مجید منصوری

 The hero"s journey is a theory in the field of mythology and psychology, which was first proposed by Campbell. It brings heroes in contact with the deepest aspects of their existence and in this way enables them to reach the highest goals of humanity such as independence, courage, Creativity, honesty and love arrive. However, most hero myths only glorify men"s efforts and deprive women of a powerful framework to conceptualize their journey to perfection; Therefore, the American psychoanalyst Maureen Murdock designed the model of the heroic journey for women. The upcoming research with a comparative approach has examined the two models of the hero"s journey in male and female dimensions in the two novels Del Foulad and Zhani-Gal to take a new step in the subject of the hero"s jornaly.

 In terms of nature, the present research is considered to be a qualitative and comparative content analysis, and it has examined the two novels in question with a descriptive-analytical method. Research information and data have been collected using written and library sources and then analyzed based on the theories of Murdock and Campbell.

 Investigations and findings have shown that the heroes of each of these two works, according to their nature, start journeys that finally end in a different but almost similar way.

 What is obtained in this research is that the seven stages classified by Murdock in the book "The Depth of Being a Woman" are very similar to the stages of Joseph Campbell"s hero"s journey. After separating from femininity and choosing the path of exams, the female hero embarks on an unknown path, and after glorification and decline, she suddenly reaches a point where she sees that this is not the way to her perfection, and after that, she discovers the gem of her femininity; And also, the male hero, starting his calling, goes through many journeys until he reaches the final blessing, which makes him reach a kind of understanding and discovery of his purpose in his life and social environment.

The oldest existing manuscripts of Khamseh Nezami date back to a century and a half away from the year of his death. This may be the major reason for the existing errors and omissions and corrections in the text of the precious Masnavi despite the various corrections that have been made from the Khamseh due to the lack of old and reliable manuscripts. Also, this is why the combination of "Sabzakhor" in two verses of Sharafnameh appeared based on the incorrect reading of these Nezami’s verses.  Furthermore, all the correctors and commentators of this book based on the incorrect recording of the manuscripts and the existence of the entry "Sabzakhor" and its meaning in the dictionaries have accepted the recording of these words in those two verses in the same way and tried to justify the meaning for it. In the current research, alongside examining the cases that the commentators of Sharafnameh have raised about the meaning of this combination, it has been indicated that "Sabzakhor" in two verses of Masnavi is a translation of "Sarakhor" which means the best horse and special carriage of kings and officials who precede all the horses are closed in the stable and it is also used to inseminate the mares. In another part of the article, based on the in-text evidence of Khamseh Nizami and also using the evidence of other Persian literary texts, the suggestion of correcting "jers in the waist" instead of "jers in the throat" in a verse of the Shrafnameh has been proposed and it has been shown that "Aaronan the king, they tie the jerseys on the "waist".

In many ancient Persian lexicons, numerous verses are cited as examples under specific words and compounds, attributed to their respective poets. This valuable tradition, beyond its linguistic significance, has often preserved verses from lost collections of ancient Persian poets, thus safeguarding them as a precious repository for us. Labībī is one such poet whose verses are extensively quoted in lexicons. This study examines a verse attributed to him in lexicons and proposes a new textual edition based on both internal and external evidence.

Based on Julia Kristeva's theory, intertextuality is mainly a method that shows that each text is formed on the basis of previous texts, and it is a method that introduces history to structuralism and its orphaned and lonely texts and interpretations. Based on this method, some previous articles and researches have considered the novel Symphony of the Dead as a reflection of "the novel of fury and uproar" or "the novel of the city I loved once again". Although all these factors can be discussed and investigated, due to the similarity of some cultural aspects and the similarity of some historical and cultural events, such as the occurrence of world wars, the comprehensive system of fascism and capitalism, many literary texts may be combined in terms of structure and content. slow down But what seems certain based on the opinion of the authors is that the most important work that is close to the novel Symphony of the Dead in terms of content and structure is "The Play Death of a Salesman" by Arthur Miller. . In fact, according to the historical parallels, and the common experience of different nations in historical events, we can boldly say that Symphony of the Dead is an Iranian example of the play Death of a Salesman by Arthur Miller.

