graphics. In this research, the reasons of the popularity of this symbol is studied and analyzed in the context of society throughout history up to the contemporary era based on Ervin Panofsky's iconological method.

In this paper, the phenomenon of ring symbol and sign of culture in Isfahan’s Naqsh-e-Jahan Square has undergone a semiotic study. Just as the Islamic texts read, the ring has spiritual and material functions and it has been welcomed by people in all ages and they used it in proportion to their culture and beliefs. Since symbols and signs possess a paralleled status in maintaining and promulgating culture, the ring culturally has marked priority and valuation, if attended. The author says the ring has a cultural concept and he has examined explicit and implicit denotations as well as its mythological aspect by using different skills including interview, observation, participation and survey of documents and overt-covert functions. This paper shows that how a usual object denotes values and beliefs. The author moves through the meaning levels of the ring based on tradition of semiotics and has looked for the sense of phenomenon in people’s deep minds and has described the meanings. The public function of the ring is decorative, but it contains the hidden economic and communicative functions. The explicit sense of the ring is “ornamentation”, “engagement ring” and “seal/inlay”, but its implied and deep sense is “social identity”.

Sufi literature is a kind of transcendent literature that contains sublime meanings as well as high spiritual attributes and characteristics. Mahmoud Hasan Ismail inspired by the Sufi experience, which represents a special stage in the evolution of his poetry has represented transcendental themes in his work Soot Min Allah (The Voice of God), which is the manifestation of his thirsty soul in reaching the absolute divine essence. This study through a descriptive and analytical method represents the components of the Sufi discourse in the poetry of Ismail and examines its brightness and visions through his collection "The Voice of God". The most important finding of the study is that the poet in his mystic speech exceeded the limits of intertwining with the ideas and references of Sufism. This is reflected in the construction of his poems, images and compositions, turning it into a mystical vision where the soul flew in new worlds and rid the body of its material. On the other hand, an absolute self-love is the basic principle in “The Voice of God”, whose spirit is emancipated from the flesh of the flesh, so he goes to the ends of existence and calls it towards union with the divine self and its annihilation. In linguistic terms, the Sufi language of Ismail was characterized by the employment of some mystical symbols that have visible and hidden connotations, including flute, light and wine, which abound in his poetry compared to other symbols, in a manner that has increased the meaning of beauty and splendor.

The interpretation of the Tree of Life is made with the symbolism and mythology. This view is included in the book ID (first page of the book). The symbolic form of the tree of life is similar to the view of religions and rituals. Artists use the Bible texts to illustrate the tree of life. The ancient pattern of the tree of life is associated with religious descriptions in monotheistic religions. The important thing is that the Archetype of the Tree of Life has influenced the thoughts and works of different artists from different times and styles and nations. Roger Cook, the author of this book, has been well versed in collecting a coherent set of artwork related to the ancient pattern of the tree of life and this is a very important and sensible issue.( In fact, the significance of the issue is the effect of an archetype in a common visual culture among all peoples and nations. The archetype of the tree of life, described in the religious literature, has been specially imparted in the minds and works of the arts of various artists from the classical and romantic style to the postmodern. It is interesting to conceive of a metaphysical and mystical idea by artists of nations, styles and times. Here are some questions: 1- What is the relation between the tree in mystical thoughts and the tree in myth? 2- What steps has the tree symbol undergone in transforming from myth to art? This article is composed of library and documentary studies in a comparative study of religious literature and artwork of various nations and thus enters the analysis and description of the tree of life. (Research Methodology)

Unsafe is a relative thing in terms of environmental and social world and lived experience of different actors. The aim of this study is to analyze the meaning, the lived experiences, backgrounds, causes and consequences of Unsafe women's slums dwellers is the purpose utilizes the methodology of qualitative, grounded theory method, semi-structured interviews with 33 women and purposive sampling Mohammad Abad Located in the south of the city shahriar settlements were interviewed. The collected data is then encoded to interpret the meaning and determine the causal conditions, context and consequences of Unsafe female, categorize and analyze. The results indicate that the 4 types of insecurity (physical, mental, status and moral) women living in slums experience there. As well as personality disorder, disorder of distribution, disorder symbol as causal conditions Illegibility space and reification of the female body as fields and erosion (social and communicative) was discovered as a result of insecurity of women slum dwellers.

