علی اکبر سام خانیانی

With the emergence of Islam, religious architecture gained significant importance, and the mosque became the successor to previous places of worship (Zomarshidi, 1995, p. 9). This shift has played a crucial role in the significance of congregational mosques, making them stand out even more than other mosques in terms of decorative inscriptions (Sedaghat, 2008, pp. 19-18). These inscriptions reflect the architectural transformations of mosques as well as document significant cultural, economic, social, and political events throughout various eras, providing valuable information. This article discusses and recognizes the architecture and inscriptions of the Congregational Mosque of Qaen, which is one of the important mosques from the Timurid period in South Khorasan Province. A review of previous research reveals that there has been no comprehensive study focused on the architecture, inscriptions, decorations, and formation of the Congregational Mosque of Qaen. Therefore, considering the importance of this building, conducting more thorough and complete research on it will not only clarify its characteristics but also enhance our understanding of the culture and architecture of Khorasan. The main questions of this research are:What time period is covered by the inscriptions used in the Congregational Mosque of Qaen?
What subjects are encompassed in the content of these inscriptions?
 

Architecture of the Congregational Mosque of Qaen:

The Congregational Mosque is a two-iwan rectangular structure. The entrance iwan is located on the eastern side. Beyond the entrance iwan is the courtyard, where, on the opposite side of the entrance, another iwan and a prayer hall (shabestan) can be seen. On both the northern and southern sides, there are small iwans with a depth of two meters flanking the entrance iwan on the east side of the building. In part of the courtyard, there is a sundial as well as a water reservoir (payabi). The main iwan of the mosque, situated on the southwest front of the building, is a masterpiece of architecture, with two prayer halls constructed on either side. The decorations used in this iwan include brickwork on the main facade, featuring both horizontal and vertical patterns with geometric designs, while the surfaces below the ceiling of the iwan are adorned with geometric and arabesque patterns, as well as muqarnas. A total of 15 inscriptions have been identified in this mosque, the oldest of which, dating back to 796 AH, is located inside the main iwan and contains an Arabic text stating that the order to construct the mosque was given by Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the year 796. The inscription reads:“This construction has been undertaken as a charity for the sake of God by the humble servant of God, Nizam al-Haqq wa al-Din Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the months of the year 796.”
Inscriptions number 2, dating to 921 AH, concerns the collection of taxes from the people. Inscription number 3 is dated 1046 AH and pertains to a trust of water from a qanat for the mosque. Inscription number 4, also from the year 1046 AH, discusses tax exemptions for certain segments of the population. Inscription number 5 relates to repairs made to the mosque during the reign of Shah Suleiman Safavi in 1098 AH by Haji Muhammad Hossein. Inscription number 6 pertains to the construction of a wooden pulpit for the mosque, dating to 1082 AH. The subsequent inscriptions are from the Qajar period, starting from 1246 AH and continuing to the most recent one, which dates to 1993. These inscriptions, written with ink and color on plaster and mostly found beneath the iwan, include the names of the master builder, the painter, and the scribe, as well as prayers and poems commemorating the significance and grandeur of the mosque. The last inscription (number 15) is related to a tombstone that is placed on the outer wall next to the entrance iwan on the western side of the mosque.
 