One of the important and prominent features of the Jahangiri Dictionary (published around the year 1017 AH in India) is bringing examples of poetry from poets of different centuries to explain the meaning of words. Of course, a large number of these poetic witnesses were distorted and many words have entered the dictionaries due to their misreading. But at the same time, a number of these poetic pieces of evidence have been recorded in this book with accurate and correct reports, according to the old manuscripts that the owner of Jahangiri and the writers of the sources had before him. By using them, a large number of verses can be found. He corrected the Divans of Suzani, Sanai, Athir Akshikti, Molavi, etc. By using some verses of Shams' generalities which are given in the Jahangiri Dictionary as a poetic witness under different words and also by referring to other verses of Molavi in Masnavi and Shams' Generalities, an attempt has been made to reflect on some verses of Molavi's ghazals in this dictionary. In this study, using Jahangiri's Dictionary, seven verses from Shams' Generalities have been examined. The difference between the words "چند" and "جند", "بخسیدن" and "پخسیدن", "زرینک" and "چوبینک" are among the cases that have been discussed in this research. In addition, based on the last paragraph, a new possibility has been raised regarding the reason for the attribution of "چوبینه = red headscarf" to "Bahram VI".

The famous ode of “Tarsaeiyeh” contains a verse that has puzzled the commentators and proofreaders of Khaqani's collection of poems. The main complexity of the verse in question is the reference that "kissing the church bell" has the ironic meaning of becoming an infidel and leaving the religion of Islam. The main problem in Khaqani's verse is that "kissing the church bell" does not occur in any of the old texts, and unlike kissing the crucifix, "kissing the church bell" was never widespread in Christianity; In addition to the various statements of the commentators of Khaqani's collection of poems, two detailed articles have exclusively dealt with this topic; the first article is about the proposal to correct "Kissing the church bell" to "Drinking the church bell" and the second defends the authenticity of the recording of "kissing the church bell" and rejects the first article. Of course, there is no authentic textual evidence for "kissing the church bell" and "drinking the church bell" in either article. In this study, based on some evidence from Khaqani's collection of poems and other works of Persian literature, it is shown that "I kiss the church bell" in Persian (ناقوس بوسم) in Khaqani's collection of poems is the result of a pun on the "I knock the church bell "in Persian (ناقوس کوبم). In the old spelling, sometimes the writers did not put the stroke of "ک" and "گ"; so the phonemes were easily converted to "ب" and "ت" etc. In another part of the article, "the bell of Magi " is explained and shown that, in Zoroastrian, "the striking of the mortar," was considered as a call to prayer and a sign of invitation to participate in religious ceremonies. Thus, by assigning the bell to Magi, no heresy has taken place, and only the conversion of a proper noun into a common noun has occurred.

 History has always had events in its heart that many researched writings have not mentioned. Therefore, it is obvious that the introduction of each of the ancient historical texts plays a significant role in revealing the obscure and dark corners of the past that have not been mentioned so far. The version of "Kanz al-Jawaher al-Saniyyah fi al-Futuhat al-Sulaimaniyah" is one of these valuable works in the field of Ottoman historiography and is one of the few books that was written about a number of wars of Sultan Suleiman I [926-974], during the reign of this king. In this research, in addition to introducing this manuscript and its author, the stylistic features of this work have been investigated.

 The research method in this article is a library and a descriptive analytical method from the book of Kanz Al-Jawaher.

 The manuscript of "Kanz al-Jawaher al-Saniyyah fi al-Futuhat al-Sulaimaniyah" by Shah Qasim Makhdumi of Tabrizi is one of the authors of the 10th century of Hijri. Shah Qasim bin Sheikh Makhdumi (died 948 AH) is one of the well-known calligraphers who migrated to Istanbul with a number of scholars and scholars after the Chaldaran War in 920 AH. This copy was written on the order of Sultan Suleiman, the tenth king of the 625-year Ottoman rule, and in addition to historical value, it provides valuable information about the events that occurred in several Ottoman wars.

 The prose of this book is one of the examples of technical and artificial prose of the 10th century of Hijri. The prose is mixed with order and is full of phrasing, mention of synonyms, verses and hadiths. One of the important features of the text is the use of long sentences, and among the original arrays, we can mention all kinds of puns, similes, and assonances, which play a big role in creating the music of Kalam. Also, according to the rule of artificiality of the text, similes and metaphors are seen a lot, especially in the introduction of the book. Most of the poems used in the text are written by the author, and Bahr Mottaqareb Mothman Mahzuf, which is for Shahnameh, can be seen a lot in this text.

