aliakbar kamalinahad

The Sanaei Ghaznavi’s Divan is full of oppositions. These contradictions are the result of expressing contradictory mystical concepts such as intellect and commending soul, body and the spirit and Unity and plurality. The symbol helps to him that show them, especially their spiritual side of them. This article seeks to explain the symbolic relationship with the main and structural oppositions in Sanaei’s Divan. This article seeks to clarify the major and central types of opposition in Sanaei’s Divan, which can be termed as macro-reciprocal and other oppositions in a way that relates to these central oppositions. By combining opposition and symbol, the Sanai creates structures of symbolic opposition and uses them to express outstanding mystical confrontations. In this paper, by examining and analyzing the symbolic oppositions in Sanaei’s tribunal, the major opposition in Sanaei’s divan is identified, and then it will be shown the Subcategories of these great opposition and the symbols used to imagine each one. The results of this research show that symbols in the Sanaei’s view have a coherent and orderly structure and are often centered on a major opposition and the most fundamental differences in Sanaei’s point of view are the oppositions between the principle, derivative and discourse of asceticism and derivative that each of them has subsets and they are structurally linked together.

Shuubiya discourse was a reaction against the superiority and governing to Iranians life and chastity which had continued about from the first A.H. century to the sixth and seventh A.H. century. This article analyzes the shuubiya movement in Shahnameh based on the discourse analysis pattern of Laclau and Mouffe. Quality and argument of Iranians fighting become clear in the procedure of arising the Shuubiya, specially in the Ferdowsi’s era. With quarrel of Shuuvbiya discourse and non- Iranian government, Shuubiya discourse in the Ferdowsi’s narrative redefined and articulated with symbols of justice, libertarianism, rationalism and nationalism, around the meaning core of “rebirth the Iranian government”. Political domain and doctrinal system of Ghaznavians  , introduce the Caliphate of Baghdad as the non- discourses and apposes the rival’s discourse by standing out the identity concepts and marginalizing the doctrinal and economical rigidity. Shuubiya discourse reproduces the Iranian government theory of “Ideal King” for proving the “ Freedom” from doctrinal domain of Baghdad Caliphate system and non- Iranian political government. Political causality of apposing with aliens and stranger government, is ascertained with liberal subject of “Universal Hero” (Rostam) and for proving this type of discourse aim and dream fights with enemies and aliens and never accept the captivity and disgrace in front of non- discourses.

Typing is one of the weaknesses of students in the process of learning Persian, which is usually addressed in the Persian spelling lesson, but typing is not limited to spelling lessons; Rather, this learning weakness can be seen in all students' writing. Meanwhile, writing is one of the lessons that, like spelling, is directly related to the discussion of students' writing; With the difference that in this lesson, compliance with the text structure is measured above all else, which causes students to not pay much attention to the issue of correct writing, and this can cause different types of wrong writing in their essays. For this reason, this issue is raised here, to what extent is wrong writing in the writing lesson and what are its possible types. In this research, which is a descriptive-analytical method and a case study, we have tried to examine the essays of 220 ninth grade students of Tehransar Dastghaib School from the point of view of the existence of wrong writing and its types. The results of this research show that typos in the essays of these students can be seen in four types of spelling, cognitive, grammatical, and grammatical errors.

According to the theory of intertextuality, no text is closed and self-centered. All literary works are influenced by the texts before them. Manifestations of this influence can also be seen in Persian literature. Hafez has always paid attention to the works of his predecessors and used them. Nizami's sonnets have been one of Hafez's sources of inspiration. In this research, by using the theory of intertextuality and analytical-comparative method, Hafez's impact of Nizami's sonnets has been investigated in two areas of extratextual and intratextual communication. The result of the research shows the superficial and sometimes deep similarities between these two poets. Although Hafez created a new revolution in lyric poetry; But in places of his divan, one can clearly observe signs and manifestations of intellectual and linguistic similarities with Nizami's sonnets. In terms of extratext (structure), Hafez has been influenced by Nizami's sonnets in terms of rhythm, weight, rhyme, line, words, compositions and other musical elements. In the intratextual field (infrastructure) there is also a clear link between these two poets; Allusions, descriptions, images, analogies and similar interpretations can be seen between the sonnets of these two poets. The existence of these connections shows Hafez's influence and use of military sonnets. This use is not in the form of imitation, repetition or plagiarism, but with the aim of creating more delicate poems. These connections were due to the influence of the lyrical literary traditions that were prevalent among these poets,.