Construction Inscriptions: The inscription labeled Number 1, which indicates the construction of the building, and inscription Number 6 (the pulpit) are classified as construction inscriptions. These two inscriptions are historically significant because they specify not only the date of construction but also the names of the founder, builder, and artist.
Endowment Inscriptions: An examination of the endowment inscriptions reveals the religious thoughts of the people. Inscription Number 3 states that land should be cultivated, and its proceeds are to be endowed to the mosque. At the end of the inscription, prayers are offered for the king and the owners, along with a curse on anyone who alters the endowment.
Governmental Inscriptions: Another category of common themes in the inscriptions includes government orders and decrees that were installed in buildings for public awareness. Inscriptions Number 2 and 4 fall under this category. Inscription Number 2 also features Persian words alongside verses from the Quran. Perhaps the inclusion of a Quranic verse served to bless and confer respect upon that inscription, thus preventing its destruction.
Restoration Inscriptions: The oldest of these inscriptions is Number 5, which begins with a portion of verse 18 from Surah At-Tawbah. Inscription Number 7 was written during the restoration of the building by Karbala’i Ishaq Qayeni. Inscription Number 8 is also related to the restoration, placed within a floral frame with two other inscriptions on either side, containing poetry written by Gholamreza Zaker about the majesty of the mosque’s arch. Inscription Number 9 concerns the restoration of the building and contains verses praising the greatness of the mosque. Inscription Number 14 is the most recent restoration inscription in the mosque.
Prayer Inscriptions: In addition to the use of Quranic verses in the inscriptions, there is a group that contains written prayers. Inscriptions Number 11, 12, and 13 are part of the prayer inscriptions, created during the Qajar period and featuring red and black ink on plaster.
Narrative Inscriptions: In the Congregational Mosque of Qaen, inscriptions Number 7 to 10 belong to this category. Inscription Number 7 contains a stanza from a poem in Saadi’s Gulistan. Inscription Number 10 features a poetic line emphasizing the importance of prayer. Inscription Number 8 is a stanza describing the grandeur of the mosque's iwan, spiritually comparing it to Al-Aqsa Mosque. Inscription Number 9 describes the vastness of the mosque's iwan using the literary device of exaggeration. The tombstone inscription Number 15, located at the entrance iwan on the western side of the mosque, includes verses related to the Day of Resurrection, though much of the text has become illegible due to weathering.

The inscriptions of the Qaen Mosque can be divided into two groups based on their temporal context: the first group pertains to the Timurid and Safavid periods, consisting entirely of stone inscriptions related to the construction of the building, government orders, endowments, religious objectives, and restorations of the mosque. The second group is later and primarily associated with the Qajar period, focusing on the restoration of the building and encompassing the area beneath the southern dome chamber.
The studied inscriptions, alongside governmental and restoration texts, include Quranic verses, prayers, names of God, the Prophet, Imams, as well as the names of craftsmen such as the architect, stonecutter, painter, and endower. Understanding these inscriptions is particularly important for identifying the art and local artists throughout various historical periods. The inscriptions from the Safavid period hold significant value, not only for their aesthetic aspects but also as indicators of the political, social, economic, cultural, and religious conditions of that era.

