فهرست مطالب شبنم حاتم پور

Lakoff and Johnson's research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies and are rooted in human thought that one of the manifestations of it is language. Conceptual metaphor is a term in cognitive linguistics that explains most of the metaphors around us along with the origin-destination pattern. In Masnavi, Rumi has used the conceptual metaphor of light as a linguistic tool to expand cognitive meanings and concepts. This research answers the question through a descriptive-analytical method How does the contemporary theory of cognitive linguistics match the conceptual metaphor of light in Masnavi? Finally, we concluded that the conceptual metaphor of light refers to the absolute essence of Hazrat Haqq, the mirror of guidance, the guide of the religion, the sun of truth, and the expression of Ana al-Haqq (I am the Truth) of selected saints. Due to the large volume of Masnavi's hundred verses, a statistical sample was selected from the second book, in which the word "light" is used 122 times.

Likoff and Johnson"s research in the field of metaphor proved that the uses of metaphor are not limited to the field of literary studies. They believe that metaphor is rooted in thinking and one of its manifestations is language. Therefore, conceptual metaphor is a term in linguistics that refers to understanding an idea or a conceptual field based on another idea or conceptual field. . Based on this theory of contemporary metaphor, the functions of the metaphor of noor and image clusters related to it, i.e. vision and hearing, knowledge, noor, God, etc., were expressed and discussed in Masnavi. The purpose of this research was to find out how the conceptual metaphor of noor in the Masnavi can have a purposeful semantic correspondence with the contemporary theory of linguistics.

Therefore, in this research, the conceptual metaphor of noor based on the theory of Likoff and Johnson in the first book of the Masnavi has been investigated with a descriptive analytical method.

Rumi has used the conceptual metaphor of noor in Masnavi as a linguistic tool to expand the meanings and epistemic concepts. For this reason, the writers have analyzed the first book of the Masnavi to get the conceptual metaphor of noor along with the semantic mediators and they have found that knowledge in the first book of the Masnavi is an epistemological category and Rumi is in agreement with this conceptual idea that the universe is light. He considered pure noor as vision, hearing, noor, existence, etc., as well as a means to explain the category of annihilation and survival.

In this regard, significant results have been achieved. Several meanings have been obtained, including noor as a perfect human being, as the sun, moon, food, etc. And the general result is that the assumptions of conceptual metaphor are suitable for analyzing and explaining the abstract categories considered by Molavi Bastari.