Folklore literature is considered as one of the important parts of the folklore culture. Besides its general and artistic aspects, it remarkably affects the development of the serious literature of that society. It mostly affects the originality of the works of its artists. An artist's mind as a cultivated person in a native culture of a society is full of different aspects of folklore literature. Applying them in individual's artistic works gives a fresh and profound inspiration to the work. Although different aspects of the folklore culture and even folklore literature have been discussed in different views, the functions and its artistic aspects have not been investigated. This study has been done based on descriptive-analytical method (of case study type) and the purpose is to deliberate the aesthetic aspects of folklore dialogue in the story of Ahukhanum's Husband written by Ali Mohammad Afghani. He has been able to use the broad aspects of this type of literature, such as: the use of anecdotes, proverbs, allusions, vernacular poems, and vernacular idioms in creating a suitable tone, imagery, atmosphere, creating intertextual relationships, and building cultural support and context appropriate to the subject, which is a part of the literature and cultural depth of this story, instigated from the artistic use of folklore literature, especially conversation traditions within.

In Persian literature, poets and writers in every age have adorned their works with the luminous words of revelation according to social and cultural situations. One of these writers is Ansar al-Ma'ali, who, as a result of the teaching of Qaboosnameh, has recommended many educational topics to his son (Gilan Shah) under the influence of the divine word. This research has used library resources in collecting information with a descriptive-analytical approach and a qualitative approach. The aim of the authors is to identify the trustworthy Qur'an in the Qaboosnameh, which is expressed in educational and training methods, and today, after centuries of writing the work, its teachings are instructive in the educational affairs of children. Qaboosnameh is considered as one of the educational resources in the correct development of children according to the knowledge that its author has and the benefits that he has taken from the word of revelation and religious teachings to compile it, and in many cases the methods of its teachings. It is compatible with current educational management methods.

One of the aspects of analysis in Shahnameh stories is the ability to interpret their myths. Among the stories of Shahnameh, Siavash's story is one of the examples that is appropriate to its previous and subsequent narrations in terms of narration and the connection of vertical and horizontal axes of the story. In this article, Siavash's story has been mythologically analyzed with a combined view and based on structuralist, mythological, and receiving theory approaches. The basis of this analysis is the ritual of familiarity and by using the view of Iliad, we have opened the ritual of entering the narration of Siavash. In this representation, the story from Siavash's birth to the end of Kaykhosrow's acting is considered as a unit and the actions of these two characters are considered to complement each other. According to the research findings, Siavash's rise and fall and then his sinking in Turan Zamin's graveyard is like sinking a seed in the soil; It is as if the story remains unfinished in this part, so much so that on the other hand, with the emergence of Kaykhosrow away from the eyes of Aghiar and his boasting in the same land of Turan, the story leads to self-sufficiency. Symbolic signs and evidence in the text of this story unit, such as: mountain, midwife, crossing the water, symbolic animal, test, etc., strengthen the concept of familiarity in it.

Salimi Jeroni is one of the 9th century poets and a follower of Nezami-Ganjavi's good taste. His poems are full of , Figures of thought and original beauties; ambiguity is one of the Figures of thought and a means of avoiding norms in speech, which has a significant contribution to the illustration and composition of Salimi's speech. This research tries to investigate this artistic technique in Shirin-Farhad Salimi's masnavi using a descriptive-analytical method and to demonstrate the poet's ability in this field. The results of the research show that out of a total of 697 cases of ambiguity has the highest frequency with 338 cases and a frequency of 48.5. His ideas are pleasant and have been used elegantly and in the form of new images and structures. The choice of idiomatic words in the axis of coexistence and substitution is very artistic in such a way that the change of each of the parts of the verses causes disturbance in the words. He has tried to innovate by using words related to some aromatic substances, fruits, diseases, calendar terms, plants, adjectives, verbs, prepositions, pronouns and breaking the link of simple words in the field of all kinds of ideas. It seems that Salimi, with the conscious use of all kinds of metaphors, along with other Figures of thought: recognition, puns, contrasts, irony, repetition, sensibility, similes, allusions, and used this Figures in the service of visualizing and creating multiple meanings of the word.

Considering the importance and position of the Arabic language as the official language of the Islamic religion and considering its important role in the regional arena, the teaching of this language is facing major challenges. Arabic language teachers do not feel the necessary efficiency in the process of teaching it. Perhaps the lack of use of regional and global experiences in the field of Arabic language education is another reason for the existence of weak points in Arabic language learning and teaching. One of the global methods in teaching Arabic is the interactive immersion approach and its effectiveness as a global strategy in teaching Arabic. Therefore, examining the dimensions of this issue shows the importance of the present research. The current study was written with the aim of introducing and expressing the importance of teaching Arabic language through interactive immersion method. The results of the research show that the interactive immersion method is one of the most efficient methods in teaching Arabic and can be implemented as part of the Arabic education curriculum.

