mohammadali khabari

Among the truly prominent components of ritual arts, one can point to tombstones, whose engraved motifs reflect the locals’ ideology, culture, and worldview, providing a wide lens through which we can see the personality of the deceased and the social, economic, and cultural status of the related groups or nationalities. This article aims to analyze the motifs engraved on the tombstones of Habibollah Shrine (Bandar-e-Gaz, Golestan province) from a cultural point of view, considering that society is their creator. For this purpose, among the 10 cemeteries of Golestan province that were studied, the Habibollah Imamzadeh Cemetery in Bandar-e-Gaz was selected as a case study due to the number of gravestones and variety of motifs. This article tries to answer the following question: How can the semantic, aesthetic, and functional characteristics of these gravestone motifs be discovered through the Anthropology of Art approach based on findings on local culture? The research method is descriptive-analytical, with field observations and library studies conducted for data collection. Among the findings, one highlights the interpretation of three important dimensions of the motifs: semantic, aesthetic, and functional. Based on the cultural study, these motifs represent customs, beliefs, and various levels of society's culture.

The purpose of this article is the semiotics of the signs related to women on the tombstones of Golestan province, which has been analyzed with Pierce's semiotics model, which divides the signs into three categories: symbolic, indexical, and symbolic. Death as an influential fact in human life has always led to the formation of different cultural values. A part of the intellectual foundations of the society lies in the behaviors related to death, including the methods of burial, mourning, gravestones and markings on them, which has also been of interest in Golestan province. This article seeks to answer the question of how the iconic, profile and symbolic signs of female gender are depicted on the tombstones of Golestan province? And what are the meanings of these signs? The research method is descriptive-analytical and collect Information has been done in the form of library study and field observation. The result of the research shows that symbolic signs were not used in women's tombstones due to religious prohibition and more symbolic and index signs were used that express the character, occupation and religion of the deceased person and have a cultural meaning. .

Contemporary human, despite reaching the peak of development and enjoying significant scientific, advancements, do not seem particularly satisfied and content. The destructiveness of time, the fear of death, and the brevity of life are among the factors that contribute to the emergence of disillusionment and the proliferation of nihilistic thoughts in the modern world.  The constant pursuit of material gains has failed to address deeper existential concerns. Therefore, there is a growing need to explore the profound aspects of life, such as the search for meaning and the quest for personal fulfillment, in order to alleviate existential pains and enhance the overall quality of human existence. In this regard, the main subject and objective of the present research are focused on the issue of life's meaningfulness and human longevity by finding tangible solutions to existential pains, improving the meaning and values of their lives.METHOD AND

This research, with an Analytical-Descriptive approach to examine the philosophical and existential theories of Ludwig Wittgenstein, particularly focusing on his early philosophy and exploring the constitutive components of meaning from his perspective in human life.

The results of this research emphasize the importance of two fundamental elements, Aesthetics and Ethics, with a special emphasis on the metaphysical subject's eternal perspective, in creating a meaningful and purposeful life. These two components are considered as the highest means of expressing the real values of life and a solution for overcoming its challenges and difficulties, guiding humans towards a meaningful life.

The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.

The concept of ethics, as one of the key and simultaneously most challenging issues in the realm of human teachings, has always been the subject of attention and investigation. Examining ethical principles and rules and developing multiple theories in this field, in order to find the best model of life, is considered one of the most important man’s intellectual endeavors. The present study explores Ludwig Wittgenstein's views in the field of ethics, considering his existential approach, and provides a fresh interpretation of the path to the attainment of a meaningful life in the realm of ethics. Based on the analysis of the concept of bioethics in Wittgenstein's philosophy, it is specifically argued that an ethical and meaningful life, according to him, is based on the exercise of moral will and the solution of the puzzle of life, both of which require adopting a special perspective towards the world. In this perspective, the world is perceived in an eternal domain.