Sa’d al-Din Varavini's version of Tabari’s Marzbannameh by Espahbod Marzban bn Rostam is one of the major texts in Persian prose heritage. Three revisions of the work have been published over the last century, but there is not a very authentic correctd versoin. Being accessable the old precious manuscript dated back to Thursday, 10 Ramaza, 698 (AH), no. 216 in Istanbul Archeology Museum, it becomes clear that three other corrected manuscripts bear many mistakes, omitted parts, added materials, vague contents, mis-reasings, and changes. This issue makes it necessary to correct the manuscript again. This manuscript is so far the oldest known version of Marzbannameh in the world. So, this the first time that this valuable version is introduced in detail. This study introduces the most ancient manuscript of Marzbannameh and tried to examine and discuss its unique features under headings the scribe and the scribing date, the writing stle of letters, the illustrations of the manuscript. Examining his manuscript shows the vast changes, omitions, additions, vague points, and mis-understandings of other three manuscripts of Marzbannameh. Some examples are provided at the end of the paper.

In Persian literary history, many readers of Persian poetry and even those contemporary with old and new poets have not often known the correct and real name of many poets and most poets have been known by their pen names or nom de plumes. Therefore, the poets have always tried scrupulously to choose the most beautiful and appropriate pen names with utmost precision; this is why some poets, due to various reasons, realized after a while that they needed to change their pen names. It must be noted that changing pen names has had a tremendous impact on the formation and durability of the poets' poetry; That is, when a poet with an old pen name had provided a name for himself, and that pen name was the best choice for his poems, there was a possibility that by changing his pen name, he would face many problems in keeping the durability of his poems. In this research, some reasons for changing poets' pen names were analyzed descriptively and analytically and it was shown that changing poets' pen names, as a literary tradition, is influenced by political, social, literal, and individual characteristics among others. Meanwhile, some poets, while choosing new pen names, did not abandon their previous pen names, and some others have replaced their old pen names with the new pen names in their old poems, and still others did not stick to the new pen names either - sometimes using the previous pen names again and sometimes newer ones. All these cases are investigable separately for each poet.

In the midst of the Mongol invasion of Iran and the subjugation of the cities, two authors with a time difference of a few years, translated Marzbanname of Marzban bin Rostam bin Shahryar bin Shervin bin Rostam bin Qaran, from the simple prose of the first centuries of Persian prose style, into the artificial prose style; these works were produced in the sixth and seventh centuries. (Mojtabaei, 1390: 185). First, in 598 AH (about 15 years before Varavini), Muhammad bin Ghazi Malatiwi wrote his version of Marzbannameh called Roza-tol-Oqul in artificial and mutakalf prose style. This work is closer to the Marzbannameh of Marzban bin Rostam from two perspectives: firstly, (unlike Varavini's Marzbannameh), the anecdotes and chapters are not summarized, and secondly, the translation or rendering of phrases, from the semantic point of view, is much more trustworthy than the Varavini Marzbannameh. (Varavini, 1376: nineteen). A few years after that, Saad al-Din Varavini wrote another version of Marzbannameh; this work is a rewriting and a summarizing of Marzbannameh of Marzban bin Rostam through its removing, introducing, and delaying chapters and anecdotes.
A comparison of the number of articles, treatises, and books written about Varavini's Marzbannameh and Roza-tol-Oqul Malativi reveals that of these two texts, Marzbanamah written by Saad al-Din Varavini has been popular with readers and researchers from the past centuries until now, and that Roza-tol-Oqul has been less the subject of criticism and research. Perhaps the efforts of researchers and the title of the book chosen as “Marzbannameh” can be considered as one of the main reasons for the popularity of Varavini’s work.


In this study, based on the version of the National Library of Iran, some errors in Marzbannameh have been corrected, and in some cases, suggestions have been made for the comparative correction of some other distortions. Based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


Conducting research on ancient texts of Persian literature without having a neat and original text is subject to all kinds of errors. Marzbannameh is one of the forerunners of Persian prose texts, which has been discussed in various studies from stylistics, rhetoric, historical, grammatical, and many lexical perspectives. However, despite several corrections, and writing of numerous commentaries on this book, misreadings and omissions have made their way into it, and these errors need to be corrected.
As mentioned earlier, in this study, suggestions have been made for correcting several spellings in different chapters of Marzbannameh, some of which are supported by the version of the National Library of Iran ‒ which has not been used by any of the correctors of Marzbannameh. Accompanied by evidence from Persian literary texts, comparative corrections are suggested, and based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


In the last century, three corrections of Varavini's Marzbannameh have been printed; however, there is still room for correction and an original and worthy report of this important and valuable text. Being in a rush and not knowing about the existing versions, or the unavailability of all the old versions of Marzbannameh made the task difficult for the correctors of this technical and complicated text, and caused various changes and spellings to remain hidden from their eyes. In this study, relying on the version of the National Library of Iran and some other versions, as well as citing evidence from ancient Persian literary texts, some deviations in Marzbannameh were reported and corrected.
Also, in other cases, suggestions were made for comparative correction of several other spellings in Marzbannameh, and efforts were made to emphasize the correctness of these suggestions based on intratextual and extratextual evidence.