The sequence of events and their time course in the Qur'an is not uniform; Rather, the past, present and future are combined and sometimes changed several times in some suras. This preparation has a high frequency for reasons such as educational functions, learning lessons, answering questions and ambiguities, expressing moral and religious rules, and so on. This article uses a descriptive-analytical method to consider the issue of "order" in the "grammatical time" of Qur'anic narrations and examines the types of flashback and its rhetorical and artistic functions. Return to the past In the narrations of the Qur'an, based on the time of return, it is divided into two categories, long and short, which in the first type is equal to the short time of normal life and in the second type is beyond personal life and related to creation. In terms of structural fit with the "present" of the narrative or description, this element is placed in two areas of co-texture and non-texture. In all contexts, while telling a story, previous events are referred to; But it completes the same story. In the field of non-texture, sometimes in non-narrative and even narrative chapters, events are described that are not part of the narration now and are independent narrations. The leap from the origin of time is also formed in three states: future to past, past to past, and present to past.

Reading and writing the official and mother tongue is a basic and inescapable need for every person and learning, but in this way, there are always problems that hinder learning.The present study was conducted to solve the problem of reading and writing problems of one of the second grade students of Bahar primary school in Kent village. The present study is a qualitative research of action research type. Data were collected through observation, interviews with parents, meetings with colleagues and searching databases. As a result of collecting information, the reason for this is lack of accurate familiarity with Persian letters, inability to combine letters with each other, incorrect spelling and phonics, misplacement of letters or words, inactivity at home, incorrect hearing and misspelling of consonant words, inversion, Decreased self-confidence, inattention to the words and dots and diminished letters and words in dictation were diagnosed. In the next stage, appropriate hearing, vision and touch techniques were presented during the school year. The results showed that the student's ability to read and write was greatly improved.

In the contemporary world, the position of poetry with the theme of waiting, as a pure and lofty art, has been considered by many poets and such poems are rooted in the depths of their hearts and souls.To the extent that it attracts a large audience and leads researchers to analyze such poems, the authors of the present study, by analyzing the poems of Tahereh Saffarzadeh, a contemporary poetess, seek to answer the question of how tone has influenced the construction of poetic spaces with the theme of her expectation. This article is descriptive-analytical in terms of method and has a qualitative approach and is organized using library resources. Saffarzadeh is an optimistic poet with pure religious thoughts who has communicated with his audience with a clear language and expression full of emotion, with a religious tone and religious content. According to the justice-oriented school of Imam Zaman (as), he welcomed their equality, equality, justice and synonyms in words.

Socialization is more important in childhood and it can be very effective on the child's personality and emotional regulation. Indeed, storytelling has a special role and position among the methods of teaching it to children. The present study is based on a quasi-experimental study with a pre-test-post-test of the control group to investigate the effect of electronic storytelling on the development of social skills and emotional regulation of mentally retarded male students. The statistical population of the study included all male students with mental disabilities of The Exceptional School of Golestan 1 in Baharestan Province. In this study, thirty of these students were selected using a simple random sampling and were divided in two groups of experimental group and control group each containing fifteen ones. The experimental group was trained in social skills and emotional regulation through electronic storytelling for 12 months in twelve 20-minute sessions. The data were collected after the sessions were over and analyzed using analysis of covariance. The results indicated that teaching social skills through electronic storytelling is effective on improving and strengthening social skills, emotional regulation and communication with respect in students with mental retardation.

One of the Figures of Speech is exaggeration that in the most rhetorical Arabic and Persian books, extremes in describing someone or something is defined.provides clarity use first Persian Rhetoric scholars of rhetorical Arabic at Bring up theoretical issues, course of comparative and historical context the Figures of Speech in the Arabic and Persian rhetoric.Do This Research the historical evolution of exaggeration in the Arabic and Persian rhetoricfrom the creation of this arrayuntil the completion ofits division and Present clear Vision from Genesis of theoretical and dividing it into three rank Bombast, exaggeration and hyperbole, Definitions, names and different classifications of this array.It also shows what developments and progress has passed During Its history. How and from whom Persian and Arabic rhetoric scholars are affected in definition and analysis and divided to what groups? On what principles is it based the point of view of rhetoric esthetics of array? What is the importance and position of this array in their eyes?

