فهرست مطالب mohammad hosein karami

Identity and how to process related information is one of the most important concerns of adolescence, and literature, especially teenage novels, has been able to reflect this concern. novel Hasti is among the novels worthy of attention in this field. The purpose of this research is to investigate the capacities of this novel in showing identity processing styles. This research has been done using the content analysis method, and by following the actions of the main character of this novel, we have tried to analyze her identity processing styles with Michel Berzonsky's approach and show the narrative techniques of identity representation. The findings of the research show that Hasti has used all three styles of identity processing to achieve a unified and independent identity; Although her confused processing style is more pronounced and her unconventional character distinguishes her from other characters in novels. The analysis of the narrative methods shows that the author has been able to show the different spiritual and personality dimensions and her concerns by using the method of intra-event narration and internal focalization to show the style of identity processing in Hasti.

Shahrokh-Nameh is an epic-historical poems of the poet of the 10th</sup> century AH Mirza Muhammad Qasemi Gonabadi. The topic of this Masnavi is about of conquests, Justice, journeys, honesty, goodness and braveries of Shahrokh, the the ruler of the Timurid Empire from coronation to death. In this manuscript, beside a brief introduction of the poet, the stylistic features of his poems are explained at three levels of linguistic, literary and intellectual in a layered manner. By reviewing the poems, in addition to the epic themes, it appears that many of the verses are different from the epic atmosphere of the poems. Therefore, this is a martial and festive work which the existence of beautiful idols in battle scenes and even bringing SĀQI-NĀMA at the end of each topic has made this feature even more prominent. Qassemi has created a new style of saga. By carefully examining the issues and events of the stories, the authors reached the point that Shahrokh-Nameh is a combination of epic, history and lyric. Qasemi's lexical games indicate his dominance of vocabulary, metre and rhythm in poetry. Qasemi's imagery depicts his skill in imagination and meaning and to the fullest extent; it is the use of words, expressions and lyrical images to express epic adventures.

