فصلنامه مطالعات تاریخ فرهنگی
پیاپی 37 (پاییز 1387)

The arrival of Muslim Arabs and the collapse of the Sassanian Empire disrupted Iranchr('39')s political system and social structure, but the formation of religious uprisings and the rise of local dynasties was a practical attempt by Iranians to emancipate from this disruption. This endeavor entered to the cultural sphere as the Turks came to power in Iran, and litterateurs such as Ferdowsi sought to recreate the concept of Iran by dealing with the epic and national history of Iran. People are the most important component of Ferdowsichr('39')s thought in recreating the concept of Iran. Therefore, the relationship between the Iranian people and Iranian thought is the main issue of this research and authors try to analyze it through historical analysis based on library resources. Studies show that in understanding Ferdowsichr('39')s narratives about Iran, scholars especially those who research on Ferdowsi, have mainly emphasized the components of territory, government system, cultural characteristics such as language, religion and ethic, and the position of the Iranian people has rarely been discussed. Therefore, they have ignored one of the most important components of Ferdowsichr('39')s thought. The findings of this study show that in Ferdowsichr('39')s system of thought, the owners of political power and the emperor of Iran gained their legitimacy not from the Heaven but from the Iranian people; if it were not for the people, none of the other formation components of the concept of Iran would have put into practice

This article is basically a result of a fieldwork and less theoretical. purpose or adapted plans and drawings in this article, designs and drawings that entered the Arak knitting system in various ways. or introduced by the traders and manufacturers of Tabriz into the Arak map and design tradition, or adapted by designers, traders and native producers from other carpet areas, or new designs designed by Native designers from Arak for almost forty years. Therefore, the original and old designs of Arak will not be the subject of this article. the findings of this research are based on this : there were thirty-one adapted or imported maps that were designed by designers and native designers. of these, nineteen designs are related to contemporary designers in arak and ten design, also from imported and adapted maps. the designs are gradually changed from the standpoint of structure and color to the designer's or producer's taste and there may be several different types of design that designed by various designers, however, the body and the original form are somewhat preserved. in contemporary and contemporary Arak carpets, no vegetable colors are used.

The Achaemenid kings after Darius I elected Darius, Xerxes, and Artaxerxes as their throne name, when they were nominating or substituting for succession. Each of these kings has chosen one of these names according to what happen for they before they reached the king's throne, how to achieve the throne and based on their design and program. These names are not personal and real names, but they are sentences that compressed into a nominal compound. In this research, it is tried to use the classical resources and new researches and to use the descriptive-analytical method, to be mentioned and analyze how to choose throne names and the reason for choosing any of these names in the Achaemenid period. The results of the research is that, those who chose the name of Darius as throne name, not the legal successor of the king, they have been able to reach the throne by deceit and authority after undergoing a period of internal crisis. The electors of the name of Xerxes were crown princes and legal successors of the king, and without any problems achieve to the throne. Those who have chosen Artaxerxes name, are also the legitimate sons of the king and have the legal right to succeed. However, their succession has been challenged and after much effort and internal conflict, they have managed to bring order to the royal family and achieve to the throne.

Recollection in the form of self-litigation was one of the common forms that was accepted among contemporary Iranian women and became an "arena" for displaying "self" in the light of the recognition of "another." This paper deals with a hermeneutical interpretation approach in the conceptual framework " Paul Rickworth's narrative identity "Following the answer to the question of how" another "is represented in the narrative of women, the memoir of the family, Abdul Hussein Mirza Farmanfarma, has come to show that another description forms a part of the author's narrative identity. From this conceptual framework such It has been argued that the "other" representation has a direct connection to the narrator's discourse system. The underlying reason is that the "other" description in the memoirs of Maryam Firooz has a strong connection with the party and ideological perspective and the identity represented in it. In the light of the star of the rulers, the gender identity of a woman, with her own representation of a different conception of the reality of the patriarchal community, The description that each month of the governors, regardless of the severity of the influence of the two views, can be seen in the sympathetic discourse with the past.

Mah Sharaf Khanom Kurdestani whose pen name was Mastureh(1805-1848 A.H), the forerunner of female historians in the world of Islam, was raised and educated among two educated and bureaucratic families Ghaderi and Vaziri. In 1828, she married Khosro Khan Ardalan, the ruler of Kurdestan(1824-1834 A.H). By death of Khosro Khan and incidence of political crisis in Kurdestan, Mastureh desided to criticize the agents of political crisis, i.e. Valiyeh Khanom and her children, by writing the history. Surprisingly, the vast majority of this text narrated by Mastureh is a manly narration in spite of the critic of her husband wife, Valiyeh Khanom. Therefore, the main issue of this article results to the effect of gender in Mastureh historiography. This article tries to discover the role of animus in personality of Mastureh and its role in her historiography by using teachings of CarlGustav Jung in searching the factors of animus – the man inside the woman.

In different regions of Iran, numerous rock arts are obtained and the large number of them have been described and studied in various magazines and books. The rock art of Aqrablu in Bokan-Shahindej and karafto cave in Divandarreh, located in West Azerbaijan and Kurdistan provinces, are the valuable petroglyphs in the west and north-west of Iran. This study was based on literature review and field surveys. In the petroglyphs of Aqrablu and karafto, four-figure of antelope, picture or symbol of the altar, rhombic pictures and horseman’s picture who are shooting in the back of his head are analogous and comparable to each other. According to this, it can be proved that petroglyphs inside the cave (at least some of them) and Aqrablu’s rock art has belonged to a common culture and engraved by the same group of old artists and have been made in common time. Thus, according to the relative chronology which inferred on karafto motifs, a part of the designs belongs to the Parthian period and after that, it can be concluded that the Aqrablu’s petroglyphs also belong to the same historical period.