In the story of Siyavash in Ferdowsi Epic Shahnameh, the thematic consistency of another male hero who is defined by chastity and patience, like Joseph and Yusuf. The gender roles in this Persian epic mirror the similar ancient patriarchal ideas. Siavash's rejects the advances of the queen; in embarrassment she accuses him of rape; this scene locks in that Siyavash is the superior righteous man and Sudabeh is the lustful and temptress woman. What is different from Savayah's story to the others is the tragic turn that occurs to him despite his virtue and righteousness. Siyavash is a victim of political corruption, not just female deceit. Linguistically, the Shahnameh paints Siyavash as a noble man with a voice that is almost otherworldly in that of honor, through his select speech and manners. It is important to also know that the timing that this Epic was written emphasizes the theme that although we deem traits such as loyalty and riotousness as something to live by, in the face of political corruption it is easy to lose them. The portrayal of gender as well with the idea of masculine virtue being the superior to the chaos that ensues in woman is prevalent in the story.

To add to "More scholarship about CC licenses" and to support unit 4.1: Bishop, Carrie. “Creative Commons and Open Access Initiatives: How to Stay Sane and Influence People.” Art Libraries Journal 40.4 (2015): 8–12. Web.

Bishop presents a cheerful exploration of the Tate’s mammoth enterprise to digitize and release into the public Web 52,000 works of art, many of which are still under copyright. Commonly, galleries and museums would like to broaden exposure to the artwork in their collections, but when artists or their descendants are still actively monitoring use and income, there can be a barrier between connecting the public with the art work and the needs of the artistic community. Bishop describes the Tate’s desire to license the newly digitized images under a Creative Commons license to provide clear guidelines to the public, but at the same time to respond to the fears, hopes, and wishes of their artists. The Tate decided that it could best realize its goal to "democratize access" and to connect the public with British artists through applying the CC-BY-NC-ND license—both making the images available and quelling the concerns of the artists or their estate managing family members. The article provides an interesting perspective to the discussion of “open culture” or “free culture.” Some of this freedom may come about in incremental doses. The CC license might make it possible to allow an artist to connect their work with a larger public, at the same time that it makes them confident that their work won’t be misused or appropriated in an undesired manner. Aart museums seem to have a difficult relationship with open access and Creative Commons licensing. The Getty, for instance, has a fairly complicated statement of terms that make murky all that CC transparency, so there is viewing the material and then there is repurposing the material. The result is that a slow, measured pace, while nurturing the artist along, may be the way to ultimately make CC and Open Access a norm rather than an exception.