Journal of Social-Political Studies of Iran's Culture and History

Government policies in the cultural field are different based on their definition of culture and their approach to cultural excellence and take different directions. The purpose of cultural policy is to control or direct culture. One of the areas affected by culture and at the same time influencing it, which is always the attention of governments It has been, it is virtual space. Therefore, it is necessary to adopt a model of cultural policy in the field of users' use of virtual space that is based and aligned with Islamic-Iranian culture. The main goal of the research is to identify the components and approaches based on which the most important challenges and obstacles of Iran's cultural policy in virtual space can be identified. It is identified, it should be explained. This research has evaluated the factors influencing Iran's cultural policy in virtual space. The present article has been done in a descriptive-analytical way using library sources. The hypothesis of the research is that the cultural policy strategy in virtual space is based on the partial changes approachGradualism is based on obstacles such as the lack of effective communication management, disregard for new global trends, lack of use of new tools that can be analyzed and evaluated. The findings of the research show that parallel and non-aligned policy-making institutions, the lack of communication between policy-making institutions and scientific communities and researchers in this field, adopting approaches Repressive and... are among the challenges and obstacles of Iran's cultural policy in the virtual space. Also, the strategy of policy making in the virtual space can be reviewed and modified based on attention to efficient communication management, attention to current cultural issues and the use of new virtual tools in the form of a group approach.

This article examines social mobility and its impact on development and lifestyle in Iran. Social mobility refers to the actions and interactions of individuals within the social structure and system. Development and progress represent a fundamental transformation and a multidimensional process in societies, serving as the basis for movement and social action among individuals and groups in various spheres of life. Lifestyle and life patterns emerge from the preferences, behaviors, and orientations of individuals, groups, or societal culture. Accordingly, the researcher aims to answer the following question: Is social mobility, along with lifestyle choices and social actions of individuals and groups, influenced by developmental programs? This study is conducted based on Talcott Parsons’ theory of social action. The research findings indicate that the components of social mobility and development influence social behavior and individuals’ choice of lifestyle patterns in developing societies. Interpersonal and group interactions and their choices provide the context and foundation for improving and enhancing economic, social, and cultural well-being. Furthermore, they demand the development of a lifestyle aligned with desirable and modern patterns from the structure of the socio-political system.

During recent decades, the British philosophical movement known as critical realism has raised doubts about the philosophy of the social sciences. Critical realism has tried to combine paradigms and seeks a new definition of reality, knowledge and research. The purpose of this article is to examine the ontological, epistemological and methodological foundations of the two paradigms of experimental realism and critical realism, and to reveal the contrasts between these two paradigms; Therefore, by examining the main claims of experimental realism in the above three areas, this article will criticize these views from the perspective of critical realism, of course, emphasizing Roy Bhaskar's views and opinions.

Security is one of the most important and controversial issues and concepts that have been brought up and paid attention to in societies and human groups today. Every day in magazines and media, experts comment on this matter, various theories and thoughts on how to create, strengthen and continue, effective areas in strengthening and formation, how to weaken and decay and its different types and dimensions have been proposed and published. The consensus point is the multiplicity of factors affecting security. Different experts such as philosophers, politicians, sociologists and psychologists have talked about security and tried to describe, explain and explain it in different ways and types. Philosophers believe that people prefer living in a safe society to living in a tense and insecure society; Some experts believe that the most important task of the government is to create, maintain, and develop security.

Pardeh-Khani, as one of the Iranian ritual ceremonies, is among the oldest forms of solo and traditional performances with significant potential in the field of interactive arts in Iran and globally. Ritual performance art serves as a unique communicative tool and method, holding a significant role and position in the indigenous cultures of nations. The present study seeks to explore the nature of the audience’s relationship with the performative work in Pardeh-Khani and the capacity of this art form to actively and effectively engage the audience. Additionally, it investigates whether the reproduction of identity and cultural themes within ritual arts is achievable through Pardeh-Khani. Therefore, the role of ritual arts in interactive and participatory models with the audience is examined within the framework of field-based Pardeh-Khani. The study further analyzes the elements of Pardeh-Khani separately, including the Pardeh-Khan (storyteller), the Pishkhan (narrative prologue), and the Pardeh (curtain), as well as the methods of audience engagement with the performance. This study is based on a descriptive-analytical research method. The sources of research and data collection methods include library resources and field observations. According to the findings of this research, the authors have designed a sustainable development model in which ritual arts can contribute to the revival and reinforcement of contemporary social identity and the enhancement of collective unity, ultimately leading to a form of sustainable development. The results of this study indicate that field-based Pardeh-Khani facilitates active engagement with the audience. Moreover, the identity, cultural, and ritual dimensions of this art form can contribute to sustainable development and the lasting presence of its themes within society.