Reading and understanding classical literary texts poses a challenge for many modern readers. Rewriting, considered a form of intralingual translation, serves as a method to convey the concepts of these texts to contemporary audiences. This research aims to extract and analyze the uses of the word shādmānegi (joy) in Kalilah va Demnah through descriptive methods and semantic componential analysis, express the importance of these semantic components in understanding the message of the text, and critically evaluate the intralingual translations of this word in contemporary rewritings of Kalilah va Demnah. The study examines rewritings by several authors, including: Khadijeh Vahdāni (2012), Qodsieh Mohammadi (2012), Hamid Mirzā Rezā’i (2014), Rāhel ʿĀbedi (2017), Heliā Abolhasani (2018), Hasti Farrokh (2019), and Fāezeh Hababi (2023). The common feature of these rewritings is that they present Kalilah va Demnah in its entirety for an adult readership. This research seeks to answer the following questions: (1) What are the semantic components of the Persian word shādmānegi as employed in Kalilah va Demnah?, (2) How do the semantic nuances of shādmānegi differ from those of its near-synonyms, such as shād, within the context of the text?, and (3) To what extent do the semantic components of the equivalents used in contemporary rewritings of Kalilah va Demnah align with or diverge from the original Persian word shādmānegi? This descriptive-analytical study proceeds in two main steps: In the first step, it identifies the contexts in which the word shādmānegi is used in Kalilah va Demnah and analyzes the semantic components of the word. In the second step, the equivalents of shādmānegi which are used in contemporary rewritings are identified, and their meanings are determined using contemporary dictionaries. Then the usage of these equivalents are reviewed in the rewritings. To comprehend the semantic components of words like shādmānegi and shādmāni, it is crucial to examine them within their textual context and collocational chains. In Kalilah va Demnah, shādmānegi and shādmāni appear 5 and 7 times respectively. First, it is necessary to consider the meaning and usage of shādmānegi and shādmān in Kalilah va Demnah and contemporaneous texts. An illustrative example comes from the tale The Hare Who Tricked the Lion to His Death: “The hare returned safely. The beasts inquired about the lion’s condition. The hare replied, 'I caused him to be engulfed in such a way that he was devoured by the earth like Qārun’s treasure.' All mounted the steed of shādmānegi and roamed freely in the secure and comfortable meadow.” This passage concludes the aforementioned tale. In this story, the lion had become a menace to all forest animals, making their lives miserable. The hare, through cunning, lured the lion into a well, leading to his death. When the hare announces the lion's demise to the other animals, "all mounted the steed of shādmānegi and roamed freely in the secure and comfortable meadow.” This context provides insight into the usage and connotations of shādmānegi within the text, setting the stage for further analysis and comparison with contemporary rewritings. Based on this example and others analyzed, shādmānegi is consistently portrayed as a reward for achievement and victory, often manifesting when a group triumphs over an adversary. Etymologically, shādmānegi comprises two root words: shād (happy) and mān (think). Thus, shādmānegi and shādmāni refer to an emotion associated with a highly pleasant event for an individual or group. This emotion is characterized by happiness experienced each time the event is thought about or remembered. A comparison of the semantic components of shādmānegi with its equivalents in various translations reveals that these equivalents are not absolute synonyms. Shādmānegi carries specific semantic information such as: [+permanence], [+associated with a memorable event], and [renewable with each recollection]. In contrast, the equivalents used in translations (khosh, khoshhāl, shād, mashʿuf) are more neutral and can be considered unmarked words according to contemporary dictionary definitions. These unmarked words have a wider distribution and more neutral usage compared to shādmānegi. The findings indicate that shādmānegi is characterized by: [+durability], [dependence on a memorable event], and [+renewable upon recollection]. However, its equivalents in the rewritten texts are neutral to these components. This discrepancy in semantic components between the original word and its intralingual translations appears to be a significant obstacle in conveying the original text's message in the rewritings of Kalilah va Demnah. The intralingual translation of such vocabulary with specific semantic components presents a challenge in accurately preserving the nuances of the original text.

One of the important topics in novel criticism is the analysis of the character type of the hero and the people in the story. Sometimes the character of the hero and the characters of the story undergo a transformation. If this transformation has an evolutionary course, it is called character metamorphosis, in which the hero or characters become superior type. In this descriptive-analytical research, the metamorphosis of the hero type and the main characters of the novel Hasti by Farhad Hassanzadeh has been analyzed from the perspective of the Enneagram. The findings of this research show that Hasti suspends the stereotyped norms of her gender and overcomes the problems in an all-round challenge with the help of her mother, aunt and uncle. After completing the metamorphosis stage, she becomes the hero and savior of her family and community. By analyzing the personality elements of Hasti and matching it with the Enneagram theory, "hasti" is a girl with type 4 characteristics who goes to wing 3 after the events of the story. Hasti's mother, aunt and uncle have the personality type 2 and they maintain their personality type from the beginning to the end of the story . Hasti's father is an unhealthy type 1 person who is calmly transforming into a happy type 7

Analysis of Saʾdi's Philosophical Parresia and Anti-Authoritarian Discourse in the First Chapter of Saʾdi's BustânDiscourse analysis is a common subject between linguistics and different branches of humanities and social sciences and tries to show the coherence of form and meaning in a text or communication field. Literary texts are one of the most important discourse texts. Discourse analysis in literary works is of significance not only in more accurate knowing of works but also in anthropology, Understanding of communication structures and cogitative foundations of a society. The "anti-authoritarian" discourse, which is an appendage of the term "tyranny" can be found in Persian literary and historical texts with different characteristics, components and titles. The analysis of anti-authoritarian discourse examines the demonstrations of this critical discourse in a semiotic field and an interdisciplinary study. The present study tries to prove the systematic unity of the components of the first chapter of Bustân in Saadi's anti-authoritarian discourse by describing, explaining, interpreting verbal behavior, linguistic usage, rhetorical dimensions, formulation of concepts and components. In the current research, the theories of Foucault and the methods of Norman Fairclough and Theo Van Dyck are used in discourse analysis.