In the history of world culture, there has always been a deep connection between philosophy and literature. Later, with the emergence of philosophical schools such as nihilism, philosophical ideas played a central role in literature. Nihilism is an ideology that is usually associated with absolute negation; therefore, in it, the meaning of life, existence and being is lost. This philosophical school expanded significantly in the late 18th and early 19th centuries and entered various sciences. Nihilists look at the world around them with disgust and create the most unpleasant and undesirable images in their minds of life and the current world; In other words, nihilistic thoughts, which are associated with despair, hopelessness, separation from society and seclusion, cause a person to be separated from their real world and constantly complain about what is not acceptable and desirable in their isolation and besides complaining about the current situation, they should address the people of Dystopia, which is the opposite of Utopia. In general, the description of dystopia, which entered literary works from the 20th century, was aimed at criticizing the existing situation, describing disturbances, advising and warning about forgotten values, and drawing people's attention to the bad state of society; Therefore, in every work that has described the upside-down utopia (dystopia), they have tried to identify the utopia and ideal city.The present study has analyzed the poems of Simin Behbahani and Ghada Al-Samman with the descriptive-analytical method and based on the American school of comparative literature with the aim of showing the relationship between the philosophical school of nihilism and dystopia literature.Simin Behbahani and Ghada Al-Samman, who are considered to be the famous names of contemporary literature, have used poetry as a means of expressing their feelings and philosophical thoughts. Therefore, by emphasizing the elements such as emptiness, death thoughts, despair, sadness and pessimism, which the philosophy of nihilism is based on, they reflect an image of the undesired and dirty world around them in their poems, so to protest to what should be but is not. These unfavorable images are the same dystopia that is based on poverty, corruption, war, violence, injustice, discrimination, abnormality and irregularity. Since Simin Behbahani and Ghada Al-Samman have closely touched the problems, pains and sorrows of their society, they have turned to nihilistic thoughts because of the displeasure of the unfavorable political and social situation in their country and they consider life to be nothing and undesirable. This attitude and worldview comes to the fore with the creation of an upside-down utopia (dystopia) and the expression of the ugliness of society in their poetry. It seems that the most important factor in the depiction of dystopia in the poems of Simin and Ghada is the domination of nihilistic thoughts on their mind and consciousness and it also seems that the goal of these two poets is to reach a dreamy and ideal society that is free from injustice, gender inequality, war and violence, lack of freedom for all and disregard for values.Simin Behbahani and Ghada Al-Samman, in spite of the lack of communication and influence from each other, there is a great similarity between their nihilistic thoughts and dystopia. Both poets believe that injustice is the main foundation of dystopia and the biggest cause of the spread of poverty and classization of society, which leads the general public to despair and the society to ruin and destruction. Behbahani, who experienced the Iran-Iraq war, and Al-Samman, who closely experienced the Lebanese civil wars, have mentioned war and violence as a destructive factor in their poems, which leads to destruction and dystopia. Criticizing the lack of public freedom is one of the common features of Simin's and Ghada's poems. Because both poets believe that when freedom spreads among the general public, it follows the idealization of the society. Both poets with a feeling of despair and hopelessness of an unknown future have started to build an urban anti-utopia, where the limitations and problems of women, such as the lack of access to basic rights, lack of legal protection for women, gender inequality, patriarchy and lack of women's freedom and etc. are considered the most fundamental problems in this undesirable city. Also, in their poems, Simin and Ghada emphasize values such as humanity, kindness, honesty, non-racism, equality and non-arrogance; because both of them believe that ignoring the values and not paying attention to them will turn the society into a dystopia. Since Ghada al-Samman experienced many internal and external wars in his country and touched the limitations and problems of women in the Arab society, his nihilistic thoughts are deeper and more obvious than Simin Behbahani; for this reason, she tends to depict dystopia in layers of her poems. The purpose of both poets is to depict the upside-down utopia and express the ugliness and shortcomings of society, finding a way to eliminate these unpleasant features; In fact, they are trying to reach a dreamy and ideal city by expressing the dark corners of their society. In general, the anti-idealism of Simin and Ghada cities, in addition to revealing the political, social and cultural conditions governing their land, shows a wide range of personality and philosophical thoughts of these two poets.

The sentence is the largest linguistic unit in the structure of the Persian language, which is placed at the head of the word and group. In this article, according to the syntactic part of the role and reference theory, the compound sentences in the first volume of the Shahnameh are examined and it will answer these questions: can it be possible to prove the brevity of the Shahnameh by examining the compound sentences in the Shahnameh? What pattern does the structure of compound sentences follow in the section of focal inconsistency with addition?

This article is done with descriptive-analytical method. In this article, first by calculating the Morgan table, the sample size was determined in the first volume, then the verses were placed separately in the Morgan table and the scope of the research was obtained.

The compound sentences of the Shahnameh have used three patterns in order of frequency: a) follower sentence in the first stanza and base sentence in the second stanza, b) base and follower sentences in the same stanza, c) follower sentences in the second stanza. And the base in the first stanza.

In the first volume, 225 bits contain compound sentences and 20 bits are dedicated to focal inconsistency with addition. In compound sentences where there is no description, there is no place for atnaab, and despite the omission of sentence components, you can see the strong presence of conciseness in these sentences. Due to the use of compound sentences in one verse and the lack of extension of the sentence to the next verse or verses, the linguistic structure of the Shahnameh has structural brevity in the syntax of words, which brevity is the most frequent method of elimination.

