ساسان نجفی

Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.

The present paper studied the cultural functions of two important goddess of the ancient cultures of Iran and Anatolia, namely Anahita and Cybele, and reflected the components on artworks. The present research statistical population was the important goddesses of Iran and the Minor Asia. The Sample of ancient Iran was Anahita and the goddess of the Minor Asia was Cybele. The method was descriptive and data was collected by the library and valid articles. By spiritual components classification of each goddess and how they were manifested in the artworks of ancient Persia and Asia Minor the following results were obtained: Goddess Anahita in addition to had a high rank among the gods of her time, was the goddess of fertility and fecundity, the water goddess, the goddess of love and goddess of war. Cybele was the goddess of fertility, mountain goddess, the goddess of wild animals and guardian goddess. Anahita personality was purifier. But the dominant element concerning Cybele could only be her limitless authority. All the symbols manifested her power. "Authority" was the central axis of Cybele; the goddess of the mountain, goddess of wild animals and cities gurdian. About the embodiment, Anahita was influenced by Cybele. Common point in how art reflected the components was “visual symbolism”. For example, in the Taq-e Bostan cameo and statues of Cybele in Ankara museum, to show the components of the fertility two symbols; water and pomegranate, were used. Difference points often arised from spiritual differences. In other words, in the case of Anahita, it was an attempt to reflect beauty and purity; in the case of Cybele, her authority was more important.

Hopelessness is one of the most prevalent themes in the artistic and literality works. There is that in Iranian literature as well. This paper aims, analyzes factors and components of expressions of despair in the lyrics Kalim Kashani, through a Psychological approach, which has been theorized by Abramson, Metalsky and Alloy, d has been named “Hopelessness theory of depression”. The results show: factors of disappointment on the Kalim‟s lyrics: 1. bitter experiences of anxiety 2. Lack of emotional life that has caused a sense of desperation in his poems. Considering on the lyrics Kalim Kashani were these Disappointment components: 1-negativity of self, the world and the future. 2. The sense of failure. 3. dissatisfaction with the status quo. 4.Isolation 5. Death friendship 6.extreme sadness. Based on the performed analysis can be claimed; sense of desperation on the lyrics has a humanist perspective, without divine backing. Rows with themes of trust and hope in God's mercy, they are rarely seen.