Selected dramas with subject-themed themes and sentimental characters, with an emphasis on immediate and irrational experience, make it possible to study Deleuze's philosophy. This research intends to introduce the concept of human as a subject beyond rationalism from Deleuze's point of view and to explain the analyzable reading of postmodern human by reading plays centered on empiricism and the philosophy of empiricism. To investigate this, plays have been selected that are a successful example of the experience of evaluating the human concept in postmodern drama. These works evaluate the position of human from a philosophical point of view and prove that the position of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond being human or even the courage to become a mere empiricist. This article seeks to answer these key questions: Modern presents? ”, And“ How can such an approach to the meaning of human in drama be reflected in the quality of drama characterization?In this direction, the present study selects the dramas of Vitsk, the furry gorilla, the little black horse, the meeting of the old lady, the strange story of a dog, the guinea pig, the story of the panda bears, the animalless theater, the pious human-animal, the banal tiger and the glass zoo As case studies, it intends to study the concept of human based on the philosophical meaning of living and the experience of individuality of this concept.

Throughout history, mankind has always strived to achieve the meaning of existence and eternal life.The notion that life is devoid of meaning and death is the end of everything,makes the universe no longer look so beautiful and valuable to man.The difficulties of life and the fear of death are among the factors that caused a sense of frustration and the spread of absurdist ideas in today's world.In contrast, some thinkers,by emphasizing the meaning of life and its immortality, are trying to find a tangible solution to human existential pain and give meaning to his existence.In this regard, in the following article, Wittgenstein's earlier theories and his worldview were considered from the perspective of immortality.Looking at the deep existential concerns and examining the dynamics of his thoughts, the role of "aesthetics"and"ethics"as the most fundamental components of the meaning of human life in his philosophical structure is undeniable.As in most of his phrases,we can see the traces of these two factors with the focus on the"eternal view of Metaphysical Subject",in establishing a meaningful and purposeful life.Based on this view,art is considered as the highest way to show the true values of life and a solution to overcome its problems and difficulties.Life that in Wittgenstein's view finds eternal extension.In Wittgenstein's view, the perfection of life is the attainment of happiness, and art provides the conditions for achieving this goal.Art is fundamentally and deeply an integral part of the concept of eternal life.So that a person who has an understanding of art will have a deeper image of life and death.Because in the eternal look;Death is no longer an event in life.Life has no end, just as the field of vision of a subject has no boundaries. When the subject stops.The world is coming to an end. At the time of death, the world does not change, but being stops, and death will be the subject of the end of the whole world. Man attains immortality from the path of his merit to excel and transcend the world. And this is what art can do.Imagination When we artistically look at what is in the world, we elevate it and elevate ourselves, and we look at the truth of the world above the world and from an eternal perspective. In this view, art finds an enlightening function to awaken man, which, by showing the correct way of observing the manifestations of the world from an eternal perspective,separates the individual from superficiality,vanity and emptiness,and turns the world into a wonderful truth as a work of art. It invites a person to growth, excellence and hope at every moment.This distinguishes the world of the artist man from the world of the non-artist man. Man realizes by living that death does not kill him.Rather, it is he who kills death; And this is the transcendence of immortality.By living beautifully and having the right attitude towards existence, we will become a harmonious and accompanying element of the world, and art is a phenomenon that can restore the lost beauty and meaning of life to us.