"Sharh Tohfat Ol-Iraqin" is the work of Gholam Mohammad Ghowsi, he has tried to explain the important points of Khaghani's poems with scientific-literal examples and definitions of that era, and this is why it is considered one of the best explanations of Persian literature, and certainly one of the Persian writers of the twelfth century. Expressing the delicacy of words, grammar, meanings, and expression will pave the way for researchers and students in describing the difficulties of the verses of "Tohfat Ol-Iraqin Khaqani". Ghousi based this commentary on the verses of "Tohfat Ol-Iraqin" or the "Khatm Ol-Gharaeb" and quoting the works of the predecessors and other written commentaries on this book and great dictionaries such as Farabi and Mir Sadr al-Din and dictionaries such as Resaleye Moayenat, the owner of Sahah, Hodoode Sanjari, etc. have been written. Identifying and correcting these works, in addition to their special literary position in describing and interpreting the difficulties of one of the important works in the field of poetry, mysticism, and Sufism, is also of special importance in explaining the scope of the Persian language in the field of poetry. This research has been done by the method of text analysis of the work and in a deductive way.

Compensation theory, first proposed by Jung to create a counterbalance and mental-balance to eliminate feelings of psychological inferiority, is one of the existing self-defense mechanisms. As posed by this psychological theory, every individual may have backward or forgotten complexes in their subconscious mindset and undergo a certain change and attitude in the evolutionary process of their lives. In other words, the greater the force due to psychological complexes in human, the more his external activities and behaviors and psychological reactions would be. Accordingly, based on the "theory of compensation" and the study of literary work in this respect, a scientific-analytical connection can be established between the psychological complexes and social inferiority of contemporary poets with the function of psychological energy of mythical characters. This study, therefore, is an attempt to show the intensity of psychological performance of literary creators such as Ahmad Shamloo and Emel Denqal in a descriptive-analytical way. Precisely, this is to show their efforts to compensate for many psychological pressures and social complexes based on self-sacrifice and patriotism. As the results of this study revealed, these two poets have utilized the technique of Arabic mask or contentment and the powerful psychological energy of ancient myths so as to compensate and eliminate their psychological complexes in the turbulent society around them and, followed by that, began to create new and dynamic struggling myths. Finally, they have created new myths with dynamism and manifestations of militant and patriotic behavior, and their biological developmental process has promoted human progress and perfection.

The principle of contradiction is one of the most important factors in the development and flourishing of personality in the collective unconscious part of the human mind, which in Jung's school of analytical psychology is the motivator of all behavior and the producer of all mental energy. By making scientific comparisons between mental energy and sustained biological force, Jung establishes a deep connection between the intensity of the mental energy of myths and their conceptual nature, so that their conceptual place in the deep layers of literary and artistic works is well illustrated. In this study, considering the mental energy and inner force of myths, the works of creators such as Forough Farrokhzad and Amal Dunqul are explored based on Jung's principle of contradiction or duality, to determine the extent and intensity of their influence on the paradoxical and symbolic nature of mythical elements and The unified paradoxes of fire and water and their negative/affirmative revelations are studied in the works of Farrokhzad and Donqol in relation with such elements as rain, lake, river, Satan, flood, etc. Considering the discontents of the contemporary world, an analytic/descriptive method has been used in order to show the political thought and idealistic objectives of these two poets which concern the meaningful notions and dual psychological tendencies of sacred and ideal myths such as purity, purging, fertility, fecundity, rebirth, dynamism, immortality, deliverance and illumination.