The characters are the most important elements of a story for understanding the romantic fiction. Different narratives of a story may represent different images and explanations for its characters and impact on narrator’s diverse ways of thinking; it also helps to understand the reason of different feedbacks to each narrative. The enneagram as an important knowledge seeking its root in the combination of oriental mystic with modern psychology tries to describe complex relations of human kind. Nowadays enneagram is being used in education systems, social and sport managements and parents training in order to re-understand the concerning personality types of characters. This comparative analytical article based on library data and primarily tries to introduce enneagram model. After sufficient discussing and comparing and analyzing the data we show that the character of Shirin in Amir Khosro Dehlavi’s “Shirin & Khosro” story accordance with type six based on enneagram model. The article concludes that the character of Shirin is charming, skeptical and also loyal and generally corresponds to the sixth Type of the nine enneagram types.

Abstract
Persian poetry is one of the most important tools for making people aware of their destiny and encouraging them to be resistant, especially to domestic tyranny and foreign colonialism. The impact of poetry on the world of young adults, who are in the critical period of growth and maturity, is undeniable. One of the types of literature that plays a significant role in shaping the character and identity of young adults is poetry. Apart form  the description of the war and the themes and components related to it such national unity to face the enemy, sacrifice, awareness, resistance, bravery of the warriors and praise for martyrs, Iranian young adults’ resistance poetry describes post-war issues and themes such as waiting for the return of prisoners, the patient life of veterans and captives and their families, and especially pacifism. Using a descriptive-analytical method, this article deals with the content, aesthetic, and linguistic analysis of “Mesle Zohr-e Ashura” (“Like the Afternoon of Ashura”), a collection of poems by Hamid Honarjo. The results of this research show that since this collection is related to the post-war period, the poet expresses themes such as martyrs and martyrdom, the bombing of cities and the martyrdom of mothers and children, as well as remembering martyrs, fighters and veterans. In the aesthetic part, this kind of poetry has taken steps to describe features of resistance in young adults’ poetry using literary devices and innovation, often with tangible and sensual imagery. In the linguistic analysis, words and compounds are examined, which shows compounds are used more than words, because it is much easier for teenagers to convey their intended meaning in one sentence.

One of the modernist schools of contemporary Persian poetry is espacementalism, which was introduced to the literary community by Yadollah Royaei and a collection of his like-minded teammate in the 1960s/IR1340s.This school, also known as Hajm Poetry in Persian,, theorizes "spatial thinking" and recourse to the terms such as : movement in space, flight in length, width and altitude, dimensioning, different view and vision, mental horizon, achieving transcendental attitude, discovery, mental action, mental event, reaching beyond the phenomenon and etc. These terms are in fact due to the central role of the philosophical view of phenomenology in its foundation. The term “spatial action” (Espacement)« is also taken from the topics of Thing and Space, the 7th volume of the lectures of the German philosopher Edmund Husserl. Phenomenology has created a new wave in various fields of sciences, cultures, literature and arts and also has affected on western and Iranian elite. In espacementalism, as in phenomenology, the poet's philosophical transcendental "I"(Ego) proves its existence by doubting and suspending the definitions and rules of semantics, syntax, signification, accompaniment and substitution. ; Then with intentional and mental action, it creates new and unprecedented relations between elements and concepts and redefines the phenomena, structures, meanings and creates new forms. This analytical-comparative study, by analysis the views, theories and poetics of Yadollah Royaei, tries to explain the dimensions of Husserl's phenomenology influence on espacementalism.

Arabkhaneh, a rural destrict of Nehbandan and located in South Khorasan, is among the first residence of the Arabs immigrated to Iran. Due to the distance from its actual source and adjacency with Iranian culture, the language of this region is considerably influenced by Farsi. This impact takes place on four levels: syntactic, phoneme, phonetic and semantic, with the most impact on phoneme (structure). In this article, the authors compare the structure of interrogative sentences in standard Farsi with standard Arabic. The field data has been gathered from Khosroabad Arabkhaneh village and then analyzed and compared using typology approaches and frameworks. The results showed resemblance in the order of the elements of an interrogative sentences and words and relocation of them. Nonetheless, since the interrogative sentences in Farsi, Arabkhaneh dialect  and standard Arabic have some resemblance, it could not be hypothesized that the number of interrogatives in Arabkhaneh dialect has been influenced by Farsi.