Houshang Golshiri is a writer with sophisticated thoughts, and at the same time with simple phrases that follow explicit and understandable words, special and pure symbols, which the researcher's mind discovered by the greatness of the author's reach. Among his reflective and symbolic stories is "The Dark Knight of the Hand". In this story, the writer, with the deep thought of an idealist writer and with the use of western writing techniques such as the "sword wound" of Borges, and also using the "Judge's daughter's" frame of reference from Judge Tonoki, owns the book "The Fugue After Severity" in Symbolic And a strategy to express the profound and decisive concepts of their community. In this research, the effect of two stories of the girl Judge in Faraj's book after the severity and the sword's sword by Jorge Luiz Borges has been analyzed on the story of the dark hands of the hands of Hushang Golshiri.

The first archaeological work in east of Fars, conducted by Sir A. Stein in 1934. However, an intensive survey, directed by De Miroschedji, was carried out in this region in 1971-72. Unfortunately, the materials of this survey were not studied in detail. So, the prehistoric cultures of the Fasa and Darab valleys remained unclear. To comprehend the prehistoric cultural developments of the east of Fars, the Miroscedji’s survey collections were studied first and completed with a stratigraphical excavation at Tappeh Vakilabad. The combination of the results of the survey and excavation provided an appropriate framework for the prehistoric cultures. These results affirmed that the prehistoric cultures of the east of Fars were entirely indigenous after the Bakun period to the beginning of the Kaftari era. The pottery styles of this era (Bakun-Kaftari), are introduced as Vakilabad, Zahak, Jouzjan, Roudbal, and Galyan. Furthermore, the settlement pattern analysis shows a reduction in the number of settlements in the Vakilabad period and more intensely in the second half of the fourth and first half of the third millennium BC. This pattern may indicate a shift in the subsistence economy of the large part of the society from agriculture to animal husbandry. The fourth and third millennium BC settlement patterns of the east of Fars are almost similar to KRB. However, in the second half of the fourth and first half of the third millennium BC, the KRB reached a complicated political and social developments, but the east of Fars became a peripheral region with the limited settled population.

Psudo-Dreams and dreams occur in awakening and  dreams that eventually lead to the mystical discoveries and testimonies. The process of Psudo-Dreams formation in the memorization of poems has a direct connection with religious literature and the principles of mythology and retelling. In his dreams, Hafiz, with the help of his individual and collective consciousness and his return to the "covenant" and "the first world and the last world", takes a step in the field of human creation. In order to achieve this, the world of out of  time and space, the poet does not require the place and time, he, instead is the supervisor of creation. Hafez has used other words to describe the more effective expression of these elements in the form of aesthetics symbols and features. In this research, an attempt has been made to conduct an analytical, citation, and referring to the analytical first hand books in this field, in order to investigate, highlight, the dimensions of different agreements that exist in the field or return. Although aspects of the research have been studied in many cases, the study of this subject has neglected the mythological and psychological myths that have been addressed in this study.

The opening line should be seen as a kind of repetition that is abundant in the poetry of traditional and contemporary poets. This kind of repetition, which occurs at the beginning of the verses of the poem, is seen in the poetry of traditional poets, from the same primitive poets as Manouchehri, NaserKhosrow and other poets. However, in the poetry of some poets, such as Sanai, Khaghani, and Shams Moulana's lyric poems, it is more common. In the poetry of contemporary poets, who lack the usual weight, rhyme, and row, these lines are more common. In the poetry of poets such as ForoughFarrokhzad and Ahmad Shamloo, these lines have a higher frequency than poets such as NimaYoshij, Mehdi Akhavan Sales, SohrabSepehri. There are initial lines in different forms and it can be found at the level of syllables, words, sentences and quasi-sentences in the poetry of contemporary and traditional poets. The main purpose of the opening line should be considered its musical aspect. In addition, it is sometimes repeated for other purposes in poetry, such as highlighting, emphasizing the poets in order to convey specific meanings to the audience, and creating coherence in the composition and content of the poem. Sometimes the first line is interpretive and is used as a tool to explain, further explain and clarify the poet's intent, as if the poet intends to explain and convey something to the audience that achieves this goal by repeating a word or phrase. . Other goals and objectives can be seen in these lines. This article seeks to comprehensively address the initial lines in the poetry of prominent traditional poets and modern Persian poets.