"Sharh Tohfat Ol-Iraqin" is the work of Gholam Mohammad Ghowsi, he has tried to explain the important points of Khaghani's poems with scientific-literal examples and definitions of that era, and this is why it is considered one of the best explanations of Persian literature, and certainly one of the Persian writers of the twelfth century. Expressing the delicacy of words, grammar, meanings, and expression will pave the way for researchers and students in describing the difficulties of the verses of "Tohfat Ol-Iraqin Khaqani". Ghousi based this commentary on the verses of "Tohfat Ol-Iraqin" or the "Khatm Ol-Gharaeb" and quoting the works of the predecessors and other written commentaries on this book and great dictionaries such as Farabi and Mir Sadr al-Din and dictionaries such as Resaleye Moayenat, the owner of Sahah, Hodoode Sanjari, etc. have been written. Identifying and correcting these works, in addition to their special literary position in describing and interpreting the difficulties of one of the important works in the field of poetry, mysticism, and Sufism, is also of special importance in explaining the scope of the Persian language in the field of poetry. This research has been done by the method of text analysis of the work and in a deductive way.

As an educational technique, allegory is one of the most widely used types of Persian literature symbolism used by Iranian mystical poets to lead human beings towards Transcendent goals. Rumi has also utilized such a method in Masnavi in an artistic manner in order to allegorize a large part of Masnavi. Accordingly, the main structure of this article revolves around two goals: first, to determine the extent to which Rumi has employed allegory in his Masnavi; and second, to determine the method of expressing such a trick to convince his audience. To achieve these two goals, Rumi's poems have been studied in six books of the spiritual Masnavi.Accordingly, we have analyzed Masnavi text in terms of the type of allegories used in it as well as their characteristics, the techniques they have been used in the text. The current research has adopted a descriptive-analytical approach to answer the basic questions: (1) To what extent has Rumi used such methods as punishment, evangelism, and warning? (2) Has he used reminders, reasoning and boasting as educational teachings in Masnavi? And (3) To what extent has he been successful in convincing his audience in these ways?

According to Jung's principle of opposites, opposites are one of the most important factors in the growth and flourishing of personality in the collective unconscious. In addition to causing changes in personality structure, opposites motivate all human behavior and are source of all the psychic energy. According to this psychological principle, a person who suffers from psychological stress, tries to relieve voluntarily his/her stress and move towards perfection. By using analytical-comparative method and with the aim of showing the function of psychic energy in mythological characters, the present article tries to study the degree of impressionability of poets such as Ahmad Shamloo and Amal Abul-Qassem Donqol from myths. The results show that in the face of the misfortunes and failures of the world around them, these two modernist poets have used the technique of mask (persona) and have depicted the mythological characters; in this way, they have masterfully created new myths in their poems under the influence of ancient myths

The contexts and factors that create contemporary fiction in Arabic and Persian literature are close to each other; In particular, in both languages, the story is derived from Western storytelling patterns, meaning that the similarities have led many scholars to believe that the style of writing of one of the two is influenced by the other, although it does not have an effect. Can be denied. (Mirsadeghi, 1376: 180) Short story appeared in the eighties of the nineteenth century in the West and entered these lands simultaneously with the political and social developments of the first half of the contemporary century in Iran and the Arab countries. (Rasouli, 1391: 65) and with the initiative of great intellectuals such as Naeema in Lebanon and Jamalzadeh in Iran, it became one of the most important types of literature in these countries. At this time, Naeema established a new way in the literature of that time by collecting her works entitled "Kan-Makan". He always based his stories on social problems and spoke about the sufferings of the people of his country. He was born in 1889 in Baskenta, Lebanon, to a Christian and Arab family. (Al-Khoury, 1991: 23)He spent 20 years of his life in the United States and is one of the emigrants. Although Qajar Iran was one of the most tense periods in Iranian history; But it had a profound effect on Persian literature. From then on, Iranian writers set out to invent a new style to awaken and make people aware of the current situation, and to lead all classes towards reconciliation with literature by simplifying and avoiding complex and complex prose. Meanwhile, one of the most prominent cultural figures in Iran is Jamalzadeh, who has made great efforts to revive literature. He is one of the great writers and translators who in the literary history of Iran has always been mentioned as the father of short stories in Persian and the initiator of the realist style in literature. In this article, an attempt has been made to make a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

In this article, an analytical-comparative method has been done between the two story series "Kanomakan" and "yekibud yeki nabud" by Jamalzadeh. The content study of this type of literature can be a new approach in the field of social studies. In this method, a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh, was carried out. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