Undoubtedly, Saeb Tabrizi is one of the greatest Theme-maker and Punctilious poets in Persian poetry and his detailed and diverse themes of his poetry show that he has been poetic in all the phenomena and affairs of existence, The reason for the various, narrow, and fresh themes of his poetry is waved. This has led Saeb to play the most important role in Indian style and even some say that Indian style is Saeb style. Some sources have described him as the hero of Indian style (Ensani, quoted from Saeb, 2000: 34) and (Ehteshami Honegani, 1989: 14).
Mirza Mohammad Ali Saeb Tabrizi is the greatest sonnets poet composing of Gazal of the eleventh century. By creating his own style of poetry, he created impeccable imagery in the style of Indian style, found neat themes, introduced allegory and Hosne- talil into a new way, and linked poetry with morality and mysticism and life (Anwari; quoted from Saeb, 2005: 23).
The following verse was written by Saeb in response to those who claimed to have said all the words, and there was no longer any word left to say, and it was similar to the other.
One life can be said about Zolf Yar/ Do not leave the subject intact (Saeb Tabrizi 1988: 2/974)  In this Article, we have tried to investigate the functions of “Zulf's” words in Saeb Tabrizi's sonnets in terms of lexical, inventive Moshabbehon- be, and various images. Qualitative research method is of analytical-descriptive type and method of text-research. Saeb has spoken in nearly two thousand verses of Zulf.  Zulf means the front of the hair and sometimes it is considered as the Giso “long hair”. Iranian pronounce “Zulf” with “U” which means the few hair around and if especially belongs to beloved and its because of its black hair.  (quoted from Dehkhoda; with tablature). From Zulf and its descriptions, such as twist, restlessness, distress, black and trap, are used to describe the beauty of the beloved. Saeb has selected some features for “Zulf” that have made it a pleasant and attractive one. It is worth noting that Saeb has chosen new attributes for his newly-minded minds and tales of Indian style and delicacies in relation to the poets before Zulf. If  Zulf had already been black before, it become black hair now .If he had been disturbed before Zulf, it had become irritable now. Of course, it should not be overlooked that. Sa'eb, along with the attributes of perfection, sedition, seduction and infidelity, has included completely new features such as life-giving water, pride, robber, and enhantment for Zulf. The word Zulf as an element that has been irrefutable in the beloved beauty of Persian literature, has been repeatedly revealed by Saeb's poetry with its lexical power and extensive semantic load. Saeb was aware of the abilities of the Persian language and the lexical capacities of this language, and "with his special art in a verse, he has put all the words in a special order "(Hasanli, 2004: 117). The active and searcher mind of Saeb, by invoking any term or phrase, have pursued a series of other words and phrases that have had lexical proportions and links in different directions. The relations that have come about in terms of art, the combination of meaning and the resurrection of the word. In his alternative word-of-mouth method, he has used the capacity of word placement in the chain of words, and the components of his biases have obvious and secret connections. Sa'eb has been used to create a foreign meaning from new, primitive, and distant moshabbehon-bes for Zulf, and has broken the limits of traditional traditions. He has advanced beyond the boundaries of the moshabbehon-bes, and has distinguished other distinct, non-existent elements of vulgarity as a moshabbehon-be one. In the poetry of Sa'eb, the words with their complex and repeated relationships have created a variety of visual clusters. The word "Zulf" was added along with the words ‘”Dell” (Heart), "Shane" (Comb), "Khat" (tails) and "Hosn" (Beauty) as pairs of images in poetry poems. Zulf in his poetry is also in line with the tradition of Persian poetry, home and it is the of heart, but the poet has brought this theme with innovative innovations in Indian style and his infinite creativity. As an example, in a pure image, the homeland drove the heart into a zoological, resembling a Muslim in the veil. These pairs of images are not exclusive to the Zulf with Dell (Heart), Shane (Comb), Khal (Mole), Khat (Tail), and Chaneh (chin); but Saeb has created numerous images along with other elements such as Roy (face), Mozhgan (Eyelash), Mouth, Kamar (Waist), Hosn (beauty), Nasim (spring wind), “Goshvareh” (Earring) and “Negah”  (Look). The images, created by the indistinctness and intricacies, uncompromisingness and elegance of the poet, have been created in search of a foreign meaning and in accordance with Indian style indices. The results indicate that the word "Zulf" such as "Sarv" (Cedar) and “Hobab” (Bubble) are key word and determinant in Sa'eb Tabrizi's Sonnets. In most cases, the word “Zulf” has a literal and semantic relation in one verse with other words in the same verse. For example, Saeb likened Zulf to something, and, with the his perfect ability in art, mentioned the lexicon that was appropriate to that one in verse, and was able to form a lexical equation by linking the artifacts of the verse components.This fact expresses the deep awareness of the poet about the capacities of the Persian language and the rich treasure of his mind. Saeb, in strange likenesses associated with his innovation, puts Zulf alongside some innovative and unfamiliarMoshabbahon-bes such as "Changale Shahbaz", "Toughe Qomri” , “Mesra", "Kochehbaghe", "Farrash", “Parrikhaneye Chini", and "Reshteye Goldaste”, which do not have a color of repetition and banality. In addition, Saeb created paired images in unique imagery by putting "Zulf" alongside "Chane" (Chin), "Kamar" (Waist), "Shane" (Comb) and "Khat" (Tail). In particularly, these images have come up with unprecedented and ingenious elements in the structure of oppositional elements. For example, he has seen in a picture (Zulf and Kamar) (prominence and Sonnet). The findings indicate that in addition to the personal taste of Saeb, the usual taste of the time, the dominant rules on the common Indian style, the format of the Sonnet, and the theme of love and mysticism, also played a role in the prominence of the functions of the phrasal word in Sonnet's poems. In the end, it should be said that while Sa'ib may have just posited a poetic claim when it comes to this verse, he has finally proved that with a vast array of themes, Only one life can be said about Zulf Yar.

The adherents of new institutionalism have considered exchange costs as the factor behind the formation of Externalities, and with an emphasis on the bilateral nature of Externalities, have criticized the traditional approach to economy. Some argue that institutionalism can have implications for Islamic economics, especially in terms of the method of analyzing economic behaviors and phenomena. Using an "analytical" method, this research examines the implication of the "new institutional approach for dealing with externalities" in Islamic economics. The results of the research indicate that the above-mentioned approach does not have obvious implications for Islamic economics at least for three reasons: 1. Contrary to the institutional view, exchange costs is not the only factor in the occurrence of externalities in Islamic economics; 2. In the face of externalities in Islamic economics, in addition to maximizing the entire product (which is the goal of the new institutionalists), other goals, such as pursuit of the interests of society are also considered; 3. New institutionalists, with the criterion of economic cost-benefit, make a special decision in each case; While in Islamic economics, firstly ,the only criterion for decision-making is not economic cost-benefit; secondly, sometimes the strategy for coping with externalities is determined and unchangeable.

