This study is based upon a field work in the Turkmen Sahara region. It explores one of the indigenous healing methods called ISHANI taken by the Turkmen women. There are different methods of healing among Turkmen such as Porkhani, Damartotan, but ISHANI is one of the most amazing cultural phenomena grown in the Turkmen culture. The root of this healing method is based upon the central Asian culture. The present paper presents the character of women healers as the method itself. Indigenous healing method is a combination of different techniques which are presented through a RITUAL ceremony. Such treatments have been always existed as the traditional ways of healing methods. Human being and his diseases and the treatment discovery have always integrated all over the world. The information of indigenous knowledge is one of the sources of indigenous healing. To explore, discover, and document the indigenous knowledge helps to reveal the hidden parts of the culture as well as the indigenous healings. The healer has been regarded as a Master by patient. For the native patients, the function of the healer is not only treating him, but also the process of healing is relating to the beliefs of people. This paper is concentrated on ISHANI which is mostly influenced by Islam, so it is different from other healing methods specifically from Porkhani that is focused on shamanism and is streamed from the central Asian tribe.

IntroductionThe practice of medicine today is divided into 2 major groups; what is regarded on the one hand as ‘ scientific’ or ‘ evidence-based’ medicine and on the other hand a disparate group known as ‘ alternative medical practices. ’ Modern or ‘ scientific’ medicine, the origins of which date from early 19th century C. E., has many shortcomings and is not perfect, but seems to be the most effective form of medical practice we have today. I will discuss this in a future article.

Persian ghazal that once only focused on romantic conversation proper found new horizons after expanding its subject matter and theme. However, at the same time, it caused serious damage to its form and coherence. The purpose of this paper is to study the RITUAL ghazal of contemporary Iran in terms of both text and hypertext. The fundamental issue of the paper is the challenges that have weakened today’s RITUAL ghazal, looking for the origin of these challenges at the hypertext that has influenced this poetic form. The method of the present study is argumentative and inductive. The main corpus of the paper is the ghazal poems published in the collection of contemporary poets. A critical examination is done of today’s RITUAL ghazal and its main problems, and it is concluded that in today’s poetry in general and RITUAL ghazal in particular, although thematic and especially ideological approaches have been extended, very serious damage has been done, which has negatively influenced the persuasion of general and intended audience. More importantly, the impact of hypertext damage is so considerable and far-reaching that disturbs the text of many of today’s RITUAL ghazals, and the root of many of the text’s weaknesses must be traced to its hypertext.

A RITUAL landscape is a combination of ‘ Place’ , ‘ Event’ , and ‘ Manifestation’ in which the latter one is stronger than the others. In a RITUAL landscape ‘ observation’ and ‘ participation’ are considered as the main elements. The key actors in RITUAL landscape are the ordinary people as the audiences who participate in comprehending the play are of the same type. The RITUAL landscape is not the narrator of history, similar to what is happening to the myth; but instead it speaks of desires, concerns, and worldviews of past times. Therefore, criticizing it as a real fact and a narrator of history might have the anti-cultural consequences. The religious ceremony of Carpet-Washing (Persian: Qā lī shū yā n) held in Mashhad-e Ardahal is one of the RITUAL landscapes in which there is a combination of two traditional ceremonies belong to the Iranian Pre-Islamic and Post-Islamic cultures both in one ceremony. The event is held on the second Friday of the month of Mehr (October), which is according to the calendar of the propitious times (Saad) in ancient Iran, and its story is based on the blood revenge for an offense committed against the Imamzadeh. The symbols used in the ceremony has such a diverse and combinational aspects that decoding them can expose many ways for understanding the Iranian culture. Although the carpet-washing ceremony is kind of landscape that has gradually formed with many historical developments, but recent actions toward them with the aim of ideological interpreting might jeopardize its historical and mythological dimension. It should be noted that the RITUAL landscape cannot necessarily be evaluated by rational interpretation and its useful outcome addressing the utilitarianism; Rather, it is more appropriate to be considered as a manifestation of past culture in relation to the place. The combination of two RITUALs of ‘ Choob-Dastan’ (People with sticks in their hands) and the emotional ceremony of ‘ Nohe-Khani’ (a musical performance and mourning for Imam Hussein during the Moharam) together with the simultaneous participation of the actors and audiences in the ceremony, brings a special feeling toward an important event happened in the past of this territory, which its connection with the Imamzadeh› s blood revenge gives the ceremony a sense of justice; as a final word, the RITUAL landscape of Qā lī shū yā n must be preserved.

Our awareness of past cultures and civilizations usually does not go beyond historical periods; therefore, it will not be surprising to find ideas and beliefs that seem advanced at the beginning of the life of some nations. This is not because of the superior intelligence of that nation, but we know of a period of their social life which coincides with the beginning of history, and it is during this period that they seem to have more advanced thoughts and distinct civilization and culture compared with their contemporaries. This is the life of Iranian people. In this paper, the author tries to support this hypothesis by extracting the signs of intellectual and moral schools (Totemism, Atheism, Mithraism and Dualism) in Ferdowsi’s Shahnameh as the national epic.

study of interrelationship between Friday Worship and Mass Media in presidency electionsIn this article, The authors try to answer to this question that what is the interrelationship between Friday Worship and mass media, specially TV, in the nine periods of presidency elections in Iran.This article is derived from a Ph.D degree dissertation research project which has been done in the Social Science Faculty of Allameh Tabatabaie University, in March 2008.The research is fundamental and descriptive The dada have been gathered by Q Methodology (Quanel). 30 academic researchers, expertises and profesors in sociology of religions, politcs and communications in Iran, answerd to 63 questions.The results' analisis showed that, Friday Worship has very impertant role in guiding voters to voting boxes in presidential elections whichis the biggest political RITUAL in Iran, Friday Worship also helps state to govern in Country.

In this article, the authors make an attempt to re-examine the neglected portions of RITUAL-artistic dance by presenting new evidence and using paid theories through phenomenological study of this art. The fundamental results of the present study, which will be obtained by a quantitative phenomenological and an interpretivehistorical approach, the social and religious contexts of this pervasive phenomenon in the culture of the ancients will show that “ Dance with Samaacheh” is an integral part of the life mixed with metanarrative world view of pre-historic people. It will also reveal the origin, base, process and factors associated with its formation and consequence of its continuation and use. The importance of research becomes more apparent when it is understood that “ Dance with Samaacheh” has not ceased in its pre-historic past and is still present in many cultural, artistic, social and religious contexts in most societies and cultures.

The myth-religion of Sarai is one of the most popular and common traditions among the people of Azerbaijan. This myth-religion is the narration of the love of a girl and a boy, which leads to the suicide of the beloved due to the absence of the lover and the oppression of the village khan. This myth-religion is rooted in the literature and art of the people of these regions and has a high value burden in the culture of this region. In this research, which has been done in a descriptive-analytical manner, the authors have tried to study the pattern of love in this narrative and extract its main feature. According to studies, according to René Girard's theory, the sacrifice of the beloved as a result of the desire to imitate and obtain the girl that most village men want, by the village house and the spread of violence among the villagers in order to Preserving the honor of the village - which is the candidate of another man - is known as the main model for this narrative. In this case, the suicide of the beloved is the only way out of this conflict in order to preserve the authenticity, loyalty and freedom of a woman and at the same time, prevent Khan from harming the health and security of the village. After this sacrifice, the victim became a myth and supported the Sarai religion, which is manifested through oral and written literature, music, poetry, theater and cinema.