There is no doubt that the Arabs have been familiar with the story for a long time. The existence of the authorities and the stories of Alf Layla and Layla is a proof of that. Ancient Arab fiction did not have a specific style and style in the modern way, and they took its style, thought and subject from the West. In this period, we are witnessing the flourishing of short stories, especially in Lebanon. Most of the writers of short stories in Lebanon, such as Naeema, Gibran Khalil Gibran, Tawfiq, were emigrants, and had studied the literature of other countries. Short story as a form of fiction was formed in Iran by people like Jamalzadeh and continued its evolution along with literary currents; The first collection of short stories to be published in book form; Jamalzadeh's "yeki bud yeki nabud" collection was in 1300 AD.This collection had differences in characterization, narrative methods and language with its previous examples, and Jamalzadeh's ability is more reflected in the short story.He admits that he used the story as a means of preserving proverbs and sentences. (Mir Abedini, 1387:80)The Kanomakan Collection is a book of prose that contains six short stories written by Naeema in Mahjar. The stories of this book are: "Sat Al-Koko, sonateha aljadida, Al-Aqr, Al-zakhira, Saadah Al-Bayk and Shurti" The heroes of his stories in "Kan Makan" series are more than the capitalist class -Writing is at a high level. In the four stories of "Kan Makan", Naeema has used methods for narrating the stories that take them out of the state of monotony and mere definition, and this is one of the positive features of this book. These stories are:"sonateha aljadida, Al-Aqr, Al-Zakhira and Saada Al-Bayk." (See: Al-Sayyid, 1974: 240-242)Jamalzadeh is a contemporary Iranian writer and translator. He is considered the father of Persian short stories and the originator of the style of realism in literature. He published the first collection of Iranian short stories entitled "One was not a Buddhist" in 1300 in Berlin. His story has social and political themes. In addition to revolutionizing Persian prose, he consciously used the technique of European storytelling. He recommends the whole style of simplification to Iranian writers, and perhaps for this reason, the theme of the first story of "Farsi Shekar ast" is about simplification and simplification. Jamalzadeh's collection "yeki bud yeki nabud" is a collection consisting of an introduction, six short stories and a collection of slang Persian words, which was published in 1300. Its six stories are: "Farsi shekar ast, Rajol siasi, Dusti khale kherse,Darde dele Mullah Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah". This book is considered to be the beginning of Persian realist literature and Iranian short stories and the starting point of change in Iranian fiction. "Jamalzadeh is the first Iranian writer to use the European storytelling industry with conscious intent." (Mir Abedini, 1387: 83)In comparing the authors of the two story series "Kanomakan" and "yeki bud yeki nabud", it should be said that both authors can be considered as migrant writers; Naima has experienced both Arab and American environments and Jamalzadeh has experienced both Iranian and American environments. They mapped the culture, literature and contemporary thought of their country. Jamalzadeh's role in contemporary Iranian culture, literature and thought is more of a historical role. Through his efforts, the modern experiences of Iranians gradually took shape. It should be emphasized that although Jamalzadeh pays more attention to "theme" and "subject" than "form" and "structure", but his innovations in the narrative forms before him are also remarkable. It is worth considering. (Moshtaghmehr, 1387:138)The language used by Naeema and Jamalzadeh in their stories is on the border of "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In all her stories, Naima has tried to express the problems, social, religious, and cultural issues of the people in simple language. The language of Jamalzadeh's stories is always eloquent, descriptive, fluent and conversational. In analyzing the titles of the two story series from the point of view of form, it should be said that the main title of Naeimeh series "Kanomakan" and the title of the series "One was and one was not" are Jamalzadeh in sentence form. The formal title "Kanomakan" clearly indicates the narrative type of the work, although it puts the reader in anticipation of an old story. The titles in the collection of Naima "sonateha aljadida, Al-Aqr, Saadat Al-Bayk and Shorty" and the titles "Dusti khale kherse, Darde dele Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah" are among the formal titles that determine the type of story in the collection.In analyzing the two titles from the content point of view, it should be said that the titles of Naimeh and Jamalzadeh are not in conflict with each other; Rather, they affirm each other, both of which, as belonging to tradition, are reminiscent of earlier traditional anecdotes and ancient literature; Especially in Jamalzadeh's collection, where the title "anecdote" at the beginning of all six stories in this collection is reminiscent of the traditional structure of stories and anecdotes of ancient fiction.In the title of these two collections, "Kanomakan" and "One was not Buddhist", there is a lexical contrast (Kan and Makan) and (was and was not), and between the titles of the two collections, there is a lexical inconsistency; In this way, "where and when" and "yeki bud yeki nabud" cause a contradiction of words, and a contradiction in the composition or sentence leads to inconsistency between the cohesive group in the sentence and creates a linguistic joke. (Fotouhi, 1390: 383)One of the tricks that Naimeh and Jamalzadeh use to attract the reader in their collection is ambiguity and suspension, which creates ambiguity in the reader's mind and forces him to read the story to the end. And in the text of the stories of both collections, there are signs of the tendency to die. It brings and this is one of the positive features of these two sets. In terms of commonalities and differences between the two works, it should be noted that both stories are very similar in form and appearance; In a way, both series have six short stories that are arranged in sequence without interrupting or separating the stories. Both writers wrote abroad and are somewhat cultured in Western culture, but their collection of stories mirrors the whole situation and culture of their country and has a completely Eastern spirit. The perspective of both Naimeh and Jamalzadeh is often "I am a narrator" in which the narrator is one of the characters in the story and from his own language (first person inside) or one of the sub-characters (first person outside) Narrates.The collection"yeki bud yeki nabud" has a common feature, and that feature is introducing the hero as a "brigade" and not giving the reader a chance to know him through his actions. (Kamshad, 1384:164) In both Naimeh and Jamalzadeh collections, the hidden and latent concept of dialectics is "was and was not" and the transition from "bud" to "nabud" is a dialectical change that is manifested in the form of contradiction, controversy, conflict and change. The language used by Naeema and Jamalzadeh in their stories is on the border between "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In the difference between the stories of Naeema and Jamalzadeh, it should be said that the dominant element in the titles of Naeema's stories, in addition to slang and oral language and its story and elements, is society, people and social, religious and cultural problems. (Mahdavi Mehr, 1397: 15) While the dominant element in the titles of Jamalzadeh's story is the emphasis on slang and oral language and the story and its elements. (See: Jamalzadeh, 2005:28-13)Naima used the element of religion in her collection and in the story (Al-Aqr) she did not refer to the Holy Spirit and the Holy Mary and religious beliefs, and the use of proverbs and reflections of beliefs is one of the features of her stories. , 1074: 352); Meanwhile, Jamalzadeh's collection is devoid of religious and ideological symbols. The protagonist in Naeema's "Kanomakan" series is more than the affluent class, which is influenced by Russian stories. Meanwhile, the protagonist of the Jamalzadeh series is a "brigade". (Kamshad, 1384: 164) In Naeema's stories, woman has a prominent and colorful role, while in Jamalzadeh's stories, women always play a small role in society, and the reason is the closed society of that time, which caused , To confine the people to the customs and traditions.In the "Kanomakan" collection, Naeema is a little humorous and has almost no place, but there are different types of humor in Jamalzadeh's collection, and perhaps the reason for this is the characteristics of Jamalzadeh's collection that do not have the necessary maturity, and yet the first It is the way of storytelling. The characterization of Naeema is more complex than Jamalzadeh in "Kanomakan" series. Naeema's characterization is such that contradictions become apparent over time. Like what is said in the style of speech in the "Kanomakan" collection, Naeema is more realistic and realism has a higher frequency, and in Jamalzadeh's collection, the element of imagination is more frequent.

