فهرست مطالب کیمیا تاج نیا

Automatic writing is very important because it is one of the basic principles of surrealists in mystical works that are the result of personal and intuitive experiences and moments of intense emotional excitement. In this kind of writing, the author is overwhelmed by his/her circumstances and does not have control over the process of creating speech due to the overcoming of emotions caused by mystical experience. This way of writing is prominent in the works of Sanai, Attar, and Rumi, for example, whose words are usually the result of passionate moments and romantic madness. Therefore, in this research, the most important principle of the surrealists, i.e., automatic writing, is investigated and analyzed through a descriptive-analytical method in the Seir al-Ebad elal-Ma'ad by Sanai, The Conference of the Birds by Attar, the third book of Masnavi by Rumi. It seems that all three poets expressed their emotions under the influence of love, passion, and inspiration in their moments of intense emotional excitement, which is considered as pure surrealism experiences. It is a proof of their true genius and deep emotion and attitude, which, with all their dissociations and disturbances, originates from a single soul.

Conversations have been prevalent in the famous works of Persian poets and writers from the past until now in different ways. In the Shahnameh, the conversation is generally done in two ways, the face-to-face conversation and the distant conversation, and each of these conversations is done with different people and with specific goals and perspectives. The dialogues of each story express the characters of that story and it is through the dialogues that one can reach the hidden angles of the characters of the stories. The story of Zal's love for Rudaba is one of the most important love stories of Ferdowsi's Shahnameh. Because the result of this love is the birth of Rostam, the great hero of Shahnameh. In this research, the author is trying to investigate the syntactic norm avoidance with a descriptive-analytical approach and a library tool in romantic dialogues in the story of Zal and Rudaba. Also, investigate innovation and norm avoidance at its syntactic level. The results of the research show that Ferdowsi, in the story of Zal and Rudabeh, has distinguished his language from the standard language by using syntactic avoidance and has somehow made his poem stand out. In this type of norm avoidance, Ferdowsi messed up the structure governing the language and used the grammatical features of the language to highlight, and tried to create in this field.

The present study aims to investigate and analyze the female characters of Masnavi Elahi-nameh by Attar Neishabouri; It has been done based on the psychological opinions of Bolen. In this poem, Attar has explained the character of women very well. Research

in terms of methodology, the current research method is library and descriptive-analytical. In this research, first, all the evidences in which there are female characters have been determined, and then by categorizing these evidences, analyzes have been added to them, and they have been examined based on the psychological opinions of Bolen.

The findings showed that Attar Nishabouri used different tools to process the characters of women. He has introduced these characters in two direct and indirect ways. In this system, Attar considers the origin and root of women to be purity and by introducing their identity, values such as chastity and chastity, truthfulness, the power of thinking and rationality, ignoring wealth and power, the power to make correct decisions, etc. .. has been introduced in the character of women and presented to his audience; Undoubtedly, applying these values in the family system and paying attention to them has a therapeutic role and leads to the improvement of human behavior.

From the examination and criticism of the divine archetype of Attar's letter in the context of women, it was concluded that Attar's conscious soul, by looking deeply and searching the facts, was able to find the archetype of women and used them unconsciously in his poems. The story of "Zen Saliha" is one of the archetypal secret stories in which collective unconscious elements joined hands and played a special role in advancing the story and visualizing the original source. Jungian archetypal elements are clearly seen in this story.

The purpose of this research is to investigate the type, speech and behavioral characteristics of the characters in Elahi Nameh with a look at the archetypal theory of Bullen women. Its character and evolution is one of the important topics of Attar Nishaburi's attention, and mystical works, like many other literary works, are symbolic reflections of archetypes. The method of conducting the present research is analytical-descriptive and seeks to find an answer to the question, what is the behavioral and moral style of the characters in the Elahinamah system? In this way, the audience can achieve moral and behavioral health by following the great literary works and applying the recommendations presented in these works. The results show that Attar Nishabouri has used different tools to process characters. He has introduced the characters in two ways, direct and indirect. In Elahi Nameh, there is a lot of variety of characters and it is not only specific to one group, and many stories of this masnavi have behavioral and moral functions.

Ferdowsi's Shahnameh, due to the simultaneous existence of signs and elements of ideology Rituals and various myths in it, is a place place of intersection and intersection of various discourses and semiotic systems. Among these discourses, the presence of Mehri and Zoroastrian discourses in Shahnameh is remarkable and noteworthy; In fact, the importance of these two ideologies in ancient Iran and the inclusion of Shahnameh in the characteristics and elements of the intellectual, belief, social, cultural and political system of Iranian society on the one hand and the formation of many contexts and events in post-Zoroastrian Iran in the context of relations between these two religions. Many of the stories of Shahnameh in their depth or superstructure reflect the wide and varied relations between Mehri and Zoroastrian discourses. According to the theory, Goshtasp and his gens were Mehri before Zoroaster turned to them and entered the Zoroastrian religion and had the gods and organizations of Mehri associations. Using a range of critical approaches and analytical-critical method and library method, the present study, while proving Goshtasp's bias  to zorhraism, seeks to analyze the Mehri-Zoroastrian discourse relations in the story of Goshtasp in the Shahnameh. Ask the question: what kind of interaction, confrontation or combination is the relationship between Mehri and Zoroastrian discourses in the text of Goshtasp story?

Dialogue is one of the most important tricks in the field of fiction and the author in the present research in a descriptive-analytical and library method, with the aim of explaining the speech of male and female characters in the story of Goshtasp's kingdom in Shahnameh based on the theory of speech action Philosophy of language and mind seeks to clarify the fact that the male and female characters of the story of the kingdom of Goshtasp, when speaking in terms of their position and the audience, what speech action and for what purpose? In John Searle's theory of speech action, speech is divided into five declarative, persuasive, emotional, obligatory and declarative actions, which according to the aspect of the verb used in speech and how to use alternatives, indicators, as well as direct and indirect application of action. The speaker's ability to influence the audience can be measured. According to this theory, news sentences are not only the main and meaningful sentences of the language and the value of truth and falsity of all sentences is not possible; Because Ferdowsi's purpose in expressing action sentences is to describe his action, not to describe a situation. The results of this study indicate that women in the story of Goshtasp, due to lack of power, use more persuasive speech actions and the expressive and emotional actions used are more in line with persuasion of the audience than In this way, they indirectly persuade others (especially men and husbands) to achieve their desires. Also, declarative and commitment actions that require the direct action of the individual are less used.

privileged place in speech rhetoric, and rhetorical sciences and techniques play an important role in the formation of language. According to the rules and principles of semantics, the role and importance of sentence types in conveying concepts can be examined. This science divides sentence types into news and composition and studies them in terms of secondary meanings. In this research, which has been done in a descriptive-analytical manner and using library sources, the author intends to study the rhetorical aspects of Shahnameh letters with the approach of the position of news and compositional sentences and has reached the conclusion that in fiction and There are many Persian epics, roles and letters that are not comparable to the letters of Ferdowsi Shahnameh and the number of 250 letters used in Shahnameh is proof of this claim. These letters are mostly used in two parts: heroism and history, and Ferdowsi's goal is not only to convey the thoughts and wishes of their sender; Rather, each is an opportunity for the sage to use innovation and diversity; Sometimes quotes parts of the story from the language of the letter writer; Sometimes, by expressing one's feelings in one's own language, Shuri speaks in order to find an opportunity to pay homage to the characters of the epic heroes, and without his presence casting a shadow over the events, he conveys his analyzes and even messages to the audience and in a word The letters are the full mirror of the Shahnameh.

Ferdowsi tried to keep the names of the heroes and princes in front of them with the language of epic. Ferdowsi, out of national attachment, turned mythical themes into epics and entered the Shahnameh. Shahnameh Summary of culture, religion, customs and aspirations of a nation over the centuries and millennia and the profound impact of religious beliefs, historical events and cultural customs in all its historical and social periods is obvious. Loves and hatreds, victories and defeats, sorrows and joys, wars, and reconciliations have all been deposited in the collective memory of a nation and the basis of creation is based on the confrontation of Ahura and the devil, ugliness and beauty, darkness and light and strife. The good and the bad are in the realm of existence and epic. In Shahnameh and Avesta, we encounter two types of Ahuraian and demonic men. Of course, some of the men in these two works have different faces and are Ahuraian in one and demonic in the other, or it is difficult to determine whether they are Ahuraian or demonic. In this study, which is organized by descriptive-analytical method and library method, the author has made a comparative comparison of Ahuraian men in Shahnameh and Avesta based on the royal family. In this study, it was found that the kings mentioned in Shahnameh and Avesta except Goshtasp They are the same and Ferdowsi's general view of him in the Shahnameh is different from that of the Avesta.

The Theory of Surrealism by the French Founder; Andre Burton and his entourage were raised; It did not take shape on its own, and many contexts and prefaces played a role in its formation. Among those fields, we can mention philosophical fields, irrationality, norm-breaking, and discovery and intuition. Among the foreword, we can mention the theories of Socrates, Plato, the psychoanalytic theories of Freud and Jung, the theories of Dadaism, Romanticism and especially the poetry of ancient Iranian Sufis. Forewords that Sanai, Attar and Rumi followed in their poems following Sufi elements and Sufi poetry; It has had the greatest discourse affinity with surreal theory and elements. Accordingly, the present study has felt the necessity of examining surrealist prefaces in the Masnavi of Sir al-Ebad al-Ma'ad, the Al-Tair region of the third book of the Masnavi Manavi with almost the same quantity. Therefore, it intends to use the descriptive-analytical method in order to develop surrealist elements in the researched works with the aim of development. Preliminary results of the research indicate that the prefaces of surrealist elements in the studied Masnavi are explicit and implicit. So that the three famous mystic poets explicitly mentioned the same elements in their poems as important accessories and elements of mysticism, and sometimes with allusions, metaphors and allegorical and symbolic metaphors, they introduced the elements of mysticism, which were also common in the theory of surrealism

There are so many intellectuall similarities and common religious tendencies between Naser khosroo and Ablolalae. There considration and zealotry to the life experience that are abviovs in their works, makes it possible to research a common subject in their poems and thoughts. Particularly, “man and perfermant of his spiritual and virtual life” is one of the basic topics of their toughts and poems. We have tried in this orticle to introduce their common viewpoints about wisdom and also to find out common intellectual themes of these two poets and mean while illuminating the place of wisdom in anthropological workbook of Naser and Abolalae poems, and point to the common viewpoints of both sages about attendance of wisdom, that means speech and knowledge.

No doubt, one of the strongest subject matter in Roudaki’s poetry manifested in a significant and multitude of form is death. Roudki’s conception of death is a profound one.
Apart from the fact that the subject of death in elegies is brought about with such openness and with some remorse, such an outlook towards death brings to mind a kind of Khayyamic mode of thought whose recurrent theme is a Carpedieum motif, an invitation to joyful life because of its short duration. Moreover, manifestation of death in Roudaki’s lyrical poetry, where he creates an image of his own death in a conversation with his beloved, a kind of sympathizing with the beloved, later finds expression in a more serious form in Persian lyrical literature is discussed along the main subject.