Rites and traditions are rooted in beliefs, culture and history, such as the rituals of the mourning of ancient beliefs. One of the mourning traditions in Khorasan is the spreading of a carpet on the grave, which occurs when people gather around the deceased grave and on the days of the occasion. Carpet as one of the most important and most important traditional arts in Iran is another aspect of this ritual which adds to its importance. The purpose and purpose of this research is the concept of carpet on the grave in the mourns of Khorasan, and these questions are raised about what the meaning of this tradition is. What does the concept of carpet on the grave bring to mind? This research has been carried out in a descriptive and historical manner, which has been gathered from library resources, internet and interviews with elderly people who are aware of this tradition. The carpet that holds many image icons in this ritual turns into an icon. In this research, it is found that carpet on the grave in Khorasan mourning rituals is the symbol of a new and eternal human home. A house where the man farewell to his friends and acquaintances for the last time.

This study examined the cultural component of popular children's animations. Comparative method of qualitative content analysis was performed. The animations to be analyzed include 15 episodes of  the an American animated television series "SpongeBob Square Pants" which was produced by Nickelodeon company. The results were classified into five main groups based on the research questions including: 1- values ( social values, religious values and economic values), 2- norms ( legal behavior, loving behavior, respect for others, punished violators respect to the customs , law enforcement and compliance with other conditions), 3-anti-norms (violence, disrespect for others, immoral behavior, illegal behavior, codes of behavior, behavior contrary to the customs, disregard for the feelings of others, lack of accountability and inattention to religious behavior, unlike the others), 4- symbols (verbal and non- verbal symbols) and 5- identity (professional identity, national identity, cultural identity, civilizational identity and ethnic identity). The study concluded that social, religious and economic values and legal norms provided by these series are involved in the socialization of audience and introduction of the established social behavior patterns.

Suicide is one of the important problems the prevalence of which has brought about a crisis in Ilam province. Numerous studies have been carried out, but have not adequately addressed the cultural causes (meaning). Hence, the main issue in the present research is what is the meaning of suicide among the people of Ilam? To achieve the response, the strong program approach in the cultural sociology of Alexander and Smith was used. The method is of a qualitative kind; it is based on the "strong program". In this research, due to the subject and the conditions, purposive sampling was used. The sample includes all individuals who have had suicide attempts (unsuccessful) in the province during the period from September to December 2014, or relatives of those who have committed suicide. Data collection techniques, included observation and interviews with either people who had committed suicide some of their relatives. The data was supplemented through interviews with hospital personnel, university professors, researchers and informant individuals, referring to articles and publications; news reports and press releases; sites and weblogs; as well as proverbs, poems, etc. The results show that in Ilam society, suicide is a symbol of the objection against the status quo and is codified as evil. There are two main narratives about suicide: fatalism and salvation. Through analyzing the symbols, codes and narratives of suicide, it is understood that suicide is thought to be a way the person is recognized.

Customs and traditions of Hormozgan, like all other rituals, are full of signs and symbols and understanding them requires a realization of common beliefs, faiths and folk culture of this region and therefore a knowledge of its national identity. Color, in addition to its beauty and specific psychological characteristics, is one of the most important and significant factors in wedding rituals of Hormozgan which is one of the main features of the rituals of this ethnic. Studies and fieldwork have shown that in wedding rituals of Hormozgan two color, green and red,are used the most.
In this research, in order to study the symbolic aspect of these colors and their meaning in customs and rituals of wedding in Hormozgan, firstly, the information about different customs and rituals in which these colors play a significant role has been collected. Then using analytical descriptive methods, their symbolic aspect has been examined.
The result of this study indicates that the colors green and red, beside their beauty, have symbolic meanings related to the concept of respective rituals.

In recent years that world wide citien Ar in compefition in world glorious market, urban imaging has been of utmost important. The purpose of this study is to investigate the citizen,s image of Dezful city with the emphasis on the semiotic and social factors in this city the metodhology of the research is documentary, navigator,explanutary and analytical. The statistical society was the people living in Dezful.Therefore, quota sampling with the population of 384 has been used. The results show that Dezful the symbolic structure of this city is severly influeneced by there groups of civil semiotic of historical, Religious and imposed war, each of which is the representative of pecwliar. Civil management tries to introduce Dezful as a historical, resistant,war suffered,but people consider this city as being historical and religious. In this respect two opposing gtoups can be indentified. The first group are those people who live in downtown and knows Dezful as a historical city and rely on it for their identity. The second group which are in suburb area consider Dezful as a religious city,in fact the later are not interested to accept history as supporting identity for the former group identity they have chosen religion as their supporting identityin city life in ortder to make independent identity for themselves and to insolate themselves from the former.