The following two sets of results are obtained from analytical-comparative comparison: These two stories are among the first examples of new short stories in Iran and Lebanon, and the authors are both the father of short stories and the giver of a revival of Arabic and Persian prose. In the stories of Naeema and Jamalzadeh, there is no such complex knot that throwing or gradually opening it gives the story ups and downs and guides the reader step by step with the story. The most characteristic features of Naeema's short stories are the abundance of social themes and the expression of pains such as poverty and misery, class distance, and betrayal in the family center. In all his stories, he has tried to reflect the problems of the people, social, religious, religious and cultural issues and to deal with the lives of different sections of society.Attention to simplification, expression of pure truths of the time, use of slang terms and interpretations, presence of contradictions and double confrontations in Jamalzadeh's collection, make the story comprehensible to the public and bring it to the traditional structure of fairy tales. Ancient resembles. Jamalzadeh's stories are more like memoirs (and in the story: "Dusti Khaleh Kherseh, Bile Dig and Beleg chondar" to the travelogue). Jamalzadeh has paid attention to the element of politics in the story and it can be seen in the story of "Al rajol siasi".By choosing the concise titles "Kanomakan" and "yeki bud yeki nabud", Naeema and Jamalzadeh paid attention to the musical components and consciously used the European storytelling technique. The titles of Jamalzadeh collection, from the point of view of form, have more variety and dynamism than Naimeh collection, and it has different types of titles such as phrase, combination, and phrase. In terms of content, the dominant element in the titles of Jamalzadeh's stories is the emphasis on language, story and its elements, while the dominant element in Naima's story is, in addition, the content, society, people and religion. Jamalzadeh is more important than "structure" and "form" for "subject" and "theme", but his innovations in narrative forms are also noteworthy.The protagonists of Naima's stories in the "Kan Makan" series are more than the affluent class, and most of the stories in this book are at a high level in terms of observing the principles of storytelling. Jamalzadeh admits that he was in one and he was not in one, that he has used the format of the story as a means to preserve the proverbs, rulings and culture of populism.

