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In the history of Iranian traditional performances (especially the Siyāh-Bāzi), the presence and action of women has been extremely limited. In some cases, the performances are totally get away from the fact. Due to the lack of archival resources, there are very few documents available to reflect the presence of women in this field. However, there has recently been an upsurge in the presence of women during the post-revolutionary years, especially in the field of Siyāh-Bāzi and performing the role of Almās (Siyāh) as the leading character. The present article deals with the presence of women as Siyāh, which was not noticed in the pre-revolutinary Iran. The theoretical framework of this article is based on the postmodern feminist ideas, with reference to Judith Butler's ideas on "Gender identity" and "Cross dressing". We seek to show why women were not present in the Siyāh-Bāzi performances before the revolution, and how they have developed a new discourse in this field in the recent years. The results of this study showed that being an "other" results in a sort of deconstruction and the emergence of a new phenomenon referred to as the emergence of a female Almās in a feminine discourse: A new discourse which is the result of turning into a new "other", together with the deformation of the traditional approaches. In other words, the cross dressing of Almās is the result of a challenge for gender equality.

Sexual identity, as a culture based issue, can be regarded as a founding stone for many social inequalities. People (no matter men or women) have to borrow some features of the opposite sex in order to get along with some imposed situations of its surroundings, and wear the mask of another sex in order to solve some of its problems. This, however, may establish those features in the mind of the person, and change its sex typing in the long run. Androgyny takes place when such masks represent the male and female essence at the same time. This article aims to find out when the (female) characters of films tend to make use of Androgyny as a mask, and how they turn to androgenic characters. This article has made use of the theoretical framework of Sandra Bem named Psychological Androgyny, together with Goffman's Dramaturgical Analysis. We have also attempted to study two films named "The Blue Scarf" (1994) and "Transit Cafe" (2004), to show the impacts of the society in forming a psychological androgyny in the sexuality of female characters in these films. The results show that these women have resorted making use of the androgenic mask in order to get their basic social rights, and have gradually turned to androgenic characters.

Carl Gustav Jung believes that the unconscious soul of every human being consists of two masculine and feminine poles named Anima and Animus, respectively. The Anima archetype is the feminine half of every man's soul, and the animus archetype is the masculine half of every woman's soul, and the coordination and unity of these two halves of the soul results in a mental balance in human beings, and the domination of each of them over the other one, may result in some characteristics and mental features which research worthy in terms of social and cultural perspectives. The current article adopts a mythological approach to study the emergence of the Animus in the female characters of two Iranian plays by Bahram Beyzayi, named Parde-khane (The Inner side, 1993), and Nodbe (The Lament, 2006). In these two plays, Beyazyi portrays some female characters who have very active Animus feelings due to their specific social circumstances. The study of the origins and the social and cultural reflections of this active Animus in these women, reveals the mental effects caused by the social and cultural structures of their community, as well as the close interactions of these two in the lives of these women.

Bahram Beizayi can be regarded as one of the few contemporary Iranian writers with a specific style since 1960s. He is a person mostly recalled to be a director and playwright. However, a remarkable part of his activities which has not received the attention is his method of screen writing. It can be claimed that his screen plays have not yet been studied as well as his plays. The current research tries to study three screen plays of Beiza’i within the theoretical framework of Maureen Murdock named The Heroine`s Journey, which is a new approach to Joseph Campbell’s model of analyzing the characters as the mythical travelers. The three screenplays considered are Sag-Koshi (Killing Dogs), Eshqâl (Invasion), and Haqâyeq dar bâreye Leylâ doxtare Edris (Facts about Leila, Edris’s Daughter), and tries to show that Murdock’s model may be applicable to the heroines of these three screenplays.

This research deals with the differences in the writings of male and female authors in the contemporary Persian novels, and employs Lakoff's (1975) linguistic approach to reach this objective. The main aim of this work is to make sure if the factor of gender may lead to differences in methods of writings between men and women in terms of vocabulary choices and syntactic variations. In this research, three novels Cheragh ha ra man khamush mikonam (I Turn off the Lights), Koliye Kenare Atash (Gypsy by the Fire), and Baziye Akhare Banu (The Final Game of the Lady) by three female authors, and the novels Kafe Piyano (Cafe Piano), Sanfoniye Mordegan (Symphony of the Dead), and Sorayya dar Eghma (Sorayya in Coma) from the male authors have been analyzed with respect to their vocabulary, and then the statistical analyses of these novels are presented. The results show differences in the writings of men and women in Persian novels.