A review of the history of the art of painting is a sign of artists' attention to other pre-existing artworks, adaptation, inspiration, or copying them. This is done for a variety of reasons, most of which can be mentioned as methods of teaching and experiencing and/or criticism and interpretation. Being Inspired by other works of art – especially traditional painting – Iranian contemporary artists are still creating modern works, that can play a significant role in bonding the contemporary art to Iran’s traditional art and transmitting the ancestors’ contents, experiences, and artistic traditions. A number of works of Iranian contemporary painters, that are painted based on a single painting will be studied and analyzed in this paper. The key question is that “how the process of incorporation from other works is being performed and what the procedure is”. It also seeks to answer the following question that “what the relation is between the image of Prophet’s ascension by Sultan Mohammad and the works created inspired by it”.To this end and through using this method, Genette’s hypertextuality and the typology of these relationships will be used in order to study, describe, and analyze a part of Iran’s contemporary art, and to decode its features it is concluded that hypertextuality has had a long practice in Persian painting, although it has not been documented and theoretically discussed. The research method is descriptive-analytical and it has been conducted by gathering information through documentary sources and library studies on the topic of intertextuality and hypertextuality as well as direct observation of the works. The research method of this article is descriptive based on the intertextual approach of Gerard Genette. In the 1960s, it was Julia Kristeva who used "Intertextuality" for the first time, indicating the possibility of relation between different texts. Thereafter, Gerard Genette expanded the study domain of Kristeva, and called relation between a text with other texts or different from its own as "transtextuality" and subdivided this type into five categories where intertextuality was only one type. Other categories were called "arcitextuality", "paratextuality", "metatextuality" and "hypertextuality", each with their own subcategories. Of all these categories, intertextuality and hypertextuality study the relationship between two artistic texts, whereas transtextuality is the study of the relation of a text to the related hypertext. On the other hand, paratextuality probes into the relation of a text to other connected or separated texts. Metatextuality investigates the analytical relation of a text with respect to another one, and arcitextuality deals with the relation between a text and a text of its kind. This article deals with only one type of Genette’s transtextuality, i.e. hypertextuality, and will attempt to survey the potentiality of this notion in terms of studying the history of illustrations in Iran, and then will make a critical analysis of Persian paintings based on the hypertextual approach. The hypertextual relationship explores the relationship between two texts; the existence of the second text depends on the first text. On this basis, the original text and the preceding one is called the "hypotext" and the later and the new text the "hypertext". Genette divides the transactional relationship into two types of the same (imitation) and metamorphism (the variation of the original). According to this, after introducing Genette’s hypertextuality and the typology of these relationships, three works by Iranian contemporary painters (Iraj Eskandari –Abdolmajid Ghdiriyan and Abdolmajid Hosseinirad) that are created through inspiration from the image of Prophet’s ascension by Sultan Mohammad, the significant painter of the Tabriz school, will be studied and analyzed in the second part. While pointing to textual relationships, implications, distinctions and commonalities, sometimes necessarily, the contextual reasons of these differences will be taken into account, so that through a systematic study, we could get to know a part of the identity of Iran’s contemporary art. Eventually, it is concluded that using indigenous and traditional hypotexts, not only does not restrain artists’ creativity, but also, while providing an indigenous and comprehensible statement, proliferates some kind of aesthetic identity, and of course, it will be accompanied with critiques and updates.

This article is a textual analysis of two paintings by the contemporary artist Yaghoub Emdadian based on a traditional painting hypertexuality with usage of library sources and direct observation of works of art and their analysis and semiotics with an approach more than Genette’s text. . The research method of this article is descriptive based on the intertextual approach of Gerard Genette. In the 1960s, it was Julia Kristeva who used "Intertextuality" for the first time, indicating any relation between different texts.Thereafter, Gerard Genette expanded the study domain of Kristeva, and called relation between a text with other texts or different from its own as "transtextuality" and subdivided this type into five categories where intertextuality was only one type. Other categories were called "arcitextuality", "paratextuality", "metatextuality" and "hypertextuality", each with their own subcategories. Of all these categories ,Intertextuality and Hypertextuality study the relationship between two artistic texts ,whereas Transtextualites is the study of the relation of a text to the related hypertext. On the other hand, Paratextuality probes into the relation of a text to other connected or separated texts. Metatextuality investigates the analytical elation of a text in respect to another one. And Arcitextuality deals with the relation between a text and a text of its kind. This article deals with only one type of Gerard Genette’s transtextuality, i.e. hypertextuality, and will attempt to survey the potentiality of this notion in the history of illustrations, in Iran and then make a critical analysis of Persian paintings based on the hypertextual approach. The hypertext relationship explores the relationship between two texts, the existence of the second text depends on the first text On this basis, the original text and the preceding one are called the "hypotext" and the later and the new text "hypertext" The gene divides the transactional relationship into two types of the same (imitation) and metamorphism (the variation of the original).Based on the function of hypertext, Genette divides it in to six major types, of which transposition is one of the most important. The present article focuses on the type of transpotition and intends to use its capabilities to analyse and read two contemporary Iranian paintings. And to study the question of how the adaptation of traditional painting is reflected in Emdadian paintings and has formed this visual system? What is the formal and content relationship between the over-text and the pre-text, and how is the artist's invention and inspiration manifested in this form? The result of the study shows that Yaghoub Emdadian consciously with usage of hypertexuality and appropriate and copying a part of it and transposition and changing the style, quality and quantity of the two paintings have been able to create works in their personal format and style that refer to traditional Iranian painting, it is modern and contemporary.