The present study examines the effects of the woman portrayed in Sehreman which was got of the novel called, I will Turn Off the Lights by Zooya pirzad, He Learnt From Satan and Burnt by Farkhondeh Aghaei and My Bird by Fariba Vafimi. The impact of Sehreman on contemporary female literature was the cause is to choose it. All of these three novels represent the Iranian female gender identity. The reflection of female gender is a reflection of the spectrum of threats that the women tolerate as the second sex and the female literature ties to to show the female expectations of society. Important implications of this study are: linguistics, personality-based bias, gender representation, self-esteem, and gender representation from the authors' point of view. The results show that the reflection of female personality in selected works is a reflection of gender limitations in society. Sehreman shows the selected female cultural conflicts in society and it also proves that women writers are reluctant to express their sexual interests  in their novels.

Poetry is one of the seven arts and critics have always attended to its aesthetic features. The greatest modern scientific achievement of literature has been the discovery of the therapeutic quality of poetry. Poetry therapy as a new treatment for patients suffering from depression began in the US where it produced positive results. In this article, the authors investigate poetry in a different way. Statistical Society is composed of 30 adult people who attended 8 sessions of poetry therapy. Also, poems are selected from the ones with controversial themes. According to depression pretests and post-tests, the following results were suggested:1. Depressed men and women have an impressive behavior towards poetry.
2. Poems with controversial themes can decrease the tensions.
3 Men are more prone to be affected by poetry therapy than women.
4. Poetry is effective in increasing men and women's optimism.
Seemingly, further research about the style and the way of reading Persian poetry and introducing this proposed type of therapy to the world will help to institutionalize poetry therapy in health and medical centers in the country.