one of the known complications of phototherapy in the treatment of jaundice in newborns is the reduction of serum calcium and the cause of this phenomenon is still not well defined. The aim of this study was to investigate the effect of phototherapy on increasing calcium urinary excretion and to answer the question whether phototherapy can be associated with increased urinary excretion of calcium as a risk factor for nephrolithiasis?

In this cross-sectional study 77 infants less than 2 weeks of age with normal weight who were hospitalized for non-physiologic jaundice were enrolled in a sampling study. These infants lack systemic underlying disease and were not treated with Antibiotics - No serum therapy and blood transfusion. Urine specimens were taken at the time of admission and 48 hours after phototherapy of newborns and ca, cr in urine was measured. Then, the ratio Ca/Cr was calculated. Finally, the obtained data was entered into SPSS 19 software and analyzed.

Average random urine Ca/Cr ratio before phototherapy was 0.38± 0.03 and the average random urine of ca/cr after phototherapy was 0.674 ± 0.26. The difference between the mean of Ca/Cr ratio of neonates with jaundice before and after phototherapy was significant (P <0.001) in 49.4% of neonates hypercalciuria was seen (Ca/Cr > 0.8).

According to the findings of this study, which indicates an increase in urinary excretion of calcium, phototherapy in newborns can be considered as a risk factor for the incidence of hypercalciurea and nephrolithiasis.

One of the major difficulties of the garden is how to read the compositions as well as the multiple meanings of the meaning. This is the case of a bit of a "witty woman like a hand on the shoulder / Go bane paw on the man", whose investigators and interpreters of the garden have been more concerned with the dubious recording of the first travesty and have tried to understand what it means, unaware that the second travels are more ambiguous. has it. In this study, while proposing the meaning of "women's slavery" based on reading this word as "cloak" that has come up in various cultures and texts and can be a step to unravel the meaning of the first utterance of this difficult bit of gardening, about the confusion of dictionaries in meanings and Various recordings of the word "claw" are discussed. In order to get the notion of Saadi in the earliest times, it has also been pointed out the combination of "slaughter-eaters" in cultures that was left out by exponents.

One of the distinguishing features of Khāghāni’s Divan is the reflection of various people’s beliefs, socio-cultural customs of the people of that time including childish games, and superstitious beliefs .The popular and sometimes superstitious beliefs that have been prescribed in the past for the treatment of various disease have been reflected among the ancient Persian literary works especially Khāghāni’s Divan. One of these ancient medical beliefs about the treatment of animals and insects bites and stings, the treatment of some other disease, such as plague and colic, was the use of a tired cock which has run a lot before Dhabīḥah. In Folk medical and traditional books, different ways have been examined in order to use them in the case of this medical belief. To make run the old cock with other animals, however and according to ancient beliefs makes their meat tender. This research investigates these cases based on verses of Khāghāni’s Divan.

Many lines of Khaqani’s divan have been misunderstood because of its complexities and nuances as well as the use of whimsical words and words in different semantic contexts. At the same time, this vastness of words and phrases in Khaqani’s poetry caused his divan to be one of the major sources of new words and poetic evidence for ancient lexicologists. Investigators of Khaqani’s divan have occasionally used invalid dictionaries—such as Jahangiri, Borhan, and Majmaolfors—to correct Khaqani’s dubious and controversial lines; therefore they have sometimes misunderstood them. In this study, while looking critically at dictionaries and using evidence from ancient texts, suggestions are put forward to correct three lines of Khaqani’s divan, and it is demonstrated that the word “khoshni” (meaning prostitute) is the result of the erroneous reading of “khonsa” (meaning bisexual) in a few lines of this divan. Unawareness of the meaning of “khonsa” and “mokhannas” is one of the main reasons that has prevented scholars from recognizing the original form of Khaqani’s manuscripts, while paying attention to the correspondences between the words and the phrases contained in the lines and the use of identical themes in the works of Khaqani could be one of the ways of correcting his poems.