Sheikh Sad od-Din Ahmad ó Ansari, the son of Mawlana Abd ol-Ghaffar Ibn Abd ol-Karim, is a mystic of the 12th and 13th centuries AH. Sad od-Din was born in Kabul in the village called Yahya Yahyaee in 1140 AH and died in the same place in 1225 AH (Ansari, 1374: 6). In his youth, he learned canonical law and theology from his father but was soon attracted to mysticism (Heravi, 1373, 43). After performing Hajj in between the years 1169-113 AH and getting permission to guide people from Naqshbandiyeh and Qaderiyeh mystic Sheikh Mohammad Saman Madani, he returned home and guided people untill the end of his life (Ansari, 1390: 3). Sheikh Sad od-Din was well learned in Islamic studies, Arabic language, rhetoric and sciences of his time. He was also familiar with the works of poets such as 'Attar, Rumi, Hafez, Ibn Arabi and other great names of mysticism. He was attached to Rumi and Hafez and has quoted them frequently in his works.
Sheikh Sad od-Din wrote thirty six books and treatises including seven Divans and two Masnavis in Persian; He also wrote a book entitled The Mine of Unity and treatises such as "Greetings Noble Tatar", "Habl ol-Matin" and "The Elite" in Arabic. He composed some poems in Arabic as well.
At least from 1174 AH Sheikh Sad od-Din started to bring changes to the ancient Persian poetry; thus his deconstruction made poetical form much similar to contemporary Persian poetry. However, due to political and cultural distance between Iran and Afghanistan, we did not have a chance to get familiar with his innovations.

The ready research is aimed to study wedding poems and songs in kohgilouyeh and boyerahmad province. This poems, which are kind of lyric poetry are special to wedding celebration, more common among women and one sing in all sreps of wedding wether lonely or in group by women, often describing the groom, the bride, bride and groom family members and wedding celebration. This songs have special names in some regions : in basht and bavi tribes, boyerahmad and choram "seru", and in bahmaei, doshmanziari and taibi its called shiraduma". In this article, after introduction a short description of songs and poems of sorud and shiradumad in some regions of country and more specifically in kohgilouyeh and boyerahmad province will be given. Next, the charactristics of this songs, different kinds of wedding local jongs, classification of sorud and shiradumad poems will be studied.

The word „Sharvah‟ defined as footsteps; song; music; and sound. In Kohgiluyeh district, Sharvah (mourning lyrics, Elegy, and lamentation lyrics) is the most somber song performed with the utmost sorrow and grief. It is usually done by female and, recently, male elegy reciters with a deep and extended voice to express the heartache.
The reciter needed to have a strong, expressive, and impressive voice in order to perform the song. Usually, successful female singers were good Sharbah reciters too and vice versa.
During reciting the verses of Sharvah, females enumerated good qualities of the deceased person. In this study, Sharvah will be defined both literally and idiomatically. Furthermore, the contents and the themes of sharvah, types of Sharvah in the country‟s different dialects, through mentioning some poetic instances, classification of Sharvah, rhythm and poetic forms of Sharvah will be investigated.

The celebrated poem of Ahmad Hatif of Isfahn, known in Persian as the Hatef’s Tarjiband is studied in the present paper from a historical point of view to reveal the status of this poet in Persian poetry, as well as its mystical content. First a short history of Tarjiband as a poetic form is revised, then the sixteen poets who have written a mystical Tarjiband are presented. All of these Tarjibands have the same rhythm and the refrain “He is one and there is naught but He” after each strophe. The total number of these Tarjibands is twenty one because some of these sixteen poets have written two Tarjibands. Searching the Persian poetical texts it is found that this kind of Tarjiband was begun from seventh century by Fakhr al-Din ‘Araghi and other poets before Hatif. Forsat al-Dowleh, a poet from Shiraz has continued this tradition. But among all these similar poems it is the work of Hatif that is rested popular and the others are approximately forgotten.