Cultivating philosophical thinking in children and teaching intellectual programs, because it expands the child's mental and spiritual dimensions is one of the basic programs of teaching children. The teaching of philosophical skills is also seen in the poetry of some children and adolescent poets. This study examines the children's poetry of Gholamreza Baktash and Nasser Keshavarz in order to answer the question of what skills and components of philosophical thought have been taught to children in the children's poetry of these two poets. This research is done in a descriptive-analytical way and based on library information The most prominent philosophical thinking skills taught to children at the heart of these poems are reasoning, questioning, curiosity and exploration, discovery, analogy, and communication, problem solving, analysis, and decision making.

The purpose of this article is to examine the mythological motifs in a local Sistani legend called Nahang Boor va Shahzādeh (the story of the Blond Whale and the Prince). The story has rich mythological themes and Scythian, Greek, Chinese and Indian mythical representations can be found in it. By using descriptive-analytical method, the present study investigates the mythological themes, such as drinking blood, killing dragon, Aphrodite, the number three, crossing water with a horse, passing from fire, the desire for immortality, victory over death in the story. The richness of the mythological themes in the story suggests the need to pay more attention to the native culture and folk tales of Sistan.

One of the grounds of changing contemporary literature in Iran is translation or interpretation of foreign literary works which studying that can express the necessities, the creativities and the harms of this category well. Sometimes Contemporary poets have conformed or idiomatically domesticated the component parts of original context to literary and cultural requirements of Persian speaking community by displacing, increasing and decreasing them. The present article is based on expressing  domestication methods in moving from "extra - system" (original context) to "system" (target context) and understanding  the poets success or unsuccess in translating foreign literary works to Persian poem according to Yuri Lotman's theory and here we just study poetic translations of an fable  entitled "The Fox and the Crow"  by Lafontaine as example.

This research has been performed by a descriptive method and content analysis & the relationship quality among the culture elements with the context and extra – context background of the original work compared to its translations has been expressed by Lotman's semiotic theory of culture. It has been tried to show the creativities and deficiencies of the new texts against the original text while referring to different methods and ways of domestication and brief comparison of contemporary poets translations from "The Crow and the Fox" story by Lafontaine.