Neonatal jaundice is a common problem in the neonates which is caused by increased unconjugated bilirubin and can result in serious neurological side effects such as kerinictrus. Several drugs have been used to treat unconjugated hyperbilirubinemia. The present study was conducted to determine the preventive effect of glycerin suppository on neonatal jaundice. This single blind randomized clinical trial included 165 healthy term neonate without jaundice in Besat Hospital in Sanandaj. Neonates were divided into two groups. Case group treated with glycerin suppository at birth and 12 hours after birth. Control group didn’t receive glycerin suppository. Serum bilirubin levels were measured by Bili Check device (spectrophotometry) 12, 24 and 48 hours and also 5 days after birth. After 48 hours the mean serum bilirubin levels were 8.667 and 11.4412 in the case and control groups respectively, which showed no significant difference (p: 0.57) between the two groups. After 5 day the respective mean serum bilirubin levels in the case and control groups were 10.0450 and 11.05 which revealed a significant difference between the two groups (P value:0.03). Use of glycerin suppository showed significant effect on reducing billirubin level in the neonates and can be considered as an adjuvant therapy for neonatal jaundice.

Bringing poetry testimonies is one of the most unique traditions in the Farsi dictionary. These witnesses, with all their disadvantages, from mischief and likelihood of confusion, to the duplication of philanthropic dictionaries, sometimes allow the editors to correct some texts. Of course, since recording a high percentage of these shadows is false, the sculptors also did not care much about them in the majority of cases, while at the same time, given the fact that the old classmates may have had copies closer to the time of the compilation of the ancient works, they are from the poetic evidence of these dictionaries , As a duplicate file can be used and used in correcting texts. In this essay, some suggestions are made to correct these bits based on some of Sanayi and Rumi's poetry in dictionaries and generally in Jahangir culture. In this essay, some suggestions are made to correct these bits based on some of Sanayi and Rumi's poetry in dictionaries and generally in Jahangir i culture.

Sūzani of Samarqand made use, especially in his satires and lampoons, of such rare words that are often exemplified in dictionaries only by the poet’s own verses containing those words. Since the early compilers of dictionaries had at their disposal old codices of Sūzani’s Divān, they generally cited the correct versions of his verses. However, as the existing manuscripts of Sūzani’s Divān are hardly old enough, one can benefit from those very verses, like an alternative manuscript, in correcting his Divān.

In this study, two lines from Marzban-nameh have been analyzed. Allameh Mohammad Ghazvini has put a question mark in front of these two lines and has been doubtful in recording some words and their meanings. Khatib Rahbar considers the two lines as meaningless, and Mohammad Roshan, by changing a word from these lines, has made the text more complex and does not speak of the exact meaning of the words. What has complicated the intended lines is the distortion and conversion of a word in these sentences that has misled the interpreters and editors of Marzban-nameh. Based on the correction of a word from these lines, this study attempted to explain and analyze some ambiguous sentences from Marzban-nameh.

In the twenty-eighth edition of the scientific research chapter of the Shiite studies at Sistan and Baluchestan University, an article titled "The Necessity of Correction of the Amir Khosrow Dehlavi Court" (Autumn 1395: Eighth, Pages 91-106), by Dr. Gholamreza Mustaali Parsa and Hamid Reza Hafezian, has been published. Which is almost the whole of this article in a very fresh and sketchy manner from the author of the article entitled "Review of the Amir Khosrow Dehlavi Court of the Ghazlaty Based on Certain Handwritten Manuscripts" published in the University of Isfahan's Phonographic Journal (Fall 2013: Fifth, pp. 69-86), Theft Has been. Given that the editorial method of this article may be helpful for journalists of various publications, such as the editor and the judge, as well as the student's guide to professors. In this article, the method of plagiarism has been criticized.as well as the student's guide to professors. In this article, the method of plagiarism has been criticized.

While the death of Abdul Latif Tasooj (about 1300 BC.), Translated by renowned and skilled Thousand and One Nights, long ago, life events, and other writings about his possible little information at hand. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given. Keywords: comprehensive proof, discovered Alghmh translation, translation of Panchatantra, Zilossoltan, Nasereddin Shah.While the death of Abdul Latif Tasooj (about 1300 BC.), Translated by renowned and skilled Thousand and One Nights, long ago, life events, and other writings about his possible little information at hand. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given. In addition to the names of Najaf Abdul Naser al-Din Shah Qajar Tasooj to send a valid document about his life, is given.