With the victory of the Islamic Revolution in Iran, a regime was established that, based on its nature and the roots of its emergence, perceives culture as a structured framework and the driving force of socio-political life. This form of government is defined as an ideological state, which, by its nature, arises from ideological revolutions and enforces non-negotiable directives in the cultural domain. In this study, the statistical population was first determined to include the plays of Bahram Beyzaie and Mahmoud Dowlatabadi. This research initially designs categories, and their face validity is established through expert consultation. Subsequently, composite reliability is used to assess reliability. The data collection method in this research includes note-taking from books and library resources, interviews, as well as articles from journals and online sources. The findings of this study indicate that due to the lack of appropriate policymaking and the absence of a suitable cultural strategy—particularly concerning drama and theater—cultural planners and policymakers in Iran, by prioritizing "economic development" over cultural issues, have inflicted irreparable damage on society. What is labeled as "cultural development" in national development programs is, in reality, nothing more than the expansion of Western development culture. Overall, policymaking in this field appears more performative than profound and foundational. Furthermore, the concept of soft warfare, which is employed as an alternative to hard warfare, entails the imposition of one group’s will on another without resorting to military means.

In Safavid-era architecture, inscriptions were used not only for their visual beauty but also for the transcription of texts. Artists employed different calligraphic styles based on the function of the script and its thematic content. This study examines the visual and geometric characteristics of Kufic Banna’i script, which was invented by devout Iranian builders and has been observed throughout different historical periods. The focus is on its application in the inscriptions of the Abbasi Jameh Mosque of Isfahan during the Safavid period. The objectives of this article include analyzing the visual and geometric features of Kufic Banna’i script in the mosque’s inscriptions and exploring its role in culture and art, considering the diversity of themes and its function in inscriptions of that era. This research follows a descriptive-analytical method, based on library studies and field investigations, with a specific focus on the Safavid period. The analysis of the mosque’s inscriptions involves identifying the features of Kufic Banna’i script, different types of Banna’i scripts, and their specific use in the inscriptions. The study raises key questions: How was Kufic Banna’i script utilized as a decorative element in the inscriptions of the Abbasi Jameh Mosque of Isfahan during the Safavid period, and what impact did it have on the aesthetic and artistic value of the monument? Furthermore, how can the influence of breaking the conventional rules of Kufic Banna’i script in these inscriptions be assessed in relation to the transformation of this script? The findings of this study indicate that Kufic Banna’i script in the inscriptions of the Abbasi Jameh Mosque of Isfahan, apart from its visual appeal, played a significant role in conveying both religious and non-religious texts. The breaking of traditional Banna’i script structures and the diversity of script forms during the Safavid period highlight the artistic and architectural prominence of this era. The origins of Banna’i script date back to pre-Islamic times, and its continuous presence can be observed throughout the Islamic period in remarkable artistic expressions.

The primary objective of this article is to provide a theoretical and paradigmatic explanation of the concept of social consensus and to present a paradigmatic model for analyzing social consensus from the intersection of structure, pattern, and process. In this regard, an attempt was first made to examine the concept of social consensus from the perspective of classical and contemporary social science theorists such as Durkheim, Parsons, and Habermas, exploring structural, functional, conflictual, and communicative dimensions. Subsequently, the concept of social consensus was analyzed from epistemological, ontological, and methodological dimensions, utilizing various paradigms prevailing in social sciences along with their theoretical developments. This was done to address the fundamental question of whether social science constructs are based on a specific paradigm or a paradigm plurality, and to respond to the alignment of schools of thought and paradigms in opposition to each other, as well as the ability of social constructs to address political stability, social order, predictability of social behavior, and social interactions—each of which presents its own theoretical and methodological challenges from which the concept of consensus is not exempt. The research method employed in this study is descriptive-explanatory, with data collection conducted through library research.