Expressions of Folklore include (but are not limited to) productions, creations, innovations, beliefs and traditions belonging to a specific group or society. Also natural and genetic recourses are included in the Expressions of Folklore. Folklore is probably the most important and well-acclaimed component of the cultural heritage of a nation. The Issues discussed in this article highlight one crucial point: An attempt to protect indigenous folkloric works and traditional knowledge within existing intellectual property law system is akin to fitting a square peg in a round hole. The former underlies a dominant social and economic order, which has afforded little accommodation to the principles espoused by the latter.The tenets of individualism and economic value that are central to Eurocentric thought and legal order are alien to indigenous peoples, who embrace a holistic attitude to life and nature.It is this understanding that should inform the dominant social order vis-à-vis any attempt to accommodate the interests of indigenous peoples in the legal system. It is suggested here that the most suitable means of addressing the problem is through the enactment of sui generis legislation, which recognizes indigenous intellectual property rights as a distinct and separate group of rights from copyright regimes though there may be similarities.The legislative action must be reinforced by effective policy guidelines and protocols, as well as educational campaigns that promote recognition of the right of indigenous peoples to own and benefit from their own cultural heritage.

Sadegh Hedayat is one of the first authors and researchers who has had a precise and scientific confrontation with vulgar culture of Iranians. He has used these elements in his stories while researching in vulgar culture and he has provided a clear image of the culture and traditions of his region. Stories of Sadegh Hedayat are an emerging point for many elements of vulgar culture as the most important part of his works, and are considered as cultural examples which by investigating and studying them, we can learn about cultural memoir of Iranians besides the cognition of their believes. In this paper, we are taking efforts to survey flashes of vulgar culture in the stories of Sadegh Hedayat and we are going to study the application method of these elements in stories of Hedayat. To achieve this objective, we have divided such elements in stories of Hedayat after proposing some discussions concerning vulgar culture and its inclusion and territory issues and we divided them into four categories of; traditions and believes, vulgar poems and songs, proverbs and vulgar language. Then, by providing statistical tables we have studied application of these elements in stories of Hedayat.

Folklore, in fact, is community (or collective) intellectual property. Literal of folklore, in present, is unknown and, to some what, vaguable. this filed of law is pay attention to on behafe of WIPO and UNESCO. two kinds of protection is established by legislators. Firstly (mainly) protection, that promoting a sui generis system, and secondary (substitute) protectioFolklore, in fact, is community (or collective) intellectual property. Literal of folklore, in present, is unknown and, to some what, vaguable. this filed of law is pay attention to on behafe of WIPO and UNESCO. two kinds of protection is established by legislators. Firstly (mainly) protection, that promoting a sui generis system, and secondary (substitute) protection, that includes some of ways, as such as, contract models, human rights, trade secrets and ets.n, that includes some of ways, as such as, contract models, human rights, trade secrets and ets.

The Iranian and the Armenian are two nations of rich folkloric heritage, which reminder of the rise and fall of their history. The objective of the present article is to introduce the features of form and content of “Anahid” and “Kermanian Princess”. Their contrast shows that the two nations’ common grounds and motives was the main factor in their development. Clearly, one of these societies might have been the origin of the narratives.The research method is library based. Our main references for analysis of “Kermanian Princess” and “Anahid” were “Jame’-ol-Hekayat”, a manuscript of the late 10th H. and early 11th H., and the famous book of “Armanian National Narratives” by the well-known Armenian folklorist, Qazares Aqayan, respectively. In the present research, we have studied the content, structural, and folkloric features of narratives based on Vladimir Propps theory, cited in his “The Theory and History of Folklore”.

The term ''Folklore'' verbally means public and people's culture. Expressions or symbols of folklore include productions, works, creativity, believes and traditions of a group or a definite society which have been flourished and emerged via tangible or intangible ways, in the form of artistic (either performances or nonperformances) or literary works or in the form of indigenous knowledge (including medical, agricultural and environmental science) and natural and ecologic sources. These factors have always been the instrument of recognizing the communities and also have been the cultural, biological and historical identity of such societies. In this essay, along with the clarifying the concept and historical background of folklore expressions, three traits of folklore, including the oldness, belonging to a certain territory and collectivity, will be studied. However, in association with the identity of folklore, three theories are propounded, including ''sui generis'', '' exploitation right'' and ''property right'', in which collective property right is accepted and finally the abstractness of relationship between creators and owner against aspects of folklore is regarded as acceptable.

This article reviews the cultural and literary history of Tajikistan, attaching importance to research in folklore literature, while summarizing the characteristic features of common Tajik couplets and quatrains, and elaborating on a wide range of topics and themes. The quatrains and couplets presented in this article have been collected from the masses of people in Tajikistan. In this article, efforts have been made to group themes and to relatively clarify the boundaries of themes in Tajik folklore quatrains and couplets. For each of the branches of themes and their related sub-groups, examples have been mentioned from Tajik folklore poems, while also other characteristic features of these poems have been pointed out.

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.

Iranian animation cinema has to grow in both content and technology in order to succeed. One of the problems of today's animated commercial cinema in Iran is the lack of good stories that are appropriate to both animation cinema’s features and the Iranian audience’s interests. Because in today's world, popular culture is closely linked to the mass media, many commercial producers use fairy-tales with romantic themes for commercial success and impact on audiences. Therefore, this hypothesis has been raised that fairy-tales are considered one of the best sources of inspiration for producing content for animation cinema. Regarding to this hypothesis, it appears that Azeri romantic folk-tales have the enough potential to inspire. The main question is why and how can romantic tales in Azeri folklore literature, which run in the tradition of Aşıqliğ, be considered as valuable sources of inspiration according to the characteristics of animation cinema to produce works, both in terms of content and structure? To answer this question, first, the characteristics of suitable stories for animation are investigated and four indicators are obtained, and then, nine Azeri folk-tales have been analyzed by Vladimir Prop’s morphology. Finally, we compare the tales with four indicators. The collection tool is bibliographic and a descriptive-analytical method is used to explain the research results. Consequently, it can be said that these nine tales have all the characteristics of fantasy, romance, musicality, and adventure and can be valuable sources of inspiration for Iranian animation cinema, especially for commercial purposes.

Summary :This research discusses the two demotic tales, two human spirits, and two apparently different constructions though the same in depth. And it also attempts to seek the concealed soul of these two Iranian and French tales beyond them.
No word said either intentionally or unintentionally is in vain and there is always a reason behind each single word. Everyone is a text and each text has something to say and within each saying there is guidance. No phenomenon is useless and we consciously or sub-consciously have an objective for our behavior. Therefore, through telling a story we speak our minds. Protagonists and antagonists are our characteristic aspects and numbers are femininity and masculinity inside us. Now with a comparative point of view, we move towards a collective sub-conscience which is reflected in a simple, beautiful and pleasing way in stories.