This research intends to introduce the concept of man as a subject beyond rationalism from the perspective of Deleuze and Perls and to explain an analytical reading of postmodern man by reading a play centered on empiricism and Gestalt therapy in the field of psychology and the philosophy of empiricism. To investigate this, woyzeck’s play was selected as a successful example of the experience of evaluating the human concept in postmodern drama. In woyzeck, Georg Büchner evaluates the position of man from a psychological and philosophical point of view and proves that the place of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond something human or even the courage to become a mere empiricist. This article seeks to answer these key questions: “What is woyzeck’s view of modern man based on psychological and philosophical variables?” And “How can such an approach to the relation of human meaning and concept in drama be reflected in the quality of the characterization of the drama?” In this direction, the present study, while choosing woyzeck drama as a case study, intends to study the concept of man based on the philosophical meaning of living and the psychological experience of the individuality of this concept. Part of the foundations of research theory is based on theoretical foundations based on the theories of Jill Deleuze and Fritz Perls, which are specifically studied. I then turn to the philosophical and psychological approach to the human concept in Buchner’s drama, which has turned the drama into a unique play from an empiricist perspective. This paper will also attempt to achieve this goal in a comparativeanalytical manner using library methods and available resources. The results of the research show that the concept of man from the perspective of Jill Deleuze in Woyzeck’s play according to his definition of the subject position which is due to the subject being pushed back from centrality (subjectivism) in the human-animal process and Perls’s definition of human position in Gestalt psychology Emphasizing the possibility of immediate experience can be read in this play.

The stories and tales of the Holy Quran have dramatic aspects (drama) and can be examined from dramatic aspects. The word drama in Greek simply means action. Action is the most important element of drama, which is fundamentally different from other literary works. James Thomas is one of the theorists who analyzes the text of the play based on the form and method of formalism. In his view, the formalist analysis of the play was subject to Aristotelian principles and practices that sought to analyze Aristotle’s poetics. In his view, the formalist analysis of the play was subject to Aristotelian principles and practices that sought to analyze Aristotle’s poetics. Physical activity is expressed in four forms: entry and exit, mezzanine, use of special equipment and special physical activities, and psychological action in the form of confession, order, and plans. This research seeks to examine the physical and psychological And it seeks to answer the (ع) actions in the story of Prophet Moses has physical and (ع) question of whether the story of Prophet Moses psychological actions? And what are these actions? The research method in this research is information analysis as inductive-interpretive and descriptive-analytical method. After the investigations, we come to the conclusion that the story has physical and psychological actions. And (ع) of Prophet Moses we can refer to the most important physical actions such as the entry of exits such as the arrival of Prophet Moses in Pharaoh’s palace. Mezzanine in the box of Prophet Moses when she was a baby in the Nile . The use of special equipment such as canes and special physical activities such as defeating the ship by Hazrat Khidr and the most important psychological actions, orders such as Pharaoh’s order to the magicians to confront Prophet Moses , Confessions, such as Qarun’s confession, point to his mistakes, and plans such as Pharaoh’s wife Asiya’s plan to keep Moses.