Nasim Shomal, Iraj Mirza, Nayyere Saeidi and Habib Yaghmayi have versified "The Crow and Fox" story chronologically. These versifiers mainly aim to put unfamiliar culture elements in native culture forms according to the present times aesthetics culture. Iranian culture system hasn't accepted the entered content from extra – system in the same existing form and has made it similar to fixed norms of its memory and since literal type of the source text is didactic and adjustable with those norms has organized system and traditional poem form because traditional form is an element that has been located in the center of semiospher of Iran's literal culture and any disagreement with that has been considered a riot. The reality of focusing on the type of expression is the result of a one – to – one correlation between the level of expression and content and the effect of expression on content (Lotman & Ospenski, 1390: 52).
Decreasing, increasing, changing & moving that these poets have performed, show socio cultural features of that age and any way in most cases in order to guarantee the necessary consistency, are directly associated with the orientation to the past; for example, Iraj Mirza has changed a western story in to the form of classic Persian poems by choosing traditional measure and form, using ancient words and grammar and direct conclusion at the end of poetry. This approach can be considered one of the harms of domestication; because translation that is a means to introduce new ideas and methods will become a tool for maintaining traditional taste. Certainly in these versified translations, didactic &critical aspect has been dominated the satire aspect of the original work. Iraj Mirza has made the text critical by changing the symbol (salamander instead of phoenix) and Nasim Shomal has changed not only the tone & style of a foreign work, but also its direction and aim and has created a text with his own intended critical purpose by decreasing and increasing the elements, lexical reviews and speeding up the language. Nasim Shomal poem it at the service of society not ethics and it can be said that the intended meanings of the original author have been dominated by the author's ideas and beliefs and the target language words. In Nayyere Saeidi's poem  Intertextuality & musical and Gnostic terms and word selection related to Iran's culture sign system have made the text strong but insisting on bringing same synonyms in the manner of some ancient Persian works has added redundancies to his poem. We can also observe encountering two different cultures in La Fontaine and Nayyere Saeidi's treatment with fox trickery and flattery. Each of them considers himself far from this forbidden phenomenon by a different method; La Fontaine does that by mock in and scorning and Iranian poet by adding adjectives that can be interpreted ethically and permit a connection with the focus of Iranian traditions.
Habib Yaghmayi has selected fluent words in his translation and cared about the intimacy of poem language and word flexibility phonetically. Although Yaghmayi tries to define every innovation in terms of traditional Persian literature, language naturalness along with the application of old word makes his poem like a city in which old buildings are next to new buildings These applications are an effort for transferring language from "diachronic" limitation to "synchronic" range; also the existence of movement and cinematic pictures have shown his work newer and more modern. In Yaghmayi's method, the present traditional relationship between expression and content that can be seen in other translations of the story, is not known as the only possible relationship; although this works expression affects content more than other translations. The expression type is not naturalized except in some rare examples and utilizes dramatic art. This method of extra – system has been absorbed and the poet invalidates the last translations of this story by a new movement with creativity so that Habib Yaghmayi's poem is replaced by Iraj Mirza work in textbooks. Reticence and word choice or selectivity in words has also been from old & bright favorite traditions of Iranian and is located in the center of semiospher & the texts which have had this feature like Yaghmayi translation, have had the most life & longevity in Iranian culture. This work is the only translation which has become strong in dispute with other systems and domestication in interaction with creative methods of imagery has resulted in its richness; since besides employing the elements of culture which are located in the center of semiospher, hasn’t paid any attention to the marginal elements of the culture which are being forgotten. His way of expression is a combination of modernity & tradition. Yaghmayi has used Nezami's poem that itself is very organized and its mixture with the original text has created a more valuable text. To compare the ways of addressing "The Crow and the Fox" story by the translators shows gradual development of domestication & poets interaction in moving from extra – system to system.

The results of the study show that the poets have conformed the texts with literal traditions and Islamic – Iranian culture symbols in this process and this domestication has been performed in three systems including lingual, literal and mental in images, thoughts, expression methods and language processes. Decreasing, increasing, changing and moving that these poets have performed, express social and cultural features of its own age. Adding measure& rhyme has been performed for preserving the spirit of Persian classical poetry and its traditional form and didactic and critical aspect has been dominated the satire aspect of the original work. In versified translation of Habib Yaghmayi, the movement and Cinematic pictures and language simplicity and intimacy have shown the work newer and more modern. This work is the only translation that has become strong in dispute with other systems and domestication in interaction with creative methods of imagery has resulted in its richness Yaghmayi poetry has more validity & stability in the memory of the culture of Iranian society; since besides employing the elements of culture which are located in the center of semiospher, has paid no attention to marginal elements of culture which are being  forgotten. His expression style is a combination of modernity & tradition. His imajic &dramatic expression has been observed from extra – system & has combined traditional values located in the center of culture system with that. Also analyzing domestication techniques & aesthetics elements in this research show that the poetries have become more complete in order of composition time & Habib Yaghmayi translation is the result of the perfection of poetry language towards more brevity. It seems that at the rest of this research direction, we can also address analyzing domestication in the story works obtained from translation.

In the decades twenties and thirties, the literary discourse committed to the left wing spread to a large extent through the Iranian literary community. Similarly, Ahmad Shamloo’s poetry was greatly influenced by this discourse. This study was an attempt to investigate some of Shamloo’s noticeable poems from an intertextual and sociological perspectives for their ideological quality. Next, from an intratextual perspective and based on the formalist principles, his poems were studied for their artistic and literary quality. The study had a descriptive and content analysis research design. The intertextual analysis showed that Shamloo’s poetry was totally committed to the left wing describing the political events of the time. It was found that the left ideas were the main reasons why he wrote his poems. Accordingly, he has explicitly or symbolically reflected the left discourse in his poetry to gain the attention of his readers. As for the Intratextual analysis, the results showed that he has put the main emphasis on the audience and subject using a referential and persuasive discourse. He has also focused on concrete narrative and realistic aspects at the expense of the literary one

Tahereh Saffarzadeh is one of the Islamist figures in contemporary Persian poetry. The investigation and analysis of dimensions of Islamism in Saffarzaddeh is helpful not only to recognize her status in committed poetry and literature of the Islamic revolution of Iran, but also in recognition of contemporary Persian poetry. Islamism, in fact, is a return to religious sources, idealism (ideological) and newly-thinking intellectual colonization and Imperialism, 6. justice and unity with the oppressed nations of the world.