Discovering oil in 1908 and establishing first oil well of the Middle East in the homeland of Bakhtiaries, Masjed Soleyman, have influenced that area and paved the ground for the British colonial presence in this area. Although native Bakhtiari wanderers early worked as the work forces in the oil facilities, they soon understand intelligently that they were seized for the colonialist's goals. The sense of oil ownership of their homeland, patriotism, and their disloyalty to the Pahlavie's government strengthen their distrust to the imperialists.
This paper has considered anti-colonialism aspects in dialectical poem of Masjed Soleyman Resurrection, the most popular poem between Bakhtiaries, with sociological viewpoint.
The result of this paper is as follows: Speech of the presence of colonialism and using oil of their ancestral land. Speech of the injustice of employers in deal with natives. Declaration of the lost generation. Declaration of the Pahlavi government.

Poetry is seven arts and critics always notice position aesthetics. Man in current age both request's visual interest and mental pleasure of art both expects scientific approach of that. In the field of poetry, therapy, is greatest scientific achievements of literature in the new era. Poetry therapy begin as new treatment for depressed patients in America, and find benefit results. Statistical society is 30 person of adult's that joined in 8 session selection of poems fare mindfully contents challenge. After doing pretest and posttest determine that:1- depress men and women express effective behavior than poem. 2- Poem with themes challenge can détente out of depress individuals. 3- Men than women express better reaction than therapy with poem. 4- Poem avgmentsoptimism of men and women. It seems that more research about content of Persian poem that ability to therapy, introduction this therapy and proposed species in world and that institutionalize in health care centers of country.

With regard to the history of oil industry in Iran and the expansion of industry in the areas of the south and southwest (in provinces of Bushehr, Fars and Khuzestan), Were faced, willingly or unwillingly, with industrial confrontation of east and west cultures in the areas of culture, language, beliefs etc. The presence of oil explorers in the southern regions, had a huge impact on cultural and linguistic features of the people in these areas. The authors of these areas were to promote environmental literature. These writers were the natives or workers in the oil company. In this paper some structures of short stories influenced by oil company, were reviewed between 1320-1350 (AH). Results showed anger, hate, nihilism atmosphere, hope, happyness, immigration, poverty and lack of job security were dominant features.

As industrygrowth has made many effects on urbanization of industrial societies and modernization it can bring changes in culture and art of these societies. One of the most important industries in our country is oil industry since it was the inception of economic and political focus. This industry growth in the south has made a great impact on life style of the people living in the south of the country.The purpose of this paper based on the works of three writers from the south of the country will examine the sociological style approach used by them. This study has shown that, SadeghChubak and EbrahimGolestan who worked for oil ministry have been less affected by their job in oil industry than Ahmad Mahmood. It may be due to the fact that Ahmad Mahmood has been living in south, while the other two writers have not been living there. Another reason for the attention of Golestan and Chubak was the kind of technique and style that they used to tell their stories; however, Ahmad Mahmud as a realistic writer has more reflected the real life of people in the south.

Political, economic and social developments in a society have always great impacts on its literature. In our country, since the inception of the oil industry, it has been the focus of economic, political and social agendas. This industry has grown dramatically in the south and has affected the life styles of the people of south. In this paper, we reviewed the repercussion of the oil industry in the novels “Tuba and The Meaning of The Night” by Shahrnush Parsipour ,” Drowning Experts” by Moniru Ravanipour and ”I Will Turn Off The Lights” by Zoya Pirzad. Positive repercussions of the oil industry were including familiarity with the world literature, cinema, learning English language and etc. The negatives were including westernization, humiliating native population, disruption of the traditions and etc.

The contemporary Iranian society is an in-transformation society. The signi ficant features of the transmutting period are disorganization of society general conditions, behavioral and thought chaos. Political, cultural, social and economical structures, as parts of a society, are evolving from traditional authority to rational sovereignty. Meanwhile, status of Iranian woman had undergone some quantitative changes whether by force or by obliging, but regarding the political development, in contrast to women status in western world, Iranian women political situation has not sustain an appropriate place. The reason of being in such cast away of women from political developments is rooted in old cultural, social and political believes and structures of the previous centuries. In this research, we reviewed the role of women in political streams and revolutions from 7th century to Pahlavi dynasty cease based on the historical documents.