The Quran is a book of knowledge and guidance in which stories told to achieve the purpose. The stories can be considered from the aspects of validity. Narrative or science of action is a branch of science that studies narrative techniques and structures that are embodied in the literature, too. This science examines the internal techniques of a relationships itself narrated from a story. Jaap Lintvelt is a narrative that bases its definition on a actors on the one hand and the narrator and audience on the other hand, too. Jaap Lintvelt focused on the dual interaction between the level of narrative practices point to the time of and place of the actors. He believes that narrator and audience are in space and time here and now and are in connection with each other. The narrator, with a time and space cut, convert the connection to the detachment and narrates the event that happened one day in the past. This separation between the narrator and the audience, on the one hand and the actors, on the other hand, determines the narrative definition in his view. Jaap Lintvelt has provided a model of his narrative and typology positions based on these levels, that Quranic stories can be analyzed from this prespective. In this research two stories from the prophets (The prophet Noah and The prophet Saleh) and two stories from the stories of non-prophetes (Companions of Elephants and Companions of Cave) are selected az examples. The research method in this article is narrative analysis. After studying these four Quranic stories for Noah, Saleh, Companion of Elephant and Companion of the Cave, It could be said that there is a homogeneous world in all these four stories. The narrative typology in these stories is text oriented in which the story is full of perspective and the directions of the narrator is expressed to the audiences. The narrator-actant (God) tries to use the words for the audience p (The Prophet Mohammad). The narrator tries to believe that in the shado of the help of the God, the truth will be overcome by falsehood.  These stories are true and has historical fact.

Having a profound effect on the process of the formation of post-war currents, the painting of war has emerged in a particular discourse context. In this paper, both text and context are studied. Due to the exceptional subject matter and ability of LaclauMov's theory of discourse in explaining all socio-political phenomena, this theory has been considered as a theoretical framework and the paintings of holy defense and their representations of war and the production of new discourse have been discussed. Since paintings are an important source of representation of the state of war, a number of artists' works during the holy defense were subsequently analyzed by discourse and read text and context through selected samples of war and postwar paintings. The war and post-war paintings constitute this research data, and several samples are selected from. The selection was based on discourse analysis and textual analysis and purposive sampling was used to choose the statistical society. The following research indicates that the concepts of guardianship, martyrdom, martyr, defense, resistance, jihad, etc. in Iranian culture mixed with Islamic culture have been considered sacred in the war and reestablished by discourse. Referring to these concepts and elements, the mythical symbols in the images, reestablishing of the concept “holy”, and the central signification of some of the key artists’ works in these two periods became apparent in this research. The discourse of the revolution painting is encountered with that of war under the influence of socio-political factors and the shift of relations’ power with fundamental changes in the way in which the war is represented

The analysis of the relationships among texts, that had attracted the attention of researchers from a long time ago, was formally and systematically theorized and presented by Kristeva and Barthes under the title of intertextuality theory in the twentieth century. Using Kristeva’s opinions, Genette named a variety of relationships between texts under the title of transtextuality and divided them into five categories one of which is hypertextuality. Current paper, in two parts- theoretical discussions and practical critiques, firstly addresses the analysis and explanation of the relationships of hypertextuality from Gérard Genette’s point of view and typology of such textual relations. Then, in the second part, three paintings of Iranian contemporary painters with approach to hypertextuality are analyzed. The reason of selecting these three paintings was their consideration and derivation from one of Behzad’s miniatures as a single hypotext, which provides the essential groundworks to generate hypertextual discussions and analyses. Current study is going to benefit from concepts which are considered in the analysis and study of Iran’s contemporary painting through observing artworks and using data descriptive-analytical method which is obtained from desk research about hypertextuality. Analyzing these artworks is an effort toward decoding them and finding a proper pattern to describe, criticize, and analyze Iran’s contemporary art and its relationship with traditional art. Genette’s hypertextual approach which is introduced after kristevian intertextuality could be very helpful in studying and criticizing some paintings. This approach addresses the study of such artworks that are established on the basis of connections among texts. In the current article, hypertextuality approach was used to study three Iranian contemporary paintings which were adapted from Kamal ud-Din Behzad’s miniature of the seduction of Yusuf. First, these three artworks are created based on derivation, so that these artworks would not emerged without Kamal ud-Din Behzad’s miniature. Second, each of these artworks exhibits a specific form of derivation. In other words, three aforementioned artworks were adapted, to some extent, from Kamal ud-Din Behzad’s miniature of Yusuf and Zulaikha. Therefore, some sort of drastic variety among these artworks indicates contemporary artists’ various statements and expectations. Third, hypertextual type of all three artworks were parodic, which means contemporary artists used Behzad’s artwork to be able to create a new artwork in order to express their own emotions and thoughts. Eventually, using indigenous and traditional hypotexts not only doesn’t restrain artists’ creativity but also, while providing an indigenous and comprehensible statement, helps to some kind of aesthetic identity proliferation, and of course, it will be accompanied with critiques and updates.