Identical phenomena appear differently to different people, and this is according to the difference in phenomenological attitudes each person adopts to look through the same thing. Phenomenologists believe that the things identified do not reveal anything by themselves, but these are the humans who can understand things by looking through them and entering the soul of the world. Kant also said that we do not understand things as what they really are, but as what they appear to us. Our relationship with the world is not with the world as it really is, but with the world which is appeared to us. The author of Kashf al-Asrār who has a religious and a mystical approach towards the phenomena in Quran Verses, has been unconsciously influenced by the accepted worldviews (Weltanschauung) in each one of these two domain of thought, and in fact, by accepting the perspective of these religious or mystical approaches, the verses and the phenomena reflected in them are analyzed and interpreted according to these viewpoints. An example of these dual approaches is clearly visible in author’s attitude towards “God”. Therefore, this article aims at analyzing the author’s dual approach towards God, and the world views compatible with each domain of thought (religious and mystical) regarding this phenomenon in this work, by reviewing Maybudi’s discursive formations in the religious and mystical accounts in Kashf al-Asrār. A descriptive-analytical approach has been adopted in this research, and the results show that “Maybudi” applies different discursive formations in order to represent the things to be identified in accordance with the context of each discourse.

Phenomenology is a special aspect of manifestation of knowledge and consciousness in a text which was established by Edmund Husserl (1859- 1938). According to Husserl, no normalized recognition and definition is considered valid unless it is acquired by Ego through experience, sensory perception and intuition. Based on Husserl’s views in order to acquire a pure knowledge, it is necessary for an individual to impose philosophical doubt upon definitions and presuppositions to and activate his/her Ego to manifest phenomena and concepts in original forms for him/herself. Therefore, phenomenological approach is very important in critical thinking in children’s literature. This article through the content analysis of Hooshang Moradi Kermani’s Majid Stories and also the analysis of the behavior and thoughts of the characters, especially Majid, has applied Husserlian views.

One important aspect of The Little Prince by Antoine de Saint-Exupery 1900 -1944) is a phenomenological approach on the story that needs to be analyzed for a clear understanding of the text. According to many searches in valid English and Persian data bases it seems that this aspect of The Little Prince hasn’t been of interest to domestic and foreign researchers. This descriptive- analytical study demonstrates that the personality of the little prince is indeed the philosophical inner child of the author (the narrator) which at first proves himself through a philosophical action. Analysis of the behavior، speech، mind and characteristic of the little prince and other positive characters of the story and also the portrayal of the little prince proves that this story has been written under the influence of phenomenological theory. Emphasize on the natural power of child recognition، disregarding the appearance of every concept and emphasizing of the little prince on its origin، non-compliance of the images of hat and box with their true signified، criticizing consciousness and diverting the reader’s attention to genuine recognition of phenomena and values and social norms are all some evidence-based signs of phenomenological approach in The Little Prince. Also some concepts such as domestication action، symbolic places like the planets and stars، Africa، natural forest، desert and oasis and so on can be analyzed in terms of phenomenological theory.