Jalal Al-Ahmad is one of the most influential writers in Iranian fiction. Due to his aristocracy over the situation of his time, he was able to identify the social issues that people were struggling with and reflect well in his stories. The multiplicity of his works of fiction, including short stories and novels with various subjects and critical attitudes towards the social situation of society and its contradictions and conflicts, has caused these works to be very rich in terms of sociological study; One of the topics is the discussion of education, the conditions of teachers and their social conditions that have appeared in the works of Jalal. This article uses a descriptive-analytical method to examine the historical-social view of Jalal on the situation of teachers and education in the Pahlavi period and issues such as job satisfaction, income status, the value of teachers' work compared to other occupations, school and teacher etiquette, methods Education, encouragement, punishment, etc. are well reflected in his stories with great care

Repeatable poetic themes and contents, evolution and recreation, and some of them have been repeated in various poets’ works; so that the audience is familiar with poetry, by reading various poets or poetic verses and images of a particular poet, leads to another poets’ poem and find some common features among them. The purpose of this paper is to study the repetition in poem and the study of the reasons of repetition themes and ideas in Saadi's sonnets which has been paid to this issue by analytical - descriptive approach. The results has showed that The reasons of repetition of theme and thoughts in Saadi’s sonnets are different; such as iterations from the general style of the period, the same emotional states, encouraging a special emphasis on thinking, associated with this content because of the rhyme and the same row, according to network poet proportions acceptance of poets and multiple use of a source. he with creativities in recreation and changing the themes, prevented the dust and boredom of repeated old issues and on the other hand the integrity and continuity and emotionality has been shown in his sonnets.

With the victory of the Islamic Revolution of Iran and its political and social effects on society, changes were also made in the field of poetry and literature, and the course of the revolution and its subsequent great event, the sacred defense, created a new mood in poetry. Revolutionary poets Making their poetry to a specific space appropriate to the mood of the day, according to the context of society and the themes, themes and events that have taken place. The purpose of this article is to study the Circumstancing in the poetry of Mousavi Garmaroudi, one of the prominent poets of the revolution. For this purpose, his collections have been studied based on the course of poetic spaces and the elements that have shaped the space in his poetry, and have shown the most important reasons for the freshness and dynamism. And the effect of his poetry is its different spaces; Thus, in some of his books dealing with a subject such as Ritual poetry, Garmaroodi has obstructed the uniformity of his poetry. He has used elements such as description, semantic and literal rhetoric, vocabulary, implicit and symbol to create the space of his poetry, and has been able, in his free poems, to extend the integration of these elements into a coherent space in his poetry, which ultimately enhances the objective visualization of experience and enhancement. Force has been on the audience to instill emotion and meaning.

One of the motives of the Islamic revolution poets in composing poems is expressing their grief on death of their relatives, contemporaries and martyrdom of revolutionary people and combatants. These poets have attempted, through transferring their poetic sense to the addressee, to relieve their mental suffering, as well as inviting others to sympathize with them. The main purpose of the present paper is to examine the poetic feeling and the way of transferring it in the elegy poems of Dr. Seyyed Ali Mousavi Garmaroudi. He is amongst those revolutionary poets who has got benefit from poetic techniques such as providing pictures compatible with his sadness and regret, use of past tense verbs, putting rhythm and sense in a harmonious way, creating an appropriate environment, continuity of feeling, etc. However, sometimes in his poems, for some reasons, he was not successful in transferring these poetic senses.

Mask technique, one of the new functions in the tradition which is surveyed in rhetorical devices. In this technique, a contemporary poet mentions a character name who has cultural background in the vertical column of his poetry and through that he expresses thought, feeling and inexpressible speech indirectly with his tongue.In this paper, the theoretical framework of Mask (definition, scope and types), Mohammad Reza Shafii kadkani as poetic works of contemporary poets of having style - while being modern, is very traditionalist and explores from this view and analyzes the variety of Masks and the artistic effect of the circumstances of the poetry of Mohammad Reza Shafii Kadkani.The authors acknowledge the newness of the Mask technique in Persian literary criticism, Theoretical framework of the research has been presented as far as possible.

Astronomy knowledge is the oldest science, metaphysics dating back three thousand years BC, And always the questions of the human mind - which is constantly searching to be aware of the influence of the stars and constellations of his own fortune. The focus is on the literature of different nations and their impact can be clearly seen because literary men have tried to add to their speech impression with the use of sciences. Among them is Hakim Nezami Ganjavi. He has been profited from different sciences in particular astronomy in his literary works and some of the astrology beliefs are clear in seven bodies (Haft Peykar). This effect is attributed to the seven planets on each day of the week that has its own color and metal.This article has showed astrology view points and beliefs and symbolic application and artistic aspect of the Venus planet in seventh bodies of Haft peykar and has considered the reflection of the specialties of this planet in Nezami's poetic images and expression style. some characteristics and traits like beauty, singing and playing, flirt, friendship and luckily. According to the studies of the planets, the moon and Jupiter have the highest percentage of repetition in Seven Figures; because the moon is the Earth's function and Venus orbit is between the Earth and Mercury, the greater lucky star, Jupiter is linked with the lesser lucky star, Venus.