"Applied Theatre" is a kind of performances that to describe the methods and techniques of theatre performances in places outside of the normal Theater environment, for the impact on a wider segment of the audience, with the goal of social change or knowledge society. Of these "Environmental Theatre" and "Heritage Theatre" as the two main branches of the theatre, each follow different concepts and goals. «Environmental Theatre» is planned in an area of the location where the story is related to the show and in fact; and "Heritage Theatre" use Theatre and Theatrical techniques for transfer knowledge about the concepts of cultural heritage and the history of the past. In the present research, while reviews of "Applied Theatre" with the emphasis on the species listed in the above two executive-"Environmental Theatre" and "Heritage Theatre»-how to use this technique in the reconstruction of the position of war, operational areas, well pay up there that can be used visitors of the war zones not only as a spectator, but also participants in the particular situations of war processed and occurs more with reality in these areas will be familiar.

The present article aims at explaining the quality of evolutionary course of the components of aesthetic in the monuments of Islamic era. Using descriptive-analytic method and within the format of a qualitative study، this article is trying to respond to this question: What was the role of the evolutionary course of the aesthetic components at the level of “being at the time and being concurrent with” in the formation of aesthetics of the structure of Islamic monuments in particular Qubbat Al-Sakhra and the Jameh Mosque of Damascus? The results indicate that some of the monuments of early Islamic period at the level of “being at the time” have been the outcome of integration and interaction of different cultures، so that their aestheticism holds a multi-cultural feature. So، the aesthetic components of these monuments as the cultural phenomena are the outcome of interactions and mixture of multi cultures and have been materialized by social and political factors such as: revolutions، rebels and conquests.

Recognizing the revival-oriented and identiy-oriented trends in the architecture of Post-Islamic Revolution era, offers an opportunity to rethink about the Iranian contemporary architecture. This article is an attempt to analyze the works designed after the Islamic Revoution impartially and far from judging the value of the works. The result of the research is supported by two hundered primary samples from the architectural works of contemporary Iran in the years after the victory of Islamic Revolution. Out of the above-mentioend samples, fifty samples have been studied in details in a contextual-analystic approach. The theoretical framework of research has been drawn based on specizlied literature. In accordance with the researches conducted in the area of Iranian contemporary architecture, first the works have been analyzed based on five general parameters:. The principles of plan cohesion, the concepts of spatial structures, the shape and form of the unit, – the materials in the unit andthe relationship with the surrounding environment.Studies conducted indicate that the revival-oriented trends can be considered among the mostimportant trends in the Iranian contemporary architecture. Tendency to revive the Islamic Iranianidentity is one of the most important goals of this trend which have been performed with an emphasizeon different techniques and methods of architectural design.

In the Holy Quran the story life of several prophets is elaborated through a story. One of these stories speaks of Joseph's life. Joseph’s Sura has a hundred and eleven verses. The first three verses and also the last ten verses are non-fictional, while the other verses cover the entire story without any the non-fictional verses interrupting. Quran's purpose is not to tell a story, but this Sura possesses many of the common and known aspects of the fictional elements recognized in fiction. This article intends to study and survey the plenitude of the fictional elements in this story.The present article is both descriptive and analytic; through which it discusses and analyzes the fictional elements such as point of view, plot, structure, the idea (including theme and subject), conflict, character, characterization, dialogue, time and place setting as well as the atmosphere in a story.The story of Joseph is the only story in the Holy Quran which is atually told from the beginning to the end in one Sura. In this Sura, through utilizing the modern techniques of fiction, the religious culture, education, teaching, guidance and men's learning lessons are all introduced, in addition to indicating the lofty purposes of the Holy Quran in the form of a story. In this story the elements of fiction are structured in a way that the reader feels as if he himself is present in the story just like one of the characters.