Mathnavi Ma’navi of Jalal ad-Din Mohammad Mawlavi (Rumi) (604-672A. Hj.) contains particular epistemology which is a key element in understanding the poet’s thoughts and works. The components of this epistemology are sometimes expressed transparently and sometimes they can be understood or inferred from the poetics، considerations، and the conclusion of the speeches and stories. This descriptive-analytic research، based on the inductive study of the text and comparing Mawlavi and Husserl’s ideas، shows that the major components and requirements of epistemology of Mawlavi in Mathnavi are consistent with the theoretical and practical requirements of Husserl''s phenomenological approach. It means that these views have been opened to Mawlavi’s epistemology from long time ago. These components are: transcendental attitude and belief in meditative Ego، suspension of presupposition in the cognitive activity (Epoch)، rejection of traditional and imitative knowledge، overemphasis on direct perception، intuition and personal experiences، multi-dimensionality of phenomena and giving a new definition to everything and paraphrasing. The analysis indicates that the ideas such as deletion of Hejab (cover or veil)، killing of Nafs (the sensual ego) and mystical isolation actually match the phenomenological approach because of referring to objects; deletion of the margins of cognitive activity and achieving intuitional perception.

Myth has close relations with literature and mythical concepts and foundations have been always present and have had different forms in poems، stories and narratives and so on. Young and Fry ideas on unconsciousness and myth have helped critics to make a new approach to mythically readout texts. In this essay it is tried to offer a new reading based on the Ancient Archetypes and Symbols in Young ideas and its combination with those of Northrop Fry on the nature mitoses forming a literary work، in context of verse story of “Keykavous Attack in Mazandaran” in Ferdowsi’s Shahname; therefore the mythical symbols of this story are reviewed and its concepts are expressed using different proofs، then the role of these symbols is determined in sequence of different sections of story in relation with the Fry’s mitoses

The technical prose of Nafathat al-Masdoor was written by Shahab-Eddin Mohammad Khorandezi Zidari Nasavi in the first half of the 7th century on the Islamic lunar calendar. The main theme of the book is an autobiography of the writer during the period of the Mongols attacks; in addition, the book includes valuable historical information. The dual purpose of the writer, who wrote the book for both history and literature, has made researchers and Persian literature linguists express different opinions on the literary value of the book. Some consider the book as a technical prose written to reflect history; thus, questioning the literariness of the prose. Others, however, consider the book as one of the most valuable Persian literature prose works for its artistic utilization of language. Still, some others maintain that the lexical and semantic complexities of Nafathat al-Masdoor prove that the work belongs to only a certain period of time, which reduces its literary value. Using linguistic criticism, the present study explores the literary beauties and deficiencies of this work, and through this procedure, it answers the question as to why there are various opinions on the literary value of Nafathat al-Masdoor. At the end, it is explained that Nafathat al-Masdoor enjoys a well thought-out language in which many lexical and semantic symmetries have been implemented. However, the overall structure of Nafathat al-Masdoor is a reference to biography and history, which reduces the literary value of the work.

One of the important subjects in Sohrab Sepehri’s poems is the philosophy of education and his attention to the basic aspect of human existence. This subject is important because Sepehri had a great shift in his literary and practical life since 1340’s. The goal of research: This research shows that Sohrab Sepehri was under the influence of phenomenological educational approaches and there are great similarities between Fromm’s and Sepehri’s views in the poetical works like Shargh-e-Andooh (East of Sadness)، Seday-e-Pay-e-ab (The Sound of Water’s Foot)، Mosafer (Traveler)، Hajm-e-Sabz (Green Space)، and Ma Hich Ma Negah (We Nothing، We Look). According to this research، like Fromm، childhood has a philosophical concept for Sepehri. Childhood equals intuition and direct understanding of phenomena، gaining personal experience and freedom. Satisfying the human instincts is the first stage of gaining individuality، and maturity is the time of overcoming instincts، thinking dependence، escaping from imitation. Fighting with habits، opposition to imposed education، admiration of loneliness and acceptance of death show great similarities between Sohrab Sepehri and Erich Fromm’s views.

The Story of "Lion and Cow" in Kalile and Damna has a lot of literary beauties; and by applying different literary criticisms and various meaningful readings in the context of this story one can determine its aesthetic factors and their effects on the readers. One of the most efficient literary criticisms in this regard is the mythical criticism. This study tries to analyze the story of "Lion and Cow" according to the theory of Jung regarding Archetypes and Symbols, and also integrate it with the Northrop Frye Theory about the mythos forming a literary work. To do this, after explaining the theoretical framework and the methods of this study, the symbols and archetypes of different parts of it would be analyzed; then their relations with mythos forming that part would be expressed.