مقالات رزومه دکتر فاطمه حاجی رحیمی

Every new style of architecture is based on the principles, methods and traditions of the previous styles and always has an effect in the course of time that is worth immortality, which has a logical support and deep theoretical foundations. The use of geometric shapes in the architecture has a long history and importance in such a way that they were used in the construction of most temples and holy places. The importance of numbers and shapes is evident in the aesthetics of historical and religious places. Among these, number four and the square-shaped buildings have been favored by Islamic architects in a symbolic way. The purpose of the present research is to draw the attention of architects in the construction of Basila City, the seat of Shah Tayhour's rule in the Kushnameh system, to the concepts and methods that are based on human experiences and the identity sequence of human achievements with previous generations and preconceived notions. Man was created with the ability to respond to the natural and aesthetic needs of his time. The current research was done with an analytical-adaptive method and an inductive one, and the main elements of Islamic architectural aesthetics in the field of practice and opinion are identified. Also, appearance, strength, stability, symmetry, balance, and how they affect the construction of Basila City in Kushnameh system have been investigated.

In this paper the authors have investigated the impact of the introduction of Shah Nameh on the introduction of Koush Nameh. Tahmidiyeh is one of the most important sections of epic poetry. Beginning to write “In the name of God” at the top of the texts, has a long history and has many evidences in the writings and remnants of ancient Iranian languages. The content of the prefaces of epic poems, in the first place, includes Tahmidiyeh( A general trait in the poetry of Iran); then, a selection of religious beliefs of the epic poet, which has been composed and dealt mainly with the inspiration of Shahnameh style. The present study, is a descriptive approach and based on inductive method in the two texts of Shahnameh and Koush Nameh. It searches the relationship between the introduction of Kouh nameh; and the introduction of Shah Nameh. The paper examines the effectiveness of Koush Nameh introduction from Shah Nameh in the shadow of paratextuality. The results of studying the Tahmidiyeh sections in both poems show that in the initial section of Koush Nameh & Shah Nameh, praising God and counting the names and intrinsic names, attributes and purifications of God have a high and honorable position and the following sections Its collection also; Like praising and honoring the intellect, how it was created, praising the knowledge and value of speech, praising the Prophet (PBUH) and admonition, also has a special effect. Iran shah has followed Ferdowsi in composing the main and internal parts of the introduction of Koush Nameh, in including elements such as: donating the work, the entry of the work, how to access the prose version and referring to the source, as well as praising the king of the era. Finally, with the studies, it was found that the introduction of Koush Nameh in the position of the present text, has explicitly had a great impact on the structure of the absence of Shahnameh in the position of the missing text in how it is structured and Shahnameh has played a fundamental role in reproducing the contents of Koush Nameh.

In the philosophy of ethics, the criterion of valuing and measuring moral actions is one of the prominent issues. Immanuel Kant, a German philosopher, believes that only the present has a moral value that is in accordance with the task and that the actor has no other motive than to perform the duty. To understand what an action is in accordance with the duty, one must refer to the Absolute. What is meant by the Absolute, which defines all our moral duties, is: Act according to a rule that you can simultaneously will that rule become universal law. Kant considers the absolute to be the obvious rule of practical reason. Since this is absolute, the rulings derived from it will also be absolute. Rostam, the ideal character of Shahnameh in all spheres of life, always paid attention to doing his duty and justice and did not use immoral tools and methods to achieve sublime goals. According to the Shahnameh, several propositions indicate the Deontologism of morality in the moral school of Rostam. In the present study, which has been done by descriptive-analytical method, the authors has come to the conclusion that Rostam's personality is closely related to some indicators of Kant's moral conscientious school. These indicators are: human duties towards oneself, human duties towards others, duties towards certain classes of people.

Having a divine nature, epic heroes are nurtured as an ideal pattern for the society that meets a variety of unattainable needs and desires of human beings. In addition to physical strength and natural forces, they take benefits from mythical and supernatural powers to overcome obstacles and problems in life. Establishing a relationship with dead spirits is among these supernatural forces. The current study is based on a descriptive-analytical research method. The findings can be divided into two categories: first, how epic heroes relate to the spirits of the dead, including the hero's journey to the world of the dead, talking to the spirits of the ancestors within a dream, the manifestation of the spirits and observing them in the material world; and second, how the spirits of the dead and the heroes are affected each other so that the spirits of the dead predict the future or open their mouths about advice and compliance. The spirits sometimes remind the instability of the world, and sometimes try to reveal a secret. In contrast, the hero informs them about their family and relatives or performs morning rituals at the request of the spirits for their comfort. Thus, such an attitude toward epic works can be useful in understanding intellectual and social contexts of past nations and peoples.

The purpose of this research was to review the epic character of Homay Chehrzad; daughter of Bahman in Ferdowsi's Shahnameh. The studied population was the women in “Shahnameh” such as Arnawaz, Sharnaz and Homay; the daughter of Garshasb. Homay Chehrzad was selected as the sample of the research. The research was set to be descriptive analytic which finally studied the myths via putting the forgotten parts of “Ardi sur Anahita” the “Mother” myth together by reviewing the later myths. To collect data, the library method and index cards note taking was implemented. The results revealed that in every nation, there existed a mother myth that remained constant as a sign of nation cultural conscience and it could not be vanished. These myths were the origin and the pattern of the later myths. In the most cases, the mother's own myth or some of its constituent elements had been faded for some reasons and over time; but such myths were not completely vanished, while throughout the history they were recreated and reconstructed from the collective subconscious memory along with other narratives. The research finally concluded that the mythical personality of water and fertility goddess, Ardi sur Anahita in the epic era, was probably due to two major factors in the evolution of myths; "demythologize" and "factor fraction" distributed and dispersed her traits and affinities in several smaller characters and ultimately the transcendental and divine attributes were superseded and in one of its manifestations, it was